Varieties of crazy men
Oct. 3rd, 2025 11:50 amHaving exhausted the Eric Jay Dolin titles, the last third of my Year of Erics is going to involve reading four more Erik Larson books. I really enjoyed In the Garden of Beasts and Dead Wake, so I picked out the four most interesting-looking of his other books and put library holds on them. I started, of course, with his most well-known, The Devil in the White City: Murder, Magic, and Madness at the Fair that Changed America.
I would not say that I disliked this book–I had a perfectly fine time reading it, and got through it in a couple of days–but I am definitely surprised that this is his best-known one. It is not cohesive, and I say this as someone who apparently has a higher patience than many other readers in my life for nonfiction books that do some degree of jumping around when they are trying to follow up on multiple threads. But it definitely reads like it’s trying to be two books at once: one being a popular history book about the 1983 Chicago World’s Fair, with an intended audience of people who are interested in American history, and one lurid True Crime novel about a serial killer, with an audience of people who want to read salacious murder reenactments.
These two stories overlap but do not quite come together, which is further highlighted by the story about a murderer whose asides actually do come firmly together with the story of the World’s Fair–the tale of Patrick Eugene Joseph Prendergast, a newspaperman with delusions of being part of the Chicago Democratic machine, who assassinates the mayor of Chicago shortly before the Fair’s end, requiring the grand closing ceremony to be hastily replaced with a political funeral. Our main serial killer, H.H. Holmes, on the other hand, gets away from Chicago (where he has been running a murder hotel through the duration of the Fair) and is eventually caught a few years later in a case being run out of Philadelphia and in which the breakthroughs largely happen in Toronto and Indianapolis. This case is interesting but its climax has absolutely nothing to do with Chicago and it also ends up introducing some big characters real late in the game, which is weird from a structural perspective.
They are interesting stories, and Larson tells them well, mostly; some of the Holmes stuff got a little speculative in ways I don’t love in my nonfiction. But they really do not cohere very well.
The bulk of the book, however, is about the Fair, and I would have happily read the version of this book that was just about the Fair. The Fair was an amazing feat of project management in the face of truly enormous headwinds, a nearly impossible project that Chicago assigned itself out of sheer civic pride and stubbornness. The head architectural honcho of this project was Daniel Burnham, whom I had last spotted in the pages of Daniel Immerwahr’s How to Hide an Empire, exercising his dictatorial visionary architect powers in the colonial playground of Manila, where he didn’t have to pretend to care about anyone who already lived there.
Not that Burnham was really all about the democratic process in Chicago, either, he just couldn’t get entirely out of it. With an admittedly impressive combination of bullying, schmoozing, and just doing what he wanted and getting permission for it afterward, he managed to corral an impressive array of big-ego artists and architects, insufferable committees, and thousands upon thousands of workers to build an entire all-white sub-city on the shores of Lake Michigan, right alongside the filthy, dangerous, slaughterhouse-packed industrial monstrosity that was late 19th century Chicago.
The World’s Fair doesn’t seem to have that huge a place in the public consciousness anymore–I’ve heard about it plenty in passing, but always as a sort of background footnote–but it has had a profound impact on American culture, not always in ways I like. The first version of the Pledge of Allegiance was written to be recited just on the Fair’s Dedication Day, and through subsequent anticommunist shenanigans has now become a cultlike daily ritual in the country’s school. The Fair, the full name of which was the Columbian Exposition, also prompted Columbus Day, which has come under scrutiny more recently as the less bloodthirsty segments of the country’s populace have revisited the propriety of triumphalism about the genocidal extermination of Native civilization. On the less politically depressing side, the Fair gave us the Ferris Wheel, and helped launch the City Beautiful movement, the at-the-time novel idea that American cities could be nice and not just stinky disease-ridden slums that caught on fire all the time. It also seems to have been the beginning of Chicago’s role as A Central Location that can host very large events with attendees from all over the country (it currently contains the largest convention hall on the continent).
Some readers seem to have found all the project management challenges Larson documents in the book to be boring. I loved it, personally. I enjoyed reading about landscape architect Frederick Law Olmstead’s constant fussing about boats, and about the demands of the workmen to get things like “a minimum wage,” and the engineering challenges of building tall heavy buildings on Chicago’s soft terrain. I was delighted by the list of ailments that fairgoers went to the Fair’s on-site hospital for, partially because the list included one instance of “extreme flatulence,” which I thought was funny. Fires, storms, illnesses, deaths, bank panics, and all kinds of other challenges conspired to potentially embarrass the city of Chicago from its stated goal of showing up Paris’ Fair from a few years earlier.
I think if this had been my first Larson book I would have been underwhelmed and unimpressed at his popularity. Since it is, fortunately, my third, I still have reasonably high hopes for the next three.
I would not say that I disliked this book–I had a perfectly fine time reading it, and got through it in a couple of days–but I am definitely surprised that this is his best-known one. It is not cohesive, and I say this as someone who apparently has a higher patience than many other readers in my life for nonfiction books that do some degree of jumping around when they are trying to follow up on multiple threads. But it definitely reads like it’s trying to be two books at once: one being a popular history book about the 1983 Chicago World’s Fair, with an intended audience of people who are interested in American history, and one lurid True Crime novel about a serial killer, with an audience of people who want to read salacious murder reenactments.
These two stories overlap but do not quite come together, which is further highlighted by the story about a murderer whose asides actually do come firmly together with the story of the World’s Fair–the tale of Patrick Eugene Joseph Prendergast, a newspaperman with delusions of being part of the Chicago Democratic machine, who assassinates the mayor of Chicago shortly before the Fair’s end, requiring the grand closing ceremony to be hastily replaced with a political funeral. Our main serial killer, H.H. Holmes, on the other hand, gets away from Chicago (where he has been running a murder hotel through the duration of the Fair) and is eventually caught a few years later in a case being run out of Philadelphia and in which the breakthroughs largely happen in Toronto and Indianapolis. This case is interesting but its climax has absolutely nothing to do with Chicago and it also ends up introducing some big characters real late in the game, which is weird from a structural perspective.
They are interesting stories, and Larson tells them well, mostly; some of the Holmes stuff got a little speculative in ways I don’t love in my nonfiction. But they really do not cohere very well.
The bulk of the book, however, is about the Fair, and I would have happily read the version of this book that was just about the Fair. The Fair was an amazing feat of project management in the face of truly enormous headwinds, a nearly impossible project that Chicago assigned itself out of sheer civic pride and stubbornness. The head architectural honcho of this project was Daniel Burnham, whom I had last spotted in the pages of Daniel Immerwahr’s How to Hide an Empire, exercising his dictatorial visionary architect powers in the colonial playground of Manila, where he didn’t have to pretend to care about anyone who already lived there.
Not that Burnham was really all about the democratic process in Chicago, either, he just couldn’t get entirely out of it. With an admittedly impressive combination of bullying, schmoozing, and just doing what he wanted and getting permission for it afterward, he managed to corral an impressive array of big-ego artists and architects, insufferable committees, and thousands upon thousands of workers to build an entire all-white sub-city on the shores of Lake Michigan, right alongside the filthy, dangerous, slaughterhouse-packed industrial monstrosity that was late 19th century Chicago.
The World’s Fair doesn’t seem to have that huge a place in the public consciousness anymore–I’ve heard about it plenty in passing, but always as a sort of background footnote–but it has had a profound impact on American culture, not always in ways I like. The first version of the Pledge of Allegiance was written to be recited just on the Fair’s Dedication Day, and through subsequent anticommunist shenanigans has now become a cultlike daily ritual in the country’s school. The Fair, the full name of which was the Columbian Exposition, also prompted Columbus Day, which has come under scrutiny more recently as the less bloodthirsty segments of the country’s populace have revisited the propriety of triumphalism about the genocidal extermination of Native civilization. On the less politically depressing side, the Fair gave us the Ferris Wheel, and helped launch the City Beautiful movement, the at-the-time novel idea that American cities could be nice and not just stinky disease-ridden slums that caught on fire all the time. It also seems to have been the beginning of Chicago’s role as A Central Location that can host very large events with attendees from all over the country (it currently contains the largest convention hall on the continent).
Some readers seem to have found all the project management challenges Larson documents in the book to be boring. I loved it, personally. I enjoyed reading about landscape architect Frederick Law Olmstead’s constant fussing about boats, and about the demands of the workmen to get things like “a minimum wage,” and the engineering challenges of building tall heavy buildings on Chicago’s soft terrain. I was delighted by the list of ailments that fairgoers went to the Fair’s on-site hospital for, partially because the list included one instance of “extreme flatulence,” which I thought was funny. Fires, storms, illnesses, deaths, bank panics, and all kinds of other challenges conspired to potentially embarrass the city of Chicago from its stated goal of showing up Paris’ Fair from a few years earlier.
I think if this had been my first Larson book I would have been underwhelmed and unimpressed at his popularity. Since it is, fortunately, my third, I still have reasonably high hopes for the next three.