Backward Ran Sentences: The Best of Wolcott Gibbs from the New Yorker

By Thomas Vinciguerra and Wolcott Gibbs

"Maybe he doesn't like anything, but he can do everything," New Yorker editor Harold Ross once said of the magazine's brilliantly sardonic theater critic, Wolcott Gibbs. And, for over thirty years at the magazine, Gibbs did do just about everything. He turned out fiction and nonfiction, profiles and parodies, filled columns in "Talk of the Town" and "Notes and Comment," covered books, movies, nightlife and, of course, the theater. A friend of the Algonquin Round Table, Gibbs was renowned for his wit. (Perhaps his most enduring line is from a profile of Henry Luce, parodying Time magazine's house style: "Backward ran sentences until reeled the mind.")
While, in his day, Gibbs was equal in stature to E.B. White and James Thurber, today, he is little read. In Backward Ran Sentences, journalist Tom Vinciguerra introduces Gibbs and gathers a generous sampling of his finest work across an impressive range of genres, bringing a brilliant, multitalented writer of incomparable wit to a new age of readers.

• Language: English
• Publisher: Bloomsbury USA
• Release date: Oct 18, 2011
• ISBN: 9781608197309

Thomas Vinciguerra

Tom Vinciguerra is a frequent contributor to the New York Times, and former deputy editor of The Week.

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Reviews for Backward Ran Sentences

[vasquirrel · Rating: 4 out of 5 stars]

At last! I find myself poised to review this collection of profiles, reviews, parodies, and essays by one of The New Yorker's most prolific, yet oft overlooked early contributors. From the 1930s through the 1950s, Wolcott Gibbs, a direct descendant of President Martin Van Buren and no relation whatsoever to fellow contributor Alexander Woollcott, applied a singular sharp-tongued wit to everything that he covered or created for The New Yorker.This collection, released in October 2011 with a foreward by P.J. O'Rourke, weighs in at over 650 pages (of a moderately small typeface, I must add). I won't go any further without saying that I LOVED the book and highly recommend it to anyone who enjoys the "cosmopolitan sophistication" of the New Yorker (I was having trouble coming up with the right words, and "snooty and smart" doesn't quite do the magazine justice. Thanks Wikipedia, for naming that intangible quality).I should explain that this Librarything Early Reviewers selection arrived in November during the first wave of Christmas shopping, in a brown cardboard mailer. It was hastily mis-identified as a gift purchased for the boys and was whisked up to the attic, where it languished until Christmas Eve. Oops! Getting such a late start on a 650-page book explains why it's just getting reviewed now.Confidently claiming intellectually superior contributors and readership, Harold Ross' New Yorker published, in 1936, a parody of Time magazine, written by Gibbs, which provides the title for this collection. In reference to the narrative structure employed by Time's writers, Gibb's wrote, "Backward ran sentences until reeled the mind."Backward Ran Sentences is divided into seven "sections" - each representing a different "genre" of Gibbs' writing for The New Yorker."The Editorial We" includes items from Talk of the Town, some of the sparest and most humorous "shorts" from Gibbs."Some Matters of Fact" is a collection of biographical profiles which, to Gibbs' credit, is interesting and entertaining, in the current day, despite the fact that I'd never heard of the majority of his subjects (who were apparently big enough news at the time the profiles were written)."They Write As I Please", a collection of parodies, is probably the only section that I could have done without. Without a suitable depth of knowledge for the context in which they were conceived, I had little to no idea what most of them were about. Having said that, ample proof of Gibbs' ability to write just about anything convinces me that his parodies were probably a real HOOT to the audience for which they were written."Some Troubles I've Seen" and "So-So Stories", sections of humorous essays and short fiction, respectively, are, as a whole, well-written and highly entertaining. A few of my favorites were, "A Man May be Down" and "The Cat on the Roof"."Wounds and Decorations" is comprised of theater and movie reviews, and it is here that Gibbs' wit is most acerbic. I had begun to think that he had never seen a performance that he enjoyed, when I realized that the first group of reviews were of productions whose names I didn't recognize and whose time on the stage numbered in days, only. I was gratified to see that he raved about Oklahoma, My Fair Lady, Guys and Dolls, and Cat on a Hot Tin Roof. These would have been the ORIGINAL productions, and these shows went on to be revived MANY times. Some now-"classics" that he panned at the time were Waiting for Godot, No Exit, and, of all things, the Disney movie, The Three Caballeros---- albeit with very convincing complaints.One of the best pieces (and most indicative of Gibbs' place in the history of The New Yorker) is presented in the afterward or "Coda" and is entitled "Theory and Practice of Editing New Yorker Articles" (1936). Concise, practical, and entertaining, it should be read by aspiring contributors today!My only suggestion to anyone reading Backward Ran Sentences would be to "take your time...." Reading too much of Wolcott Gibbs in one sitting can be a bit of a "witty" overload. It is, however, hard to put the thing down.

[woodsathome · Rating: 5 out of 5 stars]

I'm someone who had always loved the New Yorker. I even own the complete collection (up to 2005) on CD. But, I was a little intimidated to receive this book when I saw it clocked in at over 650 pages. I shouldn't have been. It was thoroughly enjoyable.The book is divided into 7 major sections (plus intro and coda (my personal favorite)). The first Talk of the Town is wonderful for giving a personal perspective of America on the brink of war. I was afraid it would feel dated - it didn't. In fact, so much if it is true for America today.Profiles is fascinating. Some are of the famous (Ethel Merman) other are lesser/unknown. My personal favorite is about the cat-lady.Parodies and casuals are full of fun, easy to read pieces many of which withstand the test of time better than you would expect.I didn't much care for the short stories other than to note my surprise that one was titled "The Curious Incident of the Dogs in the Night-Time."I enjoyed the play review far more than I expected. Some of the criticism was withering. The more positive reviews contained interesting thoughts (such as the differences between Pygmalion and My Fair Lady).Don't be intimidated by the size (or the age of the pieces) the writing is truly worth your time.

[ericcostello-1 · Rating: 5 out of 5 stars]

The title is a slight misnomer, since many of these pieces didn't appear in Gibbs' long-time home, The New Yorker, but in a selection of other magazines. But the bulk did appear there, and many do survive the test of time quite well, including the title piece, which is a brutal satire of Timespeak, the odd lingo adopted by Time Magazine in the 1920s and 1930s. The introduction is also quite interesting, in that it describes just how troubled Gibbs' life was. A good selection of material. In fine New Yorker style, many of the pieces are written in a fashion where you can hear the whetstone sharpening the steel.

[tadad_1 · Rating: 4 out of 5 stars]

Perhaps one way to describe Wolcott Gibbs, other than as an author of short stories, is as a blogger. The Internet didn't exist—and I have this sneaking suspicion he would have been horrified by its content, if not its actual existence—but consider the essential nature of that role: discrete, usually short, pieces providing commentary or opinion upon themes of interest to the author. If we consider American Society as a theme, then thirty-plus years of contributing essays, articles and the delightful little micro-essays known as "The Talk of the Town" to The New Yorker seem to qualify him as a mid-twentieth century variety. Even his theater reviews were occasionally more social commentary than appraisals. Other writers for the magazine, such as E. B. White or James Thurber, are more well-known these days. One reason might be that so much of Gibbs' writing focused on the personalities and of events of his day, many of whom are no longer prominent in our social landscape. A man such as Thomas Dewey is a name from the history books rather than a presidential candidate we liked or disliked and, while Alexander Woolcott may have been one of the most quoted men of his generation, I think the general reader of today is likely to say, "Pardon me, but who?"Yet, despite that, there is a lot of enjoyment to be found in his writing. Gibbs has a wonderful facility with the English language and is by no means shy about using it. His love for Fire Island jumps out of the pages; his amused respect for Burgess Meredith will have you laughing; his disdain for certain other authors is unambiguous. His theater reviews epitomize his blunt style and, more than likely, account for many of the animosities directed his way: "Total imbecility is something rarely achieved, even on Broadway, but I think that 'Second Best Bed'…can modestly claim to have come very close to it."I find that Gibbs is best taken in small doses (which is why it took so long to read this Early Reviewer book). As he looks around America for what he likes (not much), his mocking tone can fatigue. It's perfect as a bedside book to dip into when something short is desired.

[sarahehwilson · Rating: 2 out of 5 stars]

I got this book through Early Reviewers, anticipating it would be as good as St. Clair McKelway's work--another New Yorker author whose book I got through Early Reviewers. After reading the enthused introductions, I was prepared for a great read. Well, Gibbs is certainly not a bad author, but after trying him in the various genres represented here, I just wasn't feeling it. He is gifted at light, glib, cutting commentary, but I didn't find much of substance, and there's so much glib commentary out there now with the advent of the blogosphere that I'm not much inclined to devote my time to the same thing from several decades back. Too bad.

[esta1923 · Rating: 5 out of 5 stars]

“Backward Ran Sentences ” edited & introduced by Thomas Vinciguerra is, its cover tells us, “The Best of Wollcott Gibbs from The New Yorker.”This collection (667 pages, including notes), was my December companion. Its title originated in a 1936 article making fun of Time magazine’s style. My subscription to the New Yorker began in 1946. I have not counted how many pieces were new to me, but I can say I had a splendid time reading this collection while recuperating from a fall.Although Gibbs called writing "a silly occupation for a grown man," his pieces appeared regularly from 1927-1958 (and, unknown to readers, he edited the works of many contributors).It was a good time to read “The Man and the Myth “ (297-300) and “To a Little Girl at Christmas ‘’ (287-289). As a longtime fan of Alexander Woollcott I was happy to find extensive details about his work (which included a radio show called “The Early Bookworm”). I did not know there once was a lady who brought 1500 cats to the SPCA in a day, but I am willing to bet that record stands.As 2012 begins it is a treat to read Gibbs’ response concerning “exact editorial requirements of The New Yorker” and perhaps speculate on his reaction to its current face and content.Obviously I appreciate having received this book, and value the Foreword and the Introduction. ***Now go to You Tube and see/hear editor Thomas Vinciguerra!

[abealy_1 · Rating: 5 out of 5 stars]

“Backward ran sentences until reeled the mind”Wolcott Gibbs was probably the greatest forgotten writer that ever helped keep the New Yorker of the 30’s and 40’s afloat. A prose stylist who loved words but believed more strongly, often in a very laconic way, about content, and would tell you exactly what he felt — the hell with what you felt. Gibbs covered everything, writing innumerable “Talk of the Town” and “Notes and Comments” paragraphs, brilliantly scathing Broadway deconstructions and movie reviews— most of which he opined were "so vulgar, witless, and dull that it is preposterous to write about them in any publication not intended to be read while chewing gum."The parody sections with bits on Saroyan, Luce, Hemingway and the eponymous Spinster, all written in the 30’s, would fit snuggly in McSweeney’s Internet Tendencies today. James Thurber wrote that “when Wolcott Gibbs set out to do ‘a job’ on a profile subject, he brought out a fine array of surgical instruments, a rapier and a pearl-handled blackjack.”Gibbs published more than a million words in the New Yorker and this marvelous collection from Bloomsbury, edited by Thomas Vinciguerra, is over 600 pages of timeless wit, wordplay and, in the words of editor Harold Ross, the “epitome of smart metropolitan journalism.”His famous profile of Henry Luce, publisher of Time, Fortune and Life magazines, done in a parody of Time magazine's journalism and Timestyle, their baffling stylebook, is still fun to read.“Where it all will end, knows God!”

[nelliemc · Rating: 4 out of 5 stars]

First, let me note this is a long book (653 pages). However, this is not a criticism, since it's an ideal book to consume in bits and pieces as the actual articles are short. And, further, there are seven sections that are easily isolated from each other -- mini books in the book. So length is not a problem. Especially since I think that it is quite easy to skip two of the seven sections entirely, leaving five quite enjoyable mini books to dip into. The first mini book is a collection of Gibbs' brief (anonymous) pieces from The New Yorker's regular columns: Note and Comment and The Talk of the Town. Long time readers of the New Yorker, as well as anyone who's read other collections from New Yorker authors (especially E.B. White who originated these columns and passed them to Gibbs) will enjoy this type of writing and recognize a friendly style. They're dated, yes, but still very well written and fun, and provide good insight into human nature. This critique is also applicable for the fourth section, Casuals, which have a similar subject -- observations on public culture in the mid 20th century, but were printed under Gibbs' name—and are similarly enjoyable especially for anyone who enjoys social history. The next section, Profiles, is also dated, but I found these mini biographies to be still very enjoyable. They are well-written and Vinciguerra (the editor) has chosen the pieces well. These bits are always about interesting people -- and in most cases, people whose names are still familiar, if no longer well known, and interesting as character studies. (Lucius Beebe, Alexander Woollcott, Thomas Dewey). However, the best piece, about the cat lady, deals with an unknown but fascinating person.The third section -- parodies -- can easily be skipped as not having stood the test of time. If you're not familiar with the subject being parodied, it's hard to appreciate the humor and I found these tedious. The one on Time Magazine (his parody of the Time/Life writing style contains the title for this collection) is the best of the lot, probably since Time Life is still around and familiar, but I still found it trying to read. It may be ironic that the funniest part of the entire book doesn't come in this section but rather in a theater review when he tells the story of how, when playing Puck as a child, he has to wear a costume covered with bells that his mother made. Also easily skipped is the fifth section, a collection of his short stories. Fiction wasn't Gibbs' forte and, unfortunately the cynical and critical style that provides amusement in his non-fiction writing merely comes out as sardonic and distasteful in his fiction. And the man does not seem to be capable of creating a character that you care about. Gibbs made his living largely as a theater critic and the collection of his reviews is fascinating. Again, I congratulate Vinciguerra who chose very well. Gibbs was at the first night of some of the monumental productions of the 20th century (Death of a Salesman, My Fair Lady, Cat on a Hat Tin Roof, West Side Story, Blithe Spirit, Ah, Wilderness, Oklahoma, etc. etc.) and I found his comments to be generally insightful and, even more enlightening about the development of cultural tastes when compared with how well some of these have stood the test of time. And his reviews of the dogs, while about plays we have been spared from seeing, are very witty and fun. This section is the strongest of the book. The books ends with a short collection of personal essays which provide a good coda to the personality of the man -- a personality we have certainly discovered when reading this collection. Gibbs was an excellent social and cultural observer and commentator and I'm glad to have met his acquaintance.