Read E.B. White's poignant explanation for writing Charlotte's Web

Robert T. Gonzalez

One of the greatest children's books ever written, E.B. White's Charlotte's Web is notable not just for its lovely prose but for its masterful handling of themes on death and dying. In a letter written to his editor a few weeks before the book's publication, White explains why a peculiar truth about farms makes them such appropriate spaces for exploring the concept of death, and how this moved him to write the book in the first place.

Above: One of Garth Williams' gorgeous original illustrations for Charlotte's Web

Writes White to his publisher, Ursula Nordstrom:

I have been asked to tell how I came to write "Charlotte's Web." Well, I like animals, and it would be odd if I failed to write about them. Animals are a weakness with me, and when I got a place in the country I was quite sure animals would appear, and they did.

A farm is a peculiar problem for a man who likes animals, because the fate of most livestock is that they are murdered by their benefactors. The creatures may live serenely but they end violently, and the odor of doom hangs about them always. I have kept several pigs, starting them in spring as weanlings and carrying trays to them all through summer and fall.

The relationship bothered me. Day by day I became better acquainted with my pig, and he with me, and the fact that the whole adventure pointed toward an eventual piece of double-dealing on my part lent an eerie quality to the thing. I do not like to betray a person or a creature, and I tend to agree with Mr. E.M. Forster that in these times the duty of a man, above all else, is to be reliable. It used to be clear to me, slopping a pig, that as far as the pig was concerned I could not be counted on, and this, as I say, troubled me. Anyway, the theme of "Charlotte's Web" is that a pig shall be saved, and I have an idea that somewhere deep inside me there was a wish to that effect.

White goes on to explain his decision to include spiders – and Charlotte, in particular – in the story with a rather moving tale. All in all it's a beautiful missive on the reasons writers write what they do, and concludes on a note we think most artists will identify with:

"I haven't told why I wrote the book, but I haven't told you why I sneeze, either. A book is a sneeze."

Read the full correspondence between White and his editor at Letters of Note:

A book is a sneeze

In September of 1952,  a few weeks before the publication of Charlotte's Web—the now-classic tale of a pig, Wilbur, who becomes friends with a heroic spider named Charlotte—its author, E. B. White, was asked to explain why he wrote the book by his editor at Harper & Row, Ursula Nordstrom. On the 29th of that month, White responded with the following typewritten letter and explanation, both of which have been kindly supplied to Letters of Note by HarperCollins.

Transcript follows.

Transcript

E. B. WHITE

NORTH BROOKLIN, MAINE 29 Sept


Dear Ursula:

Thanks for your dandy letter and for the book. If I ever get time I'm going to read the book. I think it looks very nice and I agree with you that the endpaper is too bright. But on the other hand, I'm not sure that anybody thinks about endpaper except publishers, and probably not more than 1800 people in the United States have ever heard the word "endpaper", and they are all Stevenson people.

Enclosed are some remarks that I hope will satisfy your Publicity Department.

Sorry to learn that Dr. Canby is revolted by spiders. Probably doesn't meet the right spiders. Did you know that Dr. Canby has a wife named "Lady"?


Yrs,

Andy

------------------


I have been asked to tell how I came to write "Charlotte's Web." Well, I like animals, and it would be odd if I failed to write about them. Animals are a weakness with me, and when I got a place in the country I was quite sure animals would appear, and they did.

A farm is a peculiar problem for a man who likes animals, because the fate of most livestock is that they are murdered by their benefactors. The creatures may live serenely but they end violently, and the odor of doom hangs about them always. I have kept several pigs, starting them in spring as weanlings and carrying trays to them all through summer and fall.

The relationship bothered me. Day by day I became better acquainted with my pig, and he with me, and the fact that the whole adventure pointed toward an eventual piece of double-dealing on my part lent an eerie quality to the thing. I do not like to betray a person or a creature, and I tend to agree with Mr. E.M. Forster that in these times the duty of a man, above all else, is to be reliable.

It used to be clear to me, slopping a pig, that as far as the pig was concerned I could not be counted on, and this, as I say, troubled me. Anyway, the theme of "Charlotte's Web" is that a pig shall be saved, and I have an idea that somewhere deep inside me there was a wish to that effect.

As for Charlotte herself, I had never paid much attention to spiders until a few years ago. Once you begin watching spiders, you haven't time for much else---the world is really loaded with them. I do not find them repulsive or revolting, any more than I find anything in nature repulsive or revolting, and I think it is too bad that children are often corrupted by their elders in this hate campaign. Spiders are skilful, amusing and useful. and only in rare instances has anybody ever come to grief because of a spider.


One cold October evening I was lucky enough to see Aranea Cavatica spin her egg sac and deposit her eggs. (I did not know her name at the time, but I admired her, and later Mr. Willis J. Gertsch of the American Museum of Natural History told me her name.)

When I saw that she was fixing to become a mother, I got a stepladder and an extension light and had an excellent view of the whole business. A few days later, when it was time to return to New York, not wishing to part with my spider, I took a razor blade, cut the sac adrift from the underside of the shed roof, put spider and sac in a candy box, and carried them to town. I tossed the box on my dresser.

Some weeks later I was surprised and pleased to find that Charlotte's daughters were emerging from the air holes in the cover of the box. They strung tiny lines from my comb to my brush, from my brush to my mirror, and from my mirror to my nail scissors. They were very busy and almost invisible, they were so small. We all lived together happily for a couple of weeks, and then somebody whose duty it was to dust my dresser balked, and I broke up the show.


At the present time, three of Charlotte's granddaughters are trapping at the foot of the stairs in my barn cellar, where the morning light, coming through the east window, illuminates their embroidery and makes it seem even more wonderful than it is.


I haven't told why I wrote the book, but I haven't told you why I sneeze, either. A book is a sneeze.


(Signed)