Devil in the White City (Larson)

The Devil in the White City
Erik Larson, 2003
Random House
464pp.
ISBN-13: 9780375725609

Summary
Two men, each handsome and unusually adept at his chosen work, embodied an element of the great dynamic that characterized America's rush toward the twentieth century. The architect was Daniel Hudson Burnham, the fair's brilliant director of works and the builder of many of the country's most important structures, including the Flatiron Building in New York and Union Station in Washington, D.C.

The murderer was Henry H. Holmes, a young doctor who, in a malign parody of the White City, built his "World's Fair Hotel" just west of the fairgrounds—a torture palace complete with dissection table, gas chamber, and 3,000-degree crematorium.

Burnham overcame tremendous obstacles and tragedies as he organized the talents of Frederick Law Olmsted, Charles McKim, Louis Sullivan, and others to transform swampy Jackson Park into the White City, while Holmes used the attraction of the great fair and his own satanic charms to lure scores of young women to their deaths. What makes the story all the more chilling is that Holmes really lived, walking the grounds of that dream city by the lake."

The Devil in the White City draws the reader into a time of magic and majesty, made all the more appealing by a supporting cast of real-life characters, including Buffalo Bill, Theodore Dreiser, Susan B. Anthony, Thomas Edison, Archduke Francis Ferdinand, and others. In this book the smoke, romance, and mystery of the Gilded Age come alive as never before. (From the publisher.)

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Author Bio
• Birth—January 3, 1954
• Where—Brooklyn, New York, USA
• Raised—Freeport (Long Island), New York
• Education—B.A., University of Pennsylvania; M.S., Columbia University
• Awards—Edgar Award for Best Fact Crime, 2004
• Currently—lives in New York City and Seattle, Washington

Erik Larson is an American journalist and nonfiction author. Although he has written several books, he is particularly well-know for three: The Devil in the White City (2003), a history of the 1893 World's Columbian Exposition and serial killer H. H. Holmes, In the Garden of Beasts: Love, Terror, and An American Family in Hitler's Berlin (2011), a portrayal of William E. Dodd, the first American ambassador to Nazi Germany, and his daughter Martha, and Dead Wake: The Last Crossing of the Lusitania (2015).

Early life
Born in Brooklyn, Larson grew up in Freeport, Long Island, New York. He studied Russian history at the University of Pennsylvania and graduated summa cum laude in 1976. After a year off, he attended the Columbia University Graduate School of Journalism, graduating in 1978.

Journalism
Larson's first newspaper job was with the Bucks County Courier Times in Levittown, Pennsylvania, where he wrote about murder, witches, environmental poisons, and other "equally pleasant" things. He later became a features writer for the Wall Street Journal and Time magazine, where he is still a contributing writer. His magazine stories have appeared in The New Yorker, Atlantic Monthly, Harper's, and other publications.

Books
Larson has also written a number of books, beginning with The Naked Consumer: How Our Private Lives Become Public Commodities (1992), followed by Lethal Passage: The Story of a Gun (1995). Larson's next books were Isaac's Storm (1999), about the experiences of Isaac Cline during the Galveston Hurricane of 1900, and The Devil in the White City (2003), about the 1893 World's Columbian Exposition in Chicago and a series of murders by H. H. Holmes that were committed in the city around the time of the Fair.

The Devil in the White City won the 2004 Edgar Award in the Best Fact Crime category. Next, Larson published Thunderstruck (2006), which intersperses the story of Hawley Harvey Crippen with that of Guglielmo Marconi and the invention of radio. His next book, In the Garden of Beasts (2011), concerns William E. Dodd, the first American ambassador to Nazi Germany and his daughter. Dead Wake, published in 2015, is an account of the sinking of the Lusitania, which led to America's intervention in World War I.

Teaching and public speaking
Larson has taught non-fiction writing at San Francisco State University, the Johns Hopkins Writing Seminars, and the University of Oregon, and he has spoken to audiences from coast to coast.

Personal
Larson and his wife have three daughters. They reside in New York City, but maintain a home in Seattle, Washington.  (From Wikipedia. Retrieved 2/17/2015.)

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Book Reviews 
(Audio version) This is a steady performance of a book that, while gripping in its content and crisply paced, isn't quite a gold mine for an audio performer. It relies on journalistic narration and includes almost no quotes, so there isn't much chance for interesting characterization. But it is excellent nonfiction, chronicling the hurly-burly planning and construction of the 1893 Chicago World's Fair (which did, as the title suggests, include building what amounted to an entire city) and a cruelly calculating sociopath who used the event's tumult and crowds to serve his homicidal compulsion. Goldwyn is an experienced narrator with a keen dramatic sense, and his resonant voice is well-suited to the project. Music is used only sparingly, but the few subdued, creepy bars Goldwyn reads over in the beginning do an excellent job of creating atmosphere for a tale that is subtle but often genuinely unsettling. Listeners will also be fascinated by descriptions of the sheer logistics of the fair itself, which serve as not only carefully crafted and informative history, but also as welcome breaks from the macabre and relentless contrivances of the killer. In all, it's a polished presentation of an intriguing book that outlines the heights of human imagination and perseverance against the depths of our depravity.
Publishers Weekly

Before the turn of the 20th century, a city emerged seemingly out of the ash of then dangerous Chicago, a dirty, grimy, teeming place ravaged by urban problems. Daniel Burnham, the main innovator of the White City of the 1892 World's Fair, made certain that it became the antithesis of its parent city, born to glow and gleam with all that the new century would soon offer. While the great city of the future was hastily being planned and built, the specially equipped apartment building of one Herman Webster Mudgett was also being constructed. Living in a nearby suburb and walking among the hundreds of thousands of visitors who would eventually attend the fair, Mudgett, a doctor by profession more commonly known as H.H. Holmes, was really an early serial killer who preyed on the young female fair goers pouring into Chicago. Using the fair as a means of attracting guests to a sparsely furnished "castle" where they ultimately met their end, Holmes committed murder, fraud, and numerous other crimes seemingly without detection until his arrest in 1894. Both intimate and engrossing, Larson's (Isaac's Storm) elegant historical account unfolds with the painstaking calm of a Holmes murder. Although both subjects have been treated before, paralleling them here is unique. Highly recommended. —Rachel Collins
Library Journal

A vivid account of the tragedies and triumphs of the 1893 World’s Columbian Exposition in Chicago and the concurrent depravities of America’s first serial killer. In roughly alternating chapters, former Wall Street Journal reporter Larson (Isaac’s Storm, 1999, etc.) tells the stories of Daniel H. Burnham, chief planner and architect of exposition, and Dr. Henry Howard Holmes, whose rambling World’s Fair Hotel, just a short streetcar ride away, housed windowless rooms, a gas chamber, secret chutes, and a basement crematory. The contrast in these accomplishments of determined human endeavor could not be more stark--or chilling. Burnham assembled what a contemporary called "the greatest meeting of artists since the 15th century" to turn the wasteland of Chicago’s swampy Jackson Park into the ephemeral White City, which enthralled nearly 28 million visitors in a single summer. Overcoming gargantuan obstacles--politically entangled delays, labor unrest, an economic panic, and a fierce Chicago winter--to say nothing of the architectural challenges, Burnham and his colleagues, including Frederick Law Olmsted, produced their marvel in just over two years. The fair was a city unto itself, the first to make wide-scale use of alternating current to illuminate its 200,000 incandescent bulbs. Spectacular engineering feats included Ferris’s gigantic wheel, intended to "out-Eiffel Eiffel," and, ominously, the latest example of Krupp’s artillery, "breathing of blood and carnage." Dr. Holmes, a frequent visitor to the fair, was a consummate swindler and lady-killer who secured his victims’ trust through "courteous, audacious rascality." Most were comely young women, and estimates of their total ranged from the nine whose bodies (or parts thereof) were recovered to nearly 200. Larson does a superb job outlining this "ineluctable conflict between good and evil, daylight and darkness" Gripping drama, captured with a reporter’s nose for a good story and a novelist’s flair for telling it.
Kirkus Reviews

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Discussion Questions 
1. In the note "Evils Imminent," Erik Larson writes "Beneath the gore and smoke and loam, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow" [xi]. What does the book reveal about "the ineluctable conflict between good and evil"? What is the essential difference between men like Daniel Burnham and Henry H. Holmes? Are they alike in any way?

2. At the end of The Devil in the White City, in Notes and Sources, Larson writes "The thing that entranced me about Chicago in the Gilded Age was the city's willingness to take on the impossible in the name of civic honor, a concept so removed from the modern psyche that two wise readers of early drafts of this book wondered why Chicago was so avid to win the world's fair in the first place" [p. 393]. What motives, in addition to "civic honor," drove Chicago to build the Fair? In what ways might the desire to "out-Eiffel Eiffel" and to show New York that Chicago was more than a meat-packing backwater be seen as problematic?

3. The White City is repeatedly referred to as a dream. The young poet Edgar Lee Masters called the Court of Honor "an inexhaustible dream of beauty" [p. 252]; Dora Root wrote "I think I should never willingly cease driftingin that dreamland" [p. 253]; Theodore Dreiser said he had been swept "into a dream from which I did not recover for months" [p. 306]; and columnist Teresa Dean found it "cruel . . . to let us dream and drift through heaven for six months, and then to take it out of our lives" [p. 335]. What accounts for the dreamlike quality of the White City? What are the positive and negative aspects of this dream?

4. In what ways does the Chicago World's Fair of 1893 change America? What lasting inventions and ideas did it introduce into American culture? What important figures were critically influenced by the Fair?

5. At the end of the book, Larson suggests that "Exactly what motivated Holmes may never be known" [p. 395]. What possible motives are exposed in The Devil in the White City? Why is it important to try to understand the motives of a person like Holmes?

6. After the Fair ended, Ray Stannard Baker noted "What a human downfall after the magnificence and prodigality of the World's Fair which has so recently closed its doors! Heights of splendor, pride, exaltation in one month: depths of wretchedness, suffering, hunger, cold, in the next" [p. 334]. What is the relationship between the opulence and grandeur of the Fair and the poverty and degradation that surrounded it? In what ways does the Fair bring into focus the extreme contrasts of the Gilded Age? What narrative techniques does Larson use to create suspense in the book? How does he end sections and chapters of the book in a manner that makes' the reader anxious to find out what happens next?

7. Larson writes, "The juxtaposition of pride and unfathomed evil struck me as offering powerful insights into the nature of men and their ambitions" [p. 393]. What such insights does the book offer? What more recent stories of pride, ambition, and evil parallel those described in The Devil in the White City?

8. What does The Devil in the White City add to our knowledge about Frederick Law Olmsted and Daniel Burnham? What are the most admirable traits of these two men? What are their most important aesthetic principles?

9. In his speech before his wheel took on its first passengers, George Ferris "happily assured the audience that the man condemned for having 'wheels in his head' had gotten them out of his head and into the heart of the Midway Plaisance" [p. 279]. In what way is the entire Fair an example of the power of human ingenuity, of the ability to realize the dreams of imagination?

10. How was Holmes able to exert such power over his victims? What weaknesses did he prey upon? Why wasn't he caught earlier? In what ways does his story "illustrate the end of the century" [p. 370] as the Chicago Times-Herald wrote?

11. What satisfaction can be derived from a nonfiction book like The Devil in the White City that cannot be found in novels? In what ways is the book like a novel?

12. In describing the collapse of the roof of Manufacturers and Liberal Arts Building, Larson writes "In a great blur of snow and silvery glass the building's roof—that marvel of late nineteenth-century hubris, enclosing the greatest volume of unobstructed space in history—collapsed to the floor below" [p. 196–97]. Was the entire Fair, in its extravagant size and cost, an exhibition of arrogance? Do such creative acts automatically engender a darker, destructive parallel? Can Holmes be seen as the natural darker side of the Fair's glory?

13. What is the total picture of late nineteenth-century America that emerges from The Devil in the White City? How is that time both like and unlike contemporary America? What are the most significant differences? In what ways does that time mirror the present?
(Questions issued by publisher.)

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