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In any consideration of S. J. Perelman-and S. J. Perelman certainly deserves the same consideration one accords old ladies on street cars, babies traveling unescorted on planes, and the feeble-minded generally-it is important to remember the crushing, the well-nigh intolerable odds under which the man has struggled to produce what may well be, in the verdict of history, the most picayune prose ever produced in America. Denied every advantage, beset and plagued by ill fortune and a disposition so crabbed as to make Alexander Pope and Dr. Johnson seem sunny by contrast, he has nevertheless managed to belt out a series of books each less distinguished than its predecessor, each a milestone of bombast, conceit, pedantry, and strutting pomposity. In his pages proliferate all the weird grammatical flora tabulated by H. W. Fowler in his Modem English Usage-the Elegant Variation, the Facetious Zeugma, the Cast-iron Idiom, the Battered Ornament, the BowerVBird Phrase, the Sturdy Indefensible, the Side-Slip, and the Unequal Yokefellow. His work is a museum of mediocrity, a monument to the truly banal. What Flaubert did to the French bourgeois in Bouvard and Pecuchet, what Pizarro did to the Incas, what Jack Dempsey did to Paolino Uzcudun, S. J. Perelman has done to American belles-lettres.