American author (1899–1985)
Elwyn Brooks White (July 11, 1899 – October 1, 1985) was an American essayist, columnist, poet and editor. He is best known today for his work in a writers' guide, The Elements of Style, and for three children's books Charlotte's Web, Stuart Little and The Trumpet of the Swan generally regarded as classics.
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I am a member of a party of one, and I live in an age of fear. Nothing lately has unsettled my party and raised my fears so much as your editorial, on Thanksgiving Day, suggesting that employees should be required to state their beliefs in order to hold their jobs. The idea is inconsistent with our constitutional theory and has been stubbornly opposed by watchful men since the early days of the Republic.
Ideally, a book of letters should be published posthumously. The advantages are obvious: the editor enjoys a free hand, and the author enjoys a perfect hiding place — the grave, where he is impervious to embarrassments and beyond the reach of libel. I have failed to cooperate with this ideal arrangement. Through some typical bit of mismanagement, I am still alive, and the book has had to adjust to that awkward fact.
Before you can be an internationalist you have first to be a naturalist and feel the ground under you making a whole circle. It is easier for a man to be loyal to his club than to his planet; the bylaws are shorter, and he is personally acquainted with the other members. A club, moreover, or a nation, has a most attractive offer to make: it offers the right to be exclusive. There are not many of us who are physically constituted to resist this strange delight, this nourishing privilege. It is at the bottom of all fraternities, societies, orders. It is at the bottom of most trouble. The planet holds out no such inducement. The planet is everybody's. All it offers is the grass, the sky, the water, the ineluctable dream of peace and fruition.
I believe television is going to be the test of the modern world, and that in this new opportunity to see beyond the range of our vision we shall discover either a new and unbearable disturbance of the general peace or a saving radiance in the sky. We shall stand or fall by television — of that I am quite sure.
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The subtlest change in New York is something people don't speak much about but that is in everyone's mind. The city, for the first time in its long history, is destructible. A single flight of planes no bigger than a wedge of geese can quickly end this island fantasy, burn the towers, crumble the bridges, turn the underground passages into lethal chambers, cremate the millions. The intimation of mortality is part of New York now: in the sounds of jets overhead, in the black headlines of the latest edition.
All dwellers in cities must dwell with the stubborn fact of annihilation; in New York the fact is somewhat more concentrated because of the concentration of the city itself and because, of all targets, New York has a certain clear priority. In the mind of whatever perverted dreamer who might loose the lightning, New York must hold a steady, irresistible charm.