The Devil in the White City: Murder, Magic, and Madness at the Fair That Changed America
Erik Larson (2003, Vintage)
The World's Columbian Exposition of 1893, otherwise known as the Chicago World's Fair, was an undertaking of colossal scale, covering a square mile of lakeside with all manner of exotic attractions and novelties, and beautiful white buildings that rose from the mud in just a couple of years. Erik Larson's history of its conception and construction pulls together all kinds of things we now take for granted, from skyscrapers to Shredded Wheat. Larson also weaves in a contemporary true-crime story about a man whose architectural ambitions are considerably less exalted.
In 1890, Congress awarded Chicago the right to celebrate the four-hundredth anniversary of Columbus's voyage, which left only three years for a tremendous feat of planning and building. Chicago architect Daniel Hudson Burnham was an inspired choice to lead the effort. Not only was he a talented architect in his own right, he had the powers of leadership and persuasion he would need to pull together such other architectural lights as Charles McKim, Augustus St. Gaudens, and Frederick Law Olmstead.
The fair's construction faced "a legion of obstacles, any one of which could have–should have–killed it long before Opening Day." Maddening delays in choosing a site wiped out most of the first year; a worldwide financial panic and unexpected weather exacerbated the ordinary difficulties that come with any project, let alone one that proposes to entertain 700,000 people in a single day, as the fair did at its peak. 'Entertain' might be too strong a word for the fair itself: Burnham intended to awe visitors with the beauty and grandeur of the buildings, which were all painted white. Entertainment, as such, was more likely to be found at neighboring sideshows, such as Buffalo Bill's Wild West show, the belly dancers in the Egyptian village, and the world's largest Ferris wheel, at 264 feet high. (That it was also the world's first Ferris wheel makes that figure even more impressive.)
The 'Devil' in Larson's title was a con man turned murderer named H. H. Holmes, though he took other names any time it suited his purposes. A mile or so from the site of the fair, he built a large, dark building with offices and apartments over street-level storefronts. With its soundproof rooms and a coffin-shaped kiln, the setup was just right for making young women disappear, and disposing of their bodies. He did this sometimes for profit, selling the skeletons as medical specimens, and sometimes for convenience: he possessed a dangerous charisma that led him to make promises to the young women in his thrall. When he reached a stage where his victim started to expect him to follow through, off they went. Larson is scrupulous to give us only what is known to be fact, but some of the gaps tell their own story.
The Columbian Exposition lasted only six months, through the summer of 1893. The labor boom that had built it gave way to unemployment and homelessness in the following year, and arson took down many of the most magnificent structures. Like a magic kingdom, the White City was gone almost as quickly as it had come. It sounds like a fairy tale, in a way, but I trust Larson: it's all true.
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