The first time most people fall for E.B. White – certainly the first time I did – they are 6 or 7 or 8. In 1952, “Charlotte’s Web” made him the New Yorker writer with the largest grade-school fan base.
I fell in love with “Charlotte’s Web” because, when White talked about grown-up mysteries like love and death, he was as honest as a punch to the jaw. Many years later, I fell in love with “Death of a Pig” because, covering the same subjects for adults, White was as straightforward as a pie to the face.
Here are the facts of the case: A gentleman farmer (and New Yorker staff writer) ventures out to his pig enclosure one September afternoon and discovers that the hog he has nurtured through spring and summer has lost its appetite, gone listless. An obstruction of the bowel is suspected. The farmer, his dachshund and a veterinarian preside over the pig’s decline, until it dies alone a few days later, sometime between supper and midnight. The pig receives a graveside autopsy and is buried under a wild apple tree. The farmer accepts his neighbor’s condolences (“the premature expiration of a pig is, I soon discovered, a departure which the community marks solemnly on its calendar, a sorrow in which it feels fully involved”) before taking up his pen and telling the story “in penitence and in grief, as a man who failed to raise his pig.”
due to the fact that the paintings portray a view of heroism and victory in terms of the atmosphere and feeling that it gives off one would assume that the outcome of this battles were a positive one, given the light ine which they are painted and portrayed with in.
