The Spider's Web — Text and Context

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Kauffman, Reginald Wright, 1877-1959, Paleologue, Jean de, 1855- [Illustrator] Project Gutenberg 2014
New York (N.Y.) -- Fiction; Lawyers -- Fiction; United States -- Social conditions -- 1865-1918 -- Fiction Readers of public-domain and historical texts
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Edition facts

Words: 91,227
Reading time: 397 min
Text sections: 14
An editorial note on Kauffman's 1913 novel, examining its authorial choices in diction, dialogue, and description through excerpts, with attention to the author's prefatory explanation of his method and the novel's political dialogue.
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Read the Text

s the last word that follows logically from an acceptance of "The House of Bondage."

About the manner of this last word I should, perhaps, say something more. I have not, I confess with shame, read M. Fabre’s book on the habits of the spider, but I have read other books and studied the spider in my own garden; and the more I learned of web and spider the more I realize how Huber would see their simulacra in our civilization and learn at last that there the web outlived many spiders. That is how I got my title, and that is why I have tried to construct my chapters with a certain rough resemblance to the female diadem-spider’s web. At the end, both the web and Huber win: the former because it catches its fly and goes on catching other and larger flies; the latter because his soul has found itself.

The method of procuring data requires a fuller explanation. The writer who endeavors to present actual conditions in fictional form has constantly to choose between truth and facts, and if his readers accept his facts, they are inclined to doubt his imagination. In all of these four books, I have been careful to present only types, but I have tried to endow each type with character, and each character has assumed a living personality in my own mind. I have used no person and no event that was isolated; but, having individualized my types and chosen my typical events, I have felt free to employ the latter in whatever way seemed to me best fitted to enforce my argument, and at liberty to imagine what the former would think and do under the stress of the latter. I have heard of a dozen women in real life designated as the originals of Mary Denbigh, three wives selected as Muriel Stainton, and one man—myself—named as Dan Barnes. The discoverers of these prototypes only flattered my powers of detection and portraiture at the expense of my imagination and good taste.

I intended to present, and I have presented, simply certain types produced by our civilization and working in the media of our economic system. I spent considerable time in New York last winter to procure certain data; I found the data, selected what was typical as I saw it, and made my story. "The Spider’s Web," whether well done or ill, has been done by my own imagination.

Help I have had and eagerly sought. An historian always cites his authorities and acknowledges his assistants; I could never see why a novelist should be less honest or less courteous, since every realist must delegate some of his research-work, and even the writer of that fiction farthest from life must take something from the fancy of his acquaintances. I know, and I shall not soon forget, how much "The House of Bondage" owes to the encouragement given my work by its publishers. During the latter part of the actual writing of "The Spider’s Web," it was impossible for either my wife or me to be in New York, and I taxed the generous patience of many a friend by inquiries. I exacted tribute from Max Eastman’s editorials in "The Masses," Walter Lippmann’s papers in "The Forum," and C. P. Connolly’s in "Everybody’s Magazine" as expressing three current phases of American opinion; I even seized a picture from Mary Macdonald Brown’s accounts of New York and secured from an editorial in "The Nation" my reference to the past of the Astor House. Molière took his own where he found it; I have taken other men’s at my need. To all of these my score is long; to those few and fine newspaper and magazine critics and reviewers who have seen my purpose and helped it—who, when they have differed or blamed, blamed or differed honestly—to them, from whom I have learned so much, my obligation is still greater.

No opinions that are worth while are unalterable; only the insincere have fixed convictions: my cycle of four books expresses an attitude toward life that I may some day very well change. This series completed, I am left with my conscience free and my brain at liberty to turn toward work that I may try to design only by the more lasting standards of Art, but no change of belief or work will make me regret having expressed what I believed. I am thoroughly aware of how, if they understood it, the condemners of "The Sentence of Silence" and "Running Sands" would condemn this book. I am equally aware of how many persons that are my comrades, friends, and well-wishers will alter their relations toward me when they have read "The Spider’s Web"; but, though I shall be sorry to lose these, I shall not be sorry for the reason of their loss. Horace Traubel, who puts most things well, has put this well:

"I have tried to stay in the house of comfort, to sleep in my bed of ease, But something not outside of me, something inside of me says: This will not do.... I have tried the easy way: it was hard: Now I will try the hard way: I guess it will be easier."

REGINALD WRIGHT KAUFFMAN.

POSCHIAVO, SWITZERLAND, 8th September, 1913.

the head of a group of men virtually controlling industrial, financial, and political America.

GEORGE J. HALLETT, one of his associates. L. BERGEN RIVINGTON, another.

THE GOVERNOR OF THE STATE OF NEW YORK. THE MAYOR OF NEW YORK CITY.

HON. G. W. HUBER, U. S. Congressman, from Doncaster County, Pennsylvania, HON. JESSE KINZER, his successor. SENATOR SCUDDER, the MAN'S lieutenant in the Albany legislature, HON. JARED SPARKS, his lieutenant in the Connecticut legislature. BRINLEY, commander of his lobby at Washington. KILGOUR, City Chamberlain of New York. TIM HENEY, Leader of Tammany Hall. SEELEY, an anti−Tammany Democratic leader. ELLISON, another. THE POLICE−COMMISSIONER OF NEW YORK CITY. GEORGE KAINDIAC, a U. S. Post−Office Inspector. VENABLE, ) leaders of the Municipal NELSON, ) Reform League. YEATES, ) JARVIE, a Municipal Reform League "worker."

BROUWER LEIGHTON, District−Attorney of New York. A Republican. LARRY O'MARA, a member of his staff, UHLER, another member of Leighton's staff.

EX−JUDGE MARCUS F. STEIN, of the firm of Stein, Falconridge, Falconridge & Perry, corporation−lawyers. IRWIN, a member of Stein's staff. ANSON QUIRK, an underworld lawyer. LUKE HUBER, a young lawyer.

ROBERT M. DOHAN, president of the M. & N. R. R. HENRY G. McKAY, his successor. B. FRANK OSSERMAN, president of the East County National Bank. WALLACE K. FORBES, head of the firm of R. H. Forbes & Son, manufacturers of ready−made clothing, ALEXANDER TITUS, financial−inquiry agent. JAMES T. ROLLINS, the MAN'S secretary. ATWOOD, his chief broker. SIMPSON, his almoner. CONOVER, one of his confidential clerks. HERBERT CROY, manager of the Ruysdael estate. WHITAKER, superintendent of the Forbes factory. THE DESK−CLERK, in the Arapahoe Apartment house. CHARLEY, a clerk in the M. R. L. offices, REV. PINKNEY NICHOLSON, rector of Church of St. Athanasius.

*Miscellaneous Persons*.

THE MAN'S NIECE. CORNELIUS RUYSDAEL, a wealthy New Yorker of good family. MRS. RUYSDAEL, his wife. TOMMY HALLETT, son of George J. JOHN JAY PORCELLIS, a young man of leisure. BETTY FORBES, daughter of Wallace K. Forbes. MRS. HUBER, mother of Luke and wife of G. W. Huber. JANE HUBER, her daughter. JAMES, the Forbes chauffeur. MISS WESTON, a telephone operator. BREIL, a strike−breaker. AN I.W.W. ORGANIZER.

HUGH DONOVAN, a police−lieutenant MITCHELL, ) ANDERSON, ) patrolmen. GUTH, )

CAPTAIN ANTONIO FACCIOLATI, of the New York N. G. TERRY, first−lieutenant under Facciolati. SCHMIDT, a sergeant.

*Citizens of the Underworld*.

A BUM. GACE, an assassin. A DISORDERLY WOMAN. A WOMAN−RIOTER. A DRUNKEN WOMAN. REDDY RAWN, leader of an East Side "gang." REDDY'S "GIRL." THE KID, one of his associates, CRAB ROTELLO. head of a rival gang. ZANTZINGER, a gunman. BUTCH DELLITT, another gunman.

Women of the street, the brothel, the world. Clothing−factory workers. A mob. Waiters in saloons. Clerks and foremen in the Forbes factory. Stenographers and typists. Gamblers. Other gangmen. Other policemen. Various minor Republican, Democratic, Reform, and Progressive politicians. Newspaper−reporters. Some newspaper−editors. A corps of strike−breakers. Scabs. Soldiers of the New York National Guard.

§1. Early that morning, Luke Huber stood before the Pennsylvania Railroad Station at Americus and fancied himself a latter-day crusader setting out to reconquer from the infidels the modern Holy City of God. He had graduated from the Harvard Law-School in the previous June. Now the Republican brother-in-law of one of his classmates, having been elected District-Attorney of corruptly Democratic New York, offered a place on his staff to Luke as soon as Huber should meet successfully the necessary formalities. This new public-prosecutor was to "clean up" the largest city in the country, and Luke, as his assistant, was to aid in restoring to the metropolis the ideals of the framers of the Constitution.

A slim young man, with a smooth face too rugged to be handsome, and gray eyes too keen to be always dreaming, Huber stood erect, the wide collar of his woolen overcoat turned up, for the spring lingered that year in the valleys of Virginia, and the brim of his Alpine hat pulled over his nose. He disregarded the group of boys waiting for the "up-train" that would bring the Philadelphia morning newspapers to his native Pennsylvania town, disregarded the grimy station-buildings, and looked toward the river, where the morning mists were lifting and the cold sunshine was creeping through to light the Susquehanna hills. He was one of those fortunate and few human beings who are born without the original sin of superstition, but what he saw seemed to him almost a favorable omen. He had come down early, because he disliked to prolong the good-bys of his mother and sister, and because he felt that even the walk to the station was an important advance in the quest which he was so eager to begin. When he arrived beside the railway tracks and allowed his father, the Congressman, to see to the checking of the baggage—a concession that Luke made to his parent’s desire for some part in the great adventure—the entire river was hidden from view by a thick dun curtain: one could see nothing beyond the point by the shore where the black arms of a derrick, at the Americus Sand Company’s works, were silhouetted against that curtain and stretched over a tremendous mound of sand, as if they were the arms of some gigantic skeleton pronouncing the benediction at a Black Mass. But now, though the fog really rose, it appeared to Luke to be torn from above, and as the sun mounted over distant Turkey Hill and gradually gilded the pines on the surrounding summits, it seemed to advance up the bed of the stream, slowly descending of its own force along the dark hillsides, until, all at once, the river was a rushing stream of gold. Luke found himself thinking of the veil of the Temple, and how it was rent in twain from the top to the bottom.

His father, who was taller than Luke, but broad out of all proportion to his height, came puffing back from the baggage-room. He held the checks for Luke’s luggage and a slip of pink paper.

"Here are your checks," he said, "and here’s your pass. I forgot to give it to you. It came last night."

Luke took the proffered paper.

"I thought," he began, "that the Interstate Commerce Commission didn’t——"

The Congressman interrupted with a deep chuckle.

"Oh, that’s all right," he said. "Don’t let your conscience worry you about that. This is for a continuous ride to a terminus of the road."

"I see," said Luke; but what he saw was that his father, whom he loved too much to hurt uselessly, had, out of kindness, strained a legal definition. His father, he reflected, was not a man to abuse privilege in large matters, and would be only hurt by a refusal in the present trivial affair. Luke put the pass in the cuff of his overcoat and silently decided to pay his fare to the conductor. The elder man, big as he was, stamped his feet on the concrete pavement and complained of the chill in the April air; the younger was too happy to notice the cold.

"Train’s five minutes late," remarked the Congressman as, through a cautiously unbuttoned overcoat, he drew and snapped open a heavy watch.

"Is your time correct?" asked Luke.

"Hasn’t varied three seconds a week in ten years," his father assured him.

Neither was thinking of what was being said. The younger man was so full of the high work ahead of him that he had already forgotten his mother’s ill-concealed tears at parting; the elder, granted political favors rather because of his personal popularity and pliant good-nature than for any ability at the game of vote-keeping, possessed at least the chief virtue of the politician: he was a man of few words, and the more truly he felt the less he spoke.

The "up-train" arrived (it was the "down-train" that Luke must take), and the Congressman was besieged by the newsboys, who knelt about him, striking their rolls of newspapers on the pavement the quicker to burst the wrappers in which the journals were closely confined.

"_Press_, Mr. Huber?"

"_North American_ or _Record_?"

The boys bobbed up, flourishing their wares.

"Aw, I know what he wants," said an older lad, elbowing the rest. "Here’s yer _Inquirer_, Mr. Congressman."

Luke’s father smiled: he had never outgrown his liking for homage from whatever quarter; but he bought a paper from each boy, giving each a five-cent piece and telling him to keep the change.

"You might as well take the lot," he said to Luke. "You’ll want something to read on the train." He was handing all the papers to Luke, when his eyes were caught by a large headline on the first page of one of them. "Hello!" he commented, his lips immediately pursing themselves as if to whistle. As Luke took its fellows, the Congressman folded this paper with the sudden skill of the confirmed newspaper-reader, who can handle a journal in the open air as neatly as a trained yachtsman can reef a top-sail before an undesirable wind. "I see the Big Man’s been giving some more testimony to that committee of the legislature up at Albany."

For the past few weeks, Luke had been too busy preparing for his bar-examinations to keep track of current events.

"Who’s the Big Man?" he asked.

The elder Huber raised his thick brows.

"You know," said he, and he mentioned the name of one of the richest men in America; not a man that had made his wealth even through the building of a great industry, but one that had, by "editing" money and combinations of money much in that manner in which a news-desk copy-reader edits the reporters’ "copy," made himself a member of the triumvirate—rumor said made the triumvirate and made himself its head—which had for years controlled alike the labor and capital of the country.

"What’s he been saying?" asked Luke.

"He’s been answering questions about campaign contributions."

"Well, no." The Congressman was reluctant. "It seems it was to the Republicans."

"Of course," he said, "I always knew those fellows had no real political convictions, and of course any party is bound to have some bad lots among its small fry, but I do wish our National Committee would kick out of the ranks the men that take money from such people."

The father did not like this. Luke had been a great deal away from him, first at boarding-school and then at college and the law-school, so that the two had not seen much of each other for many years; but since the younger had come home this last time, he had given frequent expression to sentiments of the present sort, and the Congressman, although he disliked argument as keenly as most Congressmen, felt that now it was his duty to protest.

"My boy," he said, "you won’t go far if you go about talking that way. This contribution went to the fund that elected your District-Attorney Leighton."

"I don’t believe it!"

"That’s the testimony."

"I don’t believe it. This man’s swearing to that so as to hurt the party in New York."

"This man?" Luke’s father repeated the phrase interrogatively. His usual taciturnity fell from him. "Why do you say that? How do you know it? Why should he want to hurt the party? As a matter of fact, what do you know about ’this man,’ anyhow? Nothing but a lot of unfounded gossip printed in papers that want him to come over to their side. Why shouldn’t he help our party? I do know something about him. I’ve never met him, but I know the whole story of his career—know it intimately—and I tell you that his is the greatest intellect in America to-day, and he has used his intellect, and the wealth it got him, to help—not only once, but again and again—to help and to save—yes, save, the party and the prosperity of the nation. I tell you——"

He did not tell any more. The down-train had been rumbling over the last span of the river-bridge when he began talking; and now it rolled before the station.

Luke took his suitcase in one hand and extended the other in farewell. Unexpectedly he felt a lump in his throat.

His father gripped the hand. His habitual inarticulateness redescended upon him. "You’ve—I know you’re all right, Luke. Don’t forget to write once a week: your mother worries."

They stood, hands clasped.

Close by, the "train-crier" was calling in a high, nasal voice:

"Train for Mountwille, Doncaster, Downington, Philadelphy, _and_ Noo York! First stop Mountwille!"

"Don’t make charges when you don’t know facts."

"Perhaps I have a weakness that way," Luke smiled.

His smile conjured another.

"That’s right; now you’re showing the proper spirit." With his free hand, the elder man patted the younger’s shoulder. "Stick to your books and stick to Leighton. Gratitude is the best virtue—and the rarest."

"Now, get aboard," concluded his counselor. "Got your pass?—and the checks?—I’ll be running over occasionally, I dare say.—And let me know if I can do anything for you."

Luke clambered into the smoking-car. He took a seat on the side near the station and waved his hand to his father as the engine began to snort. He paid his fare to the conductor, and, when Americus was well behind him, he opened the window, tore the pink pass into a dozen small pieces and let the clean April breeze carry them away.

At Doncaster he changed to the Pullman car that was there attached to the train; he again carefully chose his seat, this time selecting one on the side from which he could the better enjoy his first view of New York. He had always liked this view when it came to him on his returns to Boston after his vacations; it wakened in him the dreams of the day which should light him into the city, there to work for its salvation and the nation’s. His youthful dreams were still with him, and, since the moment when the sun had rent the Susquehanna mists, he was looking forward to that sight of the southernmost walls of New York towering like the ramparts of a mighty fortress above the crowded waters of the Jersey City ferry. Then, indeed, with the battle yet to be fought, he would feel as the crusaders must have felt at their first sight of Jerusalem.

But Luke’s train was late, and by the time that it reached the point from which the city should have been visible, the mists had again descended. They had deepened. All that Luke, with straining eyes, could see were a few spectral turrets, distorted and ugly in the thickened atmosphere, swaying overhead upon waves of yellow fog.

§2. Jack Porcellis, with his mother’s motor, met Luke. They were driven to the apartment-house in Thirty-ninth Street where, upon Jack’s advice, Huber had written to engage two small rooms and bath. It was Jack Porcellis (his real name was John Jay Porcellis) who had District-Attorney Leighton for a brother-in-law and had induced that official to give Luke a place on the staff of the public prosecutor.

Reginald Wright Kauffman opens The Spider's Web with an unusual prefatory explanation, warning that the first four chapters are deliberately dull to deter casual readers. He states his aim was not to produce a work of art but to create conviction of truth, choosing to marshal events in their largest force even at the risk of melodrama. This editorial note examines the authorial choices visible in the excerpts, focusing on diction, dialogue, and description.

A Deliberately Blunt Opening

Kauffman's preface is a striking piece of metafictional commentary. He writes that he wanted to avoid even the appearance of personal interest in his characters, lest readers charge him with sentimentality. This self-conscious distancing is evident in the novel's opening scene: Betty stands at a window in the full light of a street-lamp, a tableau that is described with minimal interiority. The narrator does not enter her thoughts but presents her as an observed figure. The preface also reveals that the novel is part of a projected cycle of four independent works, though Kauffman kept this plan private to avoid alienating readers. This structural ambition, combined with the blunt apology, suggests a writer more concerned with argument than with conventional narrative hooks.

Political Dialogue as a Weapon

The excerpts contain extended political dialogue that is notably direct and transactional. In a conversation between Leighton and Hallett, the language is stripped of politeness: Hallett asks, "Who else knows about 'em?" and later says, "I don't see what use you are to us, then." The dialogue moves quickly through bargaining, with each line advancing the plot of political maneuvering. Kauffman avoids ornate speech tags; characters simply "said" or "inquired." This spare style aligns with his stated goal of producing conviction rather than art. The dialogue also reveals a network of power: Hallett smokes a cigar, sprawls in a chair, and speaks with complete composure, while Leighton runs his fingers through his hair. These small physical details underscore the imbalance of power without explicit commentary.

Description of Urban and Political Spaces

Kauffman's descriptions of settings are functional and often tied to power dynamics. Hallett's office is described as "almost the counterpart" of another office where he consulted with his master and Rivington, suggesting a uniformity among the spaces of the powerful. The mob scene uses coal from a dismantled wagon, a detail that grounds the political unrest in material objects. The author's choice to describe the mob's action rather than its emotions keeps the focus on observable events. Similarly, the street-lamp in the opening scene provides full light, a detail that might be read as symbolic but is presented as a matter-of-fact stage direction. This descriptive restraint is consistent with Kauffman's avoidance of sentimentality; he lets objects and actions speak without authorial gloss.

The Author's Stated Method and Its Traces

Kauffman's preface is the most revealing document for understanding his authorial choices. He explicitly chose between what he considered art and what would convert readers to his way of thinking. This didactic impulse is visible in the excerpts: the political dialogue is not merely dramatic but instructional, laying bare the mechanics of corruption. The author also notes that he held his tongue about the cycle of novels to avoid alienating readers, a strategic decision that prioritizes persuasion over artistic announcement. In the excerpts, the narrator remains largely invisible, rarely offering judgments on characters' actions. This aligns with Kauffman's desire to avoid diverting readers into charges of sentimentality. The result is a novel that reads as a case study in political manipulation, with the author's hand hidden behind a curtain of apparent objectivity.

Readers approaching The Spider's Web should attend to the tension between Kauffman's prefatory claims and the novel's execution. The excerpts suggest a work that is both a political argument and a narrative experiment, with a style that deliberately subordinates aesthetic pleasure to persuasive force. The dialogue and description reward close attention to what is left unsaid as much as to what is spoken.

I kept thinking about how Kauffman’s prefatory note revealed so much—those deliberate word choices, the quiet weight of political talk between people. It reminded me of another book, The Judgment Books: A Story — Context and Discussion, where the editorial framing felt equally tender. Some stories stay less for plot, more for how they were shaped—like a letter held long after reading.

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