by Andi Benjamin
As a long-time fan of The New Yorker, I was very excited about the recent release of The World She Edited, by Amy Reading. The book is a deeply researched and beautifully written biography of the magazine’s storied editor, Katharine S. White. As I read through it, I learned that White was an indispensable asset to the magazine during her thirty-six-year tenure. She helped transform it from a barely nascent publication into a prestigious literary powerhouse. In the process, she became known as a giant in the publishing world and a trailblazer who left a profound and lasting impact on 20th-century US literature.
White’s early days
White was born in 1892 to Bess and Charles Sargeant in Winchester, Massachusetts. The youngest of three daughters, she enjoyed a happy childhood in a home where education was prized. But White’s world crumbled when her mother died of appendicitis in 1899. The family was devastated by this sudden tragedy. Shortly after, Charles’s sister – White’s Aunt Crullie – stepped in to support Charles and raise the girls. Crullie became a beloved maternal figure to White in Bess’s absence.
White graduated high school in 1910 and decided to attend Bryn Mawr College. She majored in English and philosophy and was extremely engaged in campus life. White served as class secretary, directed The Taming of the Shrew, and became staff editor of Tipyn O’Bob, Bryn Mawr’s literary magazine. It was there that she started to hone her editorial skills.
White graduated from Bryn Mawr in 1914. One year later, she married attorney Ernest Angell. The couple had two children, Nancy (1916–1996) and Roger (1920–2022). As a young mother, White worked at a theatre called the Cleveland Play House. But in the summer of 1925, her career took a turn when a neighbour suggested that she apply for a job at The New Yorker. At the time, the magazine was just six months old and barely able to stay afloat. White entered the offices and asked its founder and editor-in-chief, Harold Ross, for work. Ross was so impressed by White, he hired her on the spot as a part-time manuscript reader. Thus began her illustrious career in publishing and decades-long collaborative relationship with Ross.
As White was embarking on this new career, her marriage was falling apart. In 1929, after years of acrimony, she and Angell divorced. Several months later, White married the American writer E. B. (“Andy”) White. The couple became a powerful creative team. They had one child together named Joe and were married until White’s death in 1977.
White’s editorial prowess
As an editor, White was tenacious and meticulous. She also had brilliant editorial instincts. This was immediately clear to writers and colleagues. Eventually, she was promoted to fiction editor. In this role, she left an indelible mark on the publishing landscape and helped shape the course of US literature. She edited many prominent writers such as Vladimir Nabokov, John O’Hara, Mary McCarthy, John Cheever, John Updike, and Ogden Nash, carefully nurturing their talent and guiding their careers.
Reading’s book is a testament to White’s excellence. So much can be gleaned from her life’s work. Among her many notable qualities, two stood out to me: her obsession with accuracy and her ability to cultivate talent. These qualities, which I expound below, earned White her status as one of the most gifted and successful editors of the last century.
A commitment to accuracy
White had an exceptional grasp of the English language and a deep appreciation for its subtleties and nuances. She pored over manuscripts with painstaking attention to detail. Nothing escaped her scrutiny. This skill became apparent in White’s early days at The New Yorker, when she was tasked with critiquing previous issues. During that time, she was known for her scathing internal memos in which she highlighted errors that were especially egregious. Here’s one such memo, written to Ross (Reading 2024, 104):
In the issue of June 2nd, page 49, last paragraph, in Markey’s “Reporter at Large” piece, you will find this sentence:
“It is not unlikely that when this interest crystalizes a little further into action,” etc.
This is an absurd statement, for if there is one thing you cannot do, it is to crystalize anything into action. What Markey meant to say was galvanize into action, and the makeup room should have caught this point.
As this note reveals, White had little patience for sloppy, inaccurate, or ambiguous writing. She was relentless in her quest for perfection. In another comment, she questioned the presumed location of New York (Reading 2014, 110):
Where is New York? The New York Central time tables are in tenths of miles and the employees’ time tables are in hundredths of miles, or less than a car length. At exactly what point in Grand Central Station is this figured from – the ends of the platforms or what? There must be some point which is officially New York.
Through her commitment to precision and accuracy, White raised the magazine’s standards and grew her reputation as the consummate eagle-eyed editor.
An ability to cultivate talent
The New Yorker, especially in its early days, was geared toward a highly specific reader: young, educated, urbane, and sophisticated. The staff were all aware of the magazine’s intended audience. Ross insisted that the tone of the magazine match its readership, and White faithfully adhered to this strategy.
White’s role involved acquiring and editing stories, poems, and reminiscences. She enthusiastically accepted submissions that were consistent with the tone of the magazine. But she also never hesitated to reject those submissions that she deemed unsuitable.
Over time, White became known for the calibre of her editorial comments. Even when rejecting a piece, she provided thoughtful, constructive notes and encouraged writers to resubmit in the future. Upon receiving a critical letter from White, the poet Ogden Nash remarked: “I’ve never had such an excited and interested rejection.” When White had ideas for revisions, she generously expressed them to authors. The authors graciously accepted her suggestions.
One of the most prominent writers who benefited from White’s mentorship was Vladimir Nabokov. Nabokov began submitting poems to The New Yorker in 1941. White’s fellow editors, unable to see beyond Nabokov’s imperfect English, repeatedly dismissed his poems. But when White came across his work, she was instantly intrigued. She immediately reached out to him and convinced him to continue submitting under her guidance. Thus began a longstanding, productive, and, at times, rocky relationship between the two minds. White worked tirelessly to tweak and revise Nabokov’s essays to bring them in line with the tone of The New Yorker. She edited many of his most acclaimed short stories and even helped him secure book contracts. In 1951, Nabokov published a short story collection called Conclusive Evidence. Eleven of the fifteen essays in the book had been edited by White when they first appeared in The New Yorker. When the book was published, White wrote: “I feel almost as wrapped up in its success as if I had written it myself.” This sentiment showed the depth of her commitment to Nabokov in particular and to her authors in general.
Some final thoughts
Indeed, one of the central ingredients of White’s success was her loyalty to the authors she edited. Mary McCarthy, another one of White’s illustrious authors, noted that White was “distinctly on the author’s side.” White knew how to extract each writer’s unique potential, allowing them to achieve excellence. This skill, in addition to her obsessive attention to detail, distinguished White as a towering force in magazine editing and an influential figure in 20th-century literature.
The World She Edited was a fun, fascinating read. I recommend the book to anyone who’s interested in learning about White and her tremendous contributions. Fans of US literature will enjoy a behind-the-scenes peek into the processes of some of the greatest writers in the canon. But editors, I believe, will have an extra layer of appreciation for the book. There’s much insight to glean from White’s careful, committed approach to editing. Beyond her mastery of the craft, she broke down barriers and persevered in the profession she loved, despite significant trials and tribulations. She navigated her career with grace and confidence, earning her status as a true icon.
Andi Benjamin, MA, JD, is an editor and proofreader based in Toronto. She is the owner of AB Edits.
Vaani Sai (she/her) is the CEO of dosas and diamonds, where she offers content writing and editing services. She is also the founder of neurowrite, a creativity coaching platform that empowers writers to overcome creative resistance using neuroscience.
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