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Thunderstruck
Erik Larson, 2006
480 pp.

In Brief
A true story of love, murder, and the end of the world’s “great hush”

In Thunderstruck, Erik Larson tells the interwoven stories of two men—Hawley Crippen, a very unlikely murderer, and Guglielmo Marconi, the obsessive creator of a seemingly supernatural means of communication—whose lives intersect during one of the greatest criminal chases of all time.

Set in Edwardian London and on the stormy coasts of Cornwall, Cape Cod, and Nova Scotia, Thunderstruck evokes the dynamism of those years when great shipping companies competed to build the biggest, fastest ocean liners, scientific advances dazzled the public with visions of a world transformed, and the rich outdid one another with ostentatious displays of wealth. Against this background, Marconi races against incredible odds and relentless skepticism to perfect his invention: the wireless, a prime catalyst for the emergence of the world we know today. Meanwhile, Crippen, “the kindest of men,” nearly commits the perfect crime.

With his superb narrative skills, Erik Larson guides these parallel narratives toward a relentlessly suspenseful meeting on the waters of the North Atlantic. Along the way, he tells of a sad and tragic love affair that was described on the front pages of newspapers around the world, a chief inspector who found himself strangely sympathetic to the killer and his lover, and a driven and compelling inventor who transformed the way we communicate. Thunderstruck presents a vibrant portrait of an era of séances, science, and fog, inhabited by inventors, magicians, and Scotland Yard detectives, all presided over by the amiable andfun-loving Edward VII as the world slid inevitably toward the first great war of the twentieth century. Gripping from the first page, and rich with fascinating detail about the time, the people, and the new inventions that connect and divide us, Thunderstruck is splendid narrative history from a master of the form (From the publishers.)

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About the Author

• Birth—January 1, 1954
• Where—Brooklyn, New York, USA
• Education—B.A., University of Pennsylvania; M.S.,
  Columbia University
• Awards—Edgar Award for Best Fact Crime, 2004
• Currently—lives in Seattle, Washington


Erik Larson lives in Seattle with his wife, three daughters, a Chinese fighting fish, a dwarf hamster, and a golden retriever named Molly.

Often times, truth is indeed stranger than fiction. Take the 1893 World's Fair in Chicago, Illinois. The fair was the groundbreaking birthplace of such things as neon lights and the Ferris Wheel; a wonderland of futuristic technology and architecture. It was also the playground of a demented murderer who set up his very own chamber of torture within striking distance of the fair. This bizarre dichotomy of creation and destruction is what enticed Erik Larson to tell the twisted tale of the 1893 World's Fair in his fascinating fourth book Devil in the White City: Murder, Magic, and Madness at the Fair That Changed America.

Journalist Larson's work displays a fascination with the ways various forms of violence affect every day life. His second book Lethal Passage: The Story of a Gun is an exploration of gun culture throughout American history, using a horrendous incident involving a machine-gun toting 16-year old as its uniting thread. His next book, the griping, critically acclaimed Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History, detailed one of the worst natural disasters in American history, a hurricane that hit Galveston Texas in 1900 leaving between 6,000 and 10,000 people dead. However, when Larson first encountered the story of Dr. Henry H. Holmes, he was reluctant to use it as the basis for one of his books. "I started doing some research, and I came across the serial killer in this book, Dr. H. H. Holmes," he told Powell's.com. "I immediately dismissed him because he was so over-the-top bad, so luridly outrageous. I didn't want to do it. I didn't want to do a slasher book. It crossed the line into murder-porn. So I kept looking, and I became interested in a different murder that actually had a hurricane connection, where I of course got distracted by the hurricane and wrote Isaac's Storm."

When Larson completed Isaac's Storm and began researching ideas for his next book, he began reading about the 1853 World's Fair. Hooked by the numerous colorful characters and amazing occurrences surrounding the fair, Larson decided he would use it as the subject for his fourth book. Still, he had little interest in telling a straight chronological play-by-play of the fair's creation. So, he resolved to revisit the subject that had so repulsed him prior to writing Isaac's Storm.

Dr. Henry H. Holmes was a heinous modern monster. Just west of the fair, he built the mockingly named "World's Fair Hotel" where he would torture his victims by any number of means. The grotesque hotel was equipped with its very own gas chamber, dissection table, and crematorium. As abhorrent as Holmes was, Larson could not resist the jarring juxtaposition of this remorseless killer and the fair.

The resulting book Devil in the White City is both a richly detailed history and a chilling yarn as unbelievable and spellbinding as any work of fiction. The book was both a finalist for the National Book Award and a Number 1 New York Times bestseller. It was garnered nearly universal raves from The New York Times, Publisher's Weekly, Esquire, The Chicago Sun Times, and The San Francisco Chronicle, among many, many others.

Perhaps the most awe-inspiring aspect of Devil in the White City is the fact that the book is an accurate history that also manages to be a riveting page-turner. As Larson says, "I write to be read. I'm quite direct about that. I'm not writing to thrill colleagues or to impress the professors at the University of Iowa; that's not my goal." Larson's goal was to render a fascinating story, and he succeeded admirably with Devil in the White City.

Extras
As entertaining as Larson's historical works are, he currently has little interest in expanding into fiction. "The research [involved in nonfiction] appeals to me," he told Powell's.com. "I love looking for pieces of things in far-flung archives -- but the beauty is that the complexity of the characters is there. You don't have to make it up."

As thoroughly detailed and well-researched as Larson's books are, it is hard to believe that he does not employ an assistant. Every detail in his books was gleaned by the author, himself. (From Barnes & Noble.)

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Critics Say. . .
Erik Larson has done it again. In Thunderstruck, just as in his last book, The Devil in the White City, he has taken an unlikely historical subject and spun it into gold. The formula is simple enough, though the finished books verge on alchemy. The only question is whether we’re getting true magic or mere sleight of hand.
Kevin Baker - New York Times



Larson's gift for rendering an historical era with vibrant tactility and filling it with surprising personalities makes Thunderstruck an irresistible tale. Of London, he writes, "There was fog . . . that left the streets so dark and sinister that children of the poor hired themselves out as torchbearers . . . the light formed around the walkers a shifting wall of gauze, through which other pedestrians appeared with the suddenness of ghosts." He beautifully captures the awe that greeted early wireless transmissions on shipboard: "First-time passengers often seemed mesmerized by the blue spark fired with each touch of the key and the crack of miniature thunder that followed." Larson can be forgiven his obsessions as he restores life to this fascinating, long-lost world.
Lauren Belfer - Washington Post



In this splendid, beautifully written followup to his blockbuster thriller, Devil in the White City, Erik Larson again unites the dual stories of two disparate men, one a genius and the other a killer. The genius is Guglielmo Marconi, inventor of wireless communication. The murderer is the notorious Englishman Dr. H.H. Crippen. Scientists had dreamed for centuries of capturing the power of lightning and sending electrical currents through the ether. Yes, the great cable strung across the floor of the Atlantic Ocean could send messages thousands of miles, but the holy grail was a device that could send wireless messages anywhere in the world. Late in the 19th century, Europe's most brilliant theoretical scientists raced to unlock the secret of wireless communication. Guglielmo Marconi, impatient, brash, relentless and in his early 20s, achieved the astonishing breakthrough in September 1895. His English detractors were incredulous. He was a foreigner and, even worse, an Italian! Marconi himself admitted that he was not a great scientist or theorist. Instead, he exemplified the Edisonian model of tedious, endless trial and error. Despite Marconi's achievements, it took a sensational murder to bring unprecedented worldwide attention to his invention. Dr. Hawley Harvey Crippen, a proper, unattractive little man with bulging, bespectacled eyes, possessed an impassioned, love-starved heart. An alchemist and peddler of preposterous patent medicines, he killed his wife, a woman Larson portrays lavishly as a gold-digging, selfish, stage-struck, flirtatious, inattentive, unfaithful clotheshorse. The hapless Crippen endured it all until he found the sympathetic Other Woman and true love. The "North London Cellar Murder" so captured the popular imagination in 1910 that people wrote plays and composed sheet music about it. It wasn't just what Crippen did, but how. How did he obtain the poison crystals, skin her and dispose of all those bones so neatly? The manhunt climaxed with a fantastic sea chase from Europe to Canada, not just by a pursuing vessel but also by invisible waves racing lightning-fast above the ocean. It seemed that all the world knew-except for the doctor and his lover, the prey of dozens of frenetic Marconi wireless transmissions. In addition to writing stylish portraits of all of his main characters, Larson populates his narrative with an irresistible supporting cast. He remains a master of the fact-filled vignette and humorous aside that propel the story forward. Thunderstruck triumphantly resurrects the spirit of another age, when one man's public genius linked the world, while another's private turmoil made him a symbol of the end of "the great hush" and the first victim of a new era when instant communication, now inescapable, conquered the world. 14-city tour. (Oct.) James L. Swanson's most recent book, Manhunt: The 12-Day Chase for Lincoln's Killer, was published by Morrow in February. Copyright 2006 Reed Business Information.
Publishers Weekly



Two stories unexpectedly intersect in the Atlantic Ocean in Larson's true crime tale. Physician Hawley Crippen is skilled in the use of homeopathic medicines. When his practice fades, he joins a firm to sell patent medicine. He marries Belle, who dreams of becoming an opera singer and will do anything to achieve fame. Crippen eventually falls for another woman and decides to kill Belle. At the same time, Guglielmo Marconi, born to a successful family in Italy, becomes focused on creating a way to send wireless transmissions across the ocean. He finds success with his transatlantic wireless while fighting off competitors and detractors who said that he stole his ideas. These two tales connect when Marconi's invention is used to catch the fleeing couple. Bob Balaban's neutral voice neither adds nor detracts from the story, but listeners might wish that he had used some emotion on occasion. Libraries where Larson has a following should purchase this title.
Danna Bell-Russel - Library Journal



A murder that transfixed the world and the invention that made possible the chase for its perpetrator combine in this fitfully thrilling real-life mystery. Using the same formula that propelled Devil in the White City (2003), Larson pairs the story of a groundbreaking advance with a pulpy murder drama to limn the sociological particulars of its pre-WWI setting. While White City featured the Chicago World's Fair and America's first serial killer, this combines the fascinating case of Dr. Hawley Crippen with the much less gripping tale of Guglielmo Marconi's invention of radio. (Larson draws out the twin narratives for a long while before showing how they intersect.) Undeniably brilliant, Marconi came to fame at a young age, during a time when scientific discoveries held mass appeal and were demonstrated before awed crowds with circus-like theatricality. Marconi's radio sets, with their accompanying explosions of light and noise, were tailor-made for such showcases. By the early-20th century, however, the Italian was fighting with rival wireless companies to maintain his competitive edge. The event that would bring his invention back into the limelight was the first great crime story of the century. A mild-mannered doctor from Michigan who had married a tempestuously demanding actress and moved to London, Crippen became the eye of a media storm in 1910 when, after his wife's "disappearance" (he had buried her body in the basement), he set off with a younger woman on an ocean-liner bound for America. The ship's captain, who soon discerned the couple's identity, updated Scotland Yard (and the world) on the ship's progress-by wireless. The chase that ends this story makes up for some tediousearly stretches regarding Marconi's business struggles. At times slow-going, but the riveting period detail and dramatic flair eventually render this tale an animated history lesson.
Kirkus Reviews

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Book Club Discussion Questions

1. In his note to the reader, Larson quotes P. D. James: "Murder, the unique crime, is a paradigm of its age." How is the murder in Thunderstruck a paradigm of its time? Can you think of a notorious murder in our own era that is an equivalent?

2. The murderer Hawley Harvey Crippen and the inventor Guglielmo Marconi came from similarly prosperous backgrounds, and yet their lives took quite opposite turns. Compare the two men as characters-in what ways are they similar, and in what ways are they different? Who would you most like to have met, and why?

3. Now compare the two men to their respective spouses-is Marconi at all like Beatrice? What about Crippen and Belle?

4. Larson mentions Marconi's "social blindness" throughout the book, considering it a defining trait. How did it affect Marconi's success or failure? What wasCrippen's defining trait?

5. In specific terms, Crippen and Marconi were not linked-they never interacted with each other-and yet in Larson's hands their stories fit together naturally. Why do you think that is? In what ways do the two men's lives play off each other? How do you imagine they would have gotten along, had they actually met?

6. Marconi and Crippen were both foreigners in England, and yet they received very different treatment from the moment of their respective arrivals. Why? How is this reminiscent of the ways foreigners are treated in this country today?

7. Around the turn of the twentieth century, the supernatural, medical sleight-of-hand, and science were often treated in similar fashion-consider Lodge's "scientific" studies of the paranormal, Crippen's involvement in patent medicine, and the public's mistrust of Marconi's wireless technology. What parallels, if any, do you see to the way we treat emerging technologies now?

8. Isolation was a very real thing in those days, without the benefits of modern communication methods. How did Marconi's invention change the world? Ultimately, do you think it was a change for the better, or are there benefits to the old ways?

9. Throughout the book, there are countless instances of betrayal: Marconi betrays Preece and vice versa, Belle betrays Crippen, Fleming betrays Lodge. Discuss the idea of betrayal and the specifics of it in Thunderstruck. In your opinion, whose betrayal is the most damaging?

10. Secrecy was vital to both Marconi and Crippen, but for very different reasons. Discuss the nature of their secrets, the motivations for them, and the ultimate effects.

11. Much of Marconi's success was apparently based on gut instinct and simple trial and error, rather than any understanding of the science that lay beneath his discoveries. How would his methods be received now?

12. On page 69, Larson says that Marconi "was an entrepreneur of a kind that only would become familiar to the world a century or so later, with the advent of the so-called 'start-up' company." What did he mean by this? Do Marconi's practices remind you of any specific business leaders today?

13. Each man had two major romantic relationships in the book. Which, if any, was the healthiest? Which woman did you like best, and why?

14. Crippen is willing to subsidize Belle's lifestyle and even her relationship with another man, only to murder her years later. Why do you think he behaves this way? Why didn't he just cut her off financially? What finally drove him to murder?

15. Throughout the book, Larson foreshadows events that will come to pass in later pages. What purpose does this serve? How did you respond?

16. Crippen's method for disposing of Belle's body was quite gruesome. Larson quotes Raymond Chandler on page 377: "I cannot see why a man who would go to the enormous labor of deboning and de-sexing and de-heading an entire corpse would not take the rather slight extra labor of disposing of the flesh in the same way, rather than bury it at all." Why do you think Crippen did it in that particular way? What does this say about him?

17. Do you believe that Ethel had no idea what had happened to Belle? Why, or why not?

18. The realities of an international manhunt were very different in the early twentieth century than they are today-as Larson says on page 341, "Wireless had made the sea less safe for criminals on the run." Why has it changed so, and in what ways? Is it possible to hide in our world?

19. Discuss the media circus surrounding Dew's chase of Crippen. Was this the beginning of a new era in journalism? What parallels do you see to many celebrities' current war with the paparazzi? Compare the pursuit of Crippen to the O. J. Simpson chase.

20. If it weren't for Marconi's invention, do you think Crippen would have been caught? How might it have played out otherwise?

21. On page 379, Larson says, "The Crippen saga did more to accelerate the acceptance of wireless as a practical tool than anything the Marconi company previously had attempted." Why do you think that is? What might have happened to wireless technology if not for Crippen?

22. At the very end of the book, Larson writes that Ethel was asked if she would still marry Crippen even after learning all that he had done. What do you think her answer was?

23. Why do you think Larson gave this book the title Thunderstruck? How does the term apply to Marconi and Crippen?