“
It was so easy to disappear, so easy to deny knowledge, so very easy in the smoke and din to mask that something dark had taken root. This was Chicago, on the eve of the greatest fair in history.
”
”
Erik Larson (The Devil in the White City)
“
Make no little plans; they have no magic to stir men's blood.
Daniel H. Burnham
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”
Erik Larson (The Devil in the White City: Murder, Magic, and Madness at the Fair That Changed America)
“
I must confess a shameful secret: I love Chicago best in the cold.
”
”
Erik Larson (The Devil in the White City)
“
I was born with the devil in me,' [Holmes] wrote. 'I could not help the fact that I was a murderer, no more than the poet can help the inspiration to sing.
”
”
Erik Larson (The Devil in the White City)
“
His weakness was his belief that evil had boundaries.
”
”
Erik Larson (The Devil in the White City)
“
Beside his own person and his own interests, nothing is sacred to the psychopath.
”
”
Erik Larson (The Devil in the White City)
“
No system which implies control by privilege seekers has ever ended in any other way than collapse.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
. . . why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow.
”
”
Erik Larson (The Devil in the White City)
“
The track lingered on the surface like a long pale scar. In maritime vernacular, this trail of fading disturbance, whether from ship or torpedo, was called a “dead wake.
”
”
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
“
Great murderers, like great men in other walks of activity, have blue eyes.
”
”
Erik Larson (The Devil in the White City)
“
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. In the end it is a story of the ineluctable conflict between good and evil, daylight and darkness, the White City and the Black.
”
”
Erik Larson (The Devil in the White City)
“
The intermittent depression that had shadowed him throughout his adult life was about to envelop him once again.
”
”
Erik Larson (The Devil in the White City)
“
Recalling his first impression of Hitler, Hanfstaengl wrote, "Hitler looked like a suburban hairdresser on his day off.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Chicago has disappointed her enemies and astonished the world
”
”
Erik Larson (The Devil in the White City)
“
Time lost can never be recovered...and this should be written in flaming letters everywhere.
”
”
Erik Larson (Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History)
“
Perhaps, Herr Ditzen, it is less important where one lives than how one lives.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
People seemed to believe that technology had stripped hurricanes of their power to kill. No hurricane expert endorsed this view.
”
”
Erik Larson (Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History)
“
Place has always been important to me, and one thing today's Chicago exudes, as it did in 1893, is a sense of place. I fell in love with the city, the people I encountered, and above all the lake and its moods, which shift so readily from season to season, day to day, even hour to hour.
”
”
Erik Larson (The Devil in the White City)
“
Beneath the stars the lake lay dark and sombre," Stead wrote, "but on its shores gleamed and glowed in golden radiance the ivory city, beautiful as a poet's dream, silent as a city of the dead.
”
”
Erik Larson (The Devil in the White City)
“
For now, the tension was subtle, a vibration, like the inaudible cry of overstressed steel.
”
”
Erik Larson (The Devil in the White City)
“
Man plans, God laughs.
”
”
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
“
Never in the field of human conflict has so much been owed by so many to so few.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
As long as there was tea, there was England.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
I will be on the look out for you, my dear girl," he wrote. "You must expect to give yourself up when you come." For this buttoned-up age, for Burnham, it was a letter that could have steamed itself open.
”
”
Erik Larson (The Devil in the White City)
“
I have nothing to offer but blood, toil, tears and sweat.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
It is slothful not to compress your thoughts,” he said.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
No one cared what St. Louis thought, although the city got a wink for pluck.
”
”
Erik Larson (The Devil in the White City)
“
Once again no one in the U.S. government had made any public statement either supporting the trial or criticizing the Hitler regime. The question remained: what was everyone afraid of?
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Only Poe could have dreamed the rest.
”
”
Erik Larson (The Devil in the White City)
“
That's one trouble about the raids. . . People do nothing but make tea and expect you to drink it.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
It would be foolish to disguise the gravity of the hour,” he said. “It would be still more foolish to lose heart and courage.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
This is the story of Isaac and his time in America, the last turning of the centuries, when the hubris of men led them to believe they could disregard even nature itself.
”
”
Erik Larson (Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History)
“
American political discourse had framed the Jewish problem as an immigration problem. Germany's persecution of Jews raised the specter of a vast influx of Jewish refugees at a time when America was reeling from the Depression.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
It was the loss of the books that she grieved above all. . . One keeps remembering some odd little book that one had; one can't list them all, and it is best to forget them now that they are ashes.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
No one ever remembered a nice day. But no one ever forget the feel of paralyzed fish, the thud of walnut-sized hail against a horse's flank, or the way a superheated wind could turn your eyes to burlap.
”
”
Erik Larson (Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History)
“
Leaves hung in the stillness like hands of the newly dead.
”
”
Erik Larson (The Devil in the White City)
“
How easy it was to disappear: A thousand trains a day entered or left Chicago.
”
”
Erik Larson (The Devil in the White City)
“
If I told you, you wouldn’t know what I was talking about.
”
”
Erik Larson (The Devil in the White City)
“
the most likely explanation is that there was indeed a plot, however imperfect, to endanger the Lusitania in order to involve the United States in the war.
”
”
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
“
He became one of the few voices in U.S. government to warn of the true ambitions of Hitler
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Nowhere have I had such lovely friends as in Germany,” she wrote. “Looking back on it all is like seeing someone you love go mad—and do horrible things.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
This prolonging of a man’s life doesn’t interest me when he’s done his work and has done it pretty well.
”
”
Erik Larson (The Devil in the White City)
“
Never was there such a contrast of natural splendor and human vileness.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
If we can't be safe, let us at least be comfortable.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
But one thing was quite clear...." [Sol Bloom, chief of the Midway] wrote. "[B]eing broke didn't disturb me in the least. I had started with nothing, and if I now found myself with nothing, I was at least even. Actually, I was much better than even: I had had a wonderful time.
”
”
Erik Larson (The Devil in the White City)
“
Holmes was charming and gracious, but something about him made Belknap uneasy. He could not have defined it. Indeed, for the next several decades alienists and their successors would find themselves hard-pressed to describe with any precision what it was about men like Holmes that could cause them to seem warm and ingratiating but also telegraph the vague sense that some important element of humanness was missing.
”
”
Erik Larson (The Devil in the White City)
“
My favorite “trick” is to stop writing at a point where I know that I can pick up easily the next day. I’ll stop in mid-paragraph, often in midsentence. It makes getting out of bed so much easier, because I know that all I’ll have to do to be productive is complete the sentence. And by then I’ll be seated at my desk, coffee and Oreo cookie at hand, the morning’s inertia overcome. There’s an added advantage: The human brain hates incomplete sentences. All night my mind will have secretly worked on the passage and likely mapped out the remainder of the page, even the chapter, while simultaneously sending me on a dinner date with Cate Blanchett.
”
”
Erik Larson
“
The smell of peace is abroad, the air is cold, the skies are brittle, and the leaves have finally fallen. I wear a pony coat with skin like watered silk and muff of lamb. My fingers lie in depths of warmth. I have a jacket of silver sequins and heavy bracelets of rich corals. I wear about my neck a triple thread-like chain of lapis lazulis and pearls. On my face is softness and content like a veil of golden moonlight. And I have never in all my lives been so lonely.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
No one could bear the idea of the White City lying empty and desolate. A Cosmopolitan writer said, "Better to have it vanish suddenly, in a blaze of glory, than fall into gradual disrepair and dilapidation. There is no more melancholy spectacle than a festal hall, the morning after the banquet, when the guests have departed and the lights are extinguished.
”
”
Erik Larson (The Devil in the White City)
“
The speech set a pattern that he would follow throughout the war, offering a sober appraisal of facts, tempered with reason for optimism. “It would be foolish to disguise the gravity of the hour,” he said. “It would be still more foolish to lose heart and courage.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
[B]eing broke didn’t disturb me in the least. I had started with nothing, and if I now found myself with nothing, I was at least even. Actually, I was much better than even: I had had a wonderful time.
”
”
Erik Larson (The Devil in the White City)
“
An artist, he paints with lakes and wooded slopes, with lawns and banks and forest-covered hills." — Daniel Burnham talking about Frederick Law Olmstead
”
”
Erik Larson (The Devil in the White City)
“
The fair awakened America to beauty and as such was a necessary passage that laid the foundation for men like Frank Lloyd Wright and Ludwig Mies van der Rohe.
”
”
Erik Larson (The Devil in the White City)
“
At present," he said, "I am responsible for conveying my associates to a place called Chicago. I understand it is somewhere in the hinterland.
”
”
Erik Larson (The Devil in the White City)
“
As I look back on those days, most people in Chicago felt that way. Chicago was host to the world at that time and we were part of it all.
”
”
Erik Larson (The Devil in the White City)
“
One portion of the lakefront, named Burnham Park in his honor, contains Soldier Field and the Field Museum, which he designed.
”
”
Erik Larson (The Devil in the White City)
“
In an analogy that would prove all too apt, Max Weber likened the city to “a human being with his skin removed.
”
”
Erik Larson (The Devil in the White City)
“
I find it all infinitely sad, but at the same time so entrancing, that I often feel as if it would be the part of wisdom to fly at once to the woods or mountains where one can always find peace. - Dora Root in a letter to Daniel Burnham
”
”
Erik Larson (The Devil in the White City)
“
Dodd resigned himself to what he called “the delicate work of watching and carefully doing nothing.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Stand with your back to the wind,” he said, “and the barometer will be lower on your left than on your right.
”
”
Erik Larson (Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History)
“
Germans grew reluctant to stay in communal ski lodges, fearing they might talk in their sleep. They postponed surgeries because of the lip-loosening effects of anesthetic. Dreams reflected the ambient anxiety. One German dreamed that an SA man came to his home and opened the door to his oven, which then repeated every negative remark the household had made against the government.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
After experiencing life in Nazi Germany, Thomas Wolfe wrote, “Here was an entire nation … infested with the contagion of an ever-present fear. It was a kind of creeping paralysis which twisted and blighted all human relations.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
In conclusion,” he said, “one may safely say that it would be no sin if statesmen learned enough of history to realize that no system which implies control of society by privilege seekers has ever ended in any other way than collapse.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Mowrer and his family made it safely to Tokyo. His wife, Lillian, recalled her great sorrow at having to leave Berlin. “Nowhere have I had such lovely friends as in Germany,” she wrote. “Looking back on it all is like seeing someone you love go mad—and do horrible things.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
At a time when hundreds of men have been put to death without trial or any sort of evidence of guilt, and when the population literally trembles with fear, animals have rights guaranteed them which men and women cannot think of expecting.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
And just before the heat wave, a rising young British writer had published a scalding essay on Chicago. “Having seen it,” Rudyard Kipling wrote, “I desire never to see it again. It is inhabited by savages.
”
”
Erik Larson (The Devil in the White City)
“
I tell you we must have bodies. You cannot make doctors without them, and the public must understand it. If we can’t get them any other way we will arm the students with Winchester rifles and send them to protect the body-snatchers on their raids.
”
”
Erik Larson (The Devil in the White City)
“
But things were changing. Everywhere one looked the boundary between the moral and the wicked seemed to be degrading. Elizabeth Cady Stanton argued in favor of divorce. Clarence Darrow advocated free love. A young woman named Borden killed her parents.
”
”
Erik Larson (The Devil in the White City)
“
I wear a pony coat with skin like watered silk and muff of lamb. My fingers lie in depths of warmth. I have a jacket of silver sequins and heavy bracelets of rich corals. I wear about my neck a triple thread-like chain of lapis lazulis and pearls. On my face is softness and content like a veil of golden moonlight. And I have never in all my lives been so lonely.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
a butterfly in a West African rain forest, by flitting to the left of a tree rather than to the right, possibly set into motion a chain of events that escalates into a hurricane striking coastal South Carolina a few weeks later?
”
”
Erik Larson (Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History)
“
Between the lights and the ever-present blue ghosts of the Columbian Guard, the fair achieved another milestone: For the first time Chicagoans could stroll at night in perfect safety. This alone began to draw an increased number of visitors, especially young couples locked in the rictus of Victorian courtship and needful of quiet dark places.
”
”
Erik Larson (The Devil in the White City)
“
In traveling about the city that day, Dodd was struck anew by the “extraordinary” German penchant for Christmas display. He saw Christmas trees everywhere, in every public square and every window. “One might think,” he wrote, “the Germans believed in Jesus or practiced his teachings!
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
It amused him that women as a class were so wonderfully vulnerable, as if they believed that the codes of conduct that applied in their safe little hometowns, like Alva, Clinton, and Percy, might actually still apply once they had left behind their dusty, kerosene-scented parlors and set out on their own.
”
”
Erik Larson (The Devil in the White City)
“
The city’s legions of working men disagreed. They always had counted Harrison as one of their own, “Our Carter,” even though he was a plantation-reared Kentucky man who had gone to Yale, spoke fluent French and German, and recited lengthy passages from Shakespeare.
”
”
Erik Larson (The Devil in the White City)
“
Coordination' occurred with astonishing speed, even in sectors of life not directly targeted by specific laws, as Germans willingly placed themselves under the sway of Nazi rule, a phenomenon that became known as Selbtsgleichschaltung, or 'self-coordination.' Change came to Germany so quickly and across such a wide front that German citizens who left the country for business or travel returned to find everything around them altered, as if they were characters in a horror movie who come back to find that people who once were their friends, clients, patients, and customers have become different in ways hard to discern.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
I went to Harvard for examination with two men not as well prepared as I. Both passed easily, and I flunked, having sat through two or three examinations without being able to write a word.'
The same happened at Yale, Both schools turned him down. He never forgot it.
”
”
Erik Larson (The Devil in the White City)
“
I think my thought and imagination contain the picture and perceive its significance from every point of view. I have to force myself not to dwell upon it to avoid the sort of numbness that comes from deep apprehension and dwelling upon elements too vast to be yet comprehended or in any way controlled by counsel.
”
”
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
“
The men lived for the moment the boat ascended to the surface and the hatch in the conning tower was opened. “The first breath of fresh air, the open conning-tower hatch and the springing into life of the Diesels, after fifteen hours on the bottom, is an experience to be lived through,” said another commander, Martin Niemöller.
”
”
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
“
Dodd listened intently as Hitler portrayed Germany as a well-meaning, peace-seeking nation whose modest desire for equality of armaments was being opposed by other nations. 'It was not the address of a thinker,' Dodd wrote in his diary, 'but of an emotionalist claiming that Germany had in no way been responsible for the World War and that she was the victim of wicked enemies.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Messersmith wrote. “We must keep in mind, I believe, that when Hitler says anything he for the moment convinces himself that it is true. He is basically sincere; but he is at the same time a fanatic.” Messersmith urged skepticism regarding Hitler’s protestations. “I think for the moment he genuinely desires peace but it is a peace of his own kind and with an armed force constantly becoming more effective in reserve, in order to impose their will when it may become essential.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
You wish you had not come. If there were not so many around, you would reach out your arms, with the prayer on your lips for it all to come back to you. It seems cruel, cruel, to give us such a vision; to let us dream and drift through heaven for six months, and then to take it out of our lives.
”
”
Erik Larson (The Devil in the White City)
“
I have always wondered what it would have been like for an outsider to have witnessed firsthand the gathering dark of Hitler’s rule. How did the city look, what did one hear, see, and smell, and how did diplomats and other visitors interpret the events occurring around them? Hindsight tells us that during that fragile time the course of history could so easily have been changed. Why, then, did no one change it? Why did it take so long to recognize the real danger posed by Hitler and his regime?
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
To produce the kind of landscape effects Olmsted strived to create required not months but years, even decades. "I have all my life been considering distant effects and always sacrificing immediate success and applause to that of the future," he wrote. "In laying out Central Park we determined to think of no result to be realized in less than forty years.
”
”
Erik Larson (The Devil in the White City)
“
They saw even more ungodly things—the first zipper; the first-ever all-electric kitchen, which included an automatic dishwasher; and a box purporting to contain everything a cook would need to make pancakes, under the brand name Aunt Jemima’s. They sampled a new, oddly flavored gum called Juicy Fruit, and caramel-coated popcorn called Cracker Jack. A new cereal, Shredded Wheat, seemed unlikely to succeed—“shredded doormat,” some called it—but a new beer did well, winning the exposition’s top beer award. Forever afterward, its brewer called it Pabst Blue Ribbon.
”
”
Erik Larson (The Devil in the White City)
“
In Germany, Dodd had noticed, no one ever abused a dog, and as a consequence dogs were never fearful around men and were always plump and obviously well tended. "Only horses seem to be equally happy, never children or the youth," he wrote. ... He called it "horse happiness" and had noticed the same phenomenon in Nuremburg and Dresden. In part, he knew this happiness was fostered by German law, which forbade cruelty to animals and punished violators with prison.
"At a time when hundreds of men have been put to death without trial or any sort of evidence of guilt, and when the population literally trembles with fear, animals have rights guaranteed them which men and women cannot think of expecting."
He added, "One might easily wish he were a horse!
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
I do not employ researchers, nor did I conduct any primary research using the Internet. I need physical contact with my sources, and there's only one way to get it. To me every trip to a library or archive is like a small detective story. There are always little moments on such trips when the past flares to life, like a match in the darkness. On one such visit to the Chicago Historical Society, I found the actual notes that Prendergast sent to Alfred Trude. I saw how deeply the pencil dug into the paper.
”
”
Erik Larson (The Devil in the White City)
“
German forces in Belgium entered quiet towns and villages, took civilian hostages, and executed them to discourage resistance. In the town of Dinant, German soldiers shot 612 men, women, and children. The American press called such atrocities acts of “frightfulness,” the word then used to describe what later generations would call terrorism. On
”
”
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
“
But Burnham also created an office culture that anticipated that of businesses that would not appear for another century. He installed a gym. During lunch hour employees played handball. Burnham gave fencing lessons. Root played impromptu recitals on a rented piano. “The office was full of a rush of work,” Starrett said, “but the spirit of the place was delightfully free and easy and human in comparison with other offices I had worked in.
”
”
Erik Larson (The Devil in the White City)
“
Let me explain how such a thing might occasionally happen,' Goebbels said. 'All during the twelve years of the Weimar Republic our people were virtually in jail. Now our party is in charge and they are free again. When a man has been in jail for twelve years and he is suddenly freed, in his joy he may do something irrational, perhaps even brutal. Is that not a possibility in your country also?'
Ebbutt, his voice even, noted a fundamental difference in how England might approach such a scenario. 'If it should happen,' he said, 'we would throw the man right back in jail.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Then Pamela, who was spending the weekend at Cherkley with her young son, stopped by, bringing a gift of two brooches and some advice. “She looked grave,” Mary noted. Mary did not particularly want any advice, but Pamela delivered it anyway: “Don’t marry someone because they want to marry you—but because you want to marry them.” Mary dismissed it. “I didn’t pay much attention at the time,” she wrote in her diary, “—and yet it stuck & I kept on thinking of it.
”
”
Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
“
In part, he knew, this happiness was fostered by German law, which forbade cruelty to animals and punished violators with prison, and here Dodd found deepest irony. “At a time when hundreds of men have been put to death without trial or any sort of evidence of guilt, and when the population literally trembles with fear, animals have rights guaranteed them which men and women cannot think of expecting.” He added, “One might easily wish he were a horse!
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Why had Holmes taken the children? Why had he engineered that contorted journey from city to city? What power did Holmes possess that gave him such control? There was something about Holmes that Geyer just did not understand. Every crime had a motive. But the force that propelled Holmes seemed to exist outside the world of Geyer’s experience. He kept coming back to the same conclusion: Holmes was enjoying himself. He had arranged the insurance fraud for the money, but the rest of it was for fun. Holmes was testing his power to bend the lives of people.
”
”
Erik Larson (The Devil in the White City)
“
She had a brief affair with a novelist, W. L. River, whose Death of a Young Man had been published several years earlier. He called her Motsie and pledged himself to her in letters composed of stupendously long run-on sentences, in one case seventy-four lines of single-spaced typewriting. At the time this passed for experimental prose.
“I want nothing from life except you,” he wrote. “I want to be with you forever, to work and write for you, to live wherever you want to live, to love nothing, nobody but you, to love you with the passion of earth but also with the above earthly elements of more eternal, spiritual love.…”
He did not, however, get his wish.
”
”
Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
“
Undersecretary of State Robert Lansing, number two man in the State Department, tried to put this phenomenon into words in a private memorandum. “It is difficult, if not impossible, for us here in the United States to appreciate in all its fullness the great European War,” he wrote. “We have come to read almost with indifference of vast military operations, of battle lines extending for hundreds of miles, of the thousands of dying men, of the millions suffering all manner of privation, of the wide-spread waste and destruction.” The nation had become inured to it all, he wrote. “The slaughter of a thousand men between the trenches in northern France or of another thousand on a foundering cruiser has become commonplace. We read the headlines in the newspapers and let it go at that. The details have lost their interest.
”
”
Erik Larson (Dead Wake: The Last Crossing of the Lusitania)
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Holmes was charming and gracious, but something about him made Belknap uneasy. He could not have defined it. Indeed, for the next several decades alienists and their successors would find themselves hard-pressed to describe with any precision what it was about men like Holmes that could cause them to seem warm and ingratiating but also telegraph the vague sense that some important element of humanness was missing. At first alienists described this condition as “moral insanity” and those who exhibited the disorder as “moral imbeciles.” They later adopted the term “psychopath,” used in the lay press as early as 1885 in William Stead’s Pall Mall Gazette, which described it as a “new malady” and stated, “Beside his own person and his own interests, nothing is sacred to the psychopath.” Half a century later, in his path-breaking book The Mask of Sanity, Dr. Hervey Cleckley described the prototypical psychopath as “a subtly constructed reflex machine which can mimic the human personality perfectly. … So perfect is his reproduction of a whole and normal man that no one who examines him in a clinical setting can point out in scientific or objective terms why, or how, he is not real.
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Erik Larson (The Devil in the White City)
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CAPT. J. W. SIMMONS, master of the steamship Pensacola, had just as little regard for weather as the Louisiana’s Captain Halsey. He was a veteran of eight hundred trips across the Gulf and commanded a staunch and sturdy ship, a 1,069-ton steel-hulled screw-driven steam freighter built twelve years earlier in West Hartlepool, England, and now owned by the Louisville and Nashville Railroad Company. Friday morning the ship was docked at the north end of 34th Street, in the company of scores of other ships, including the big Mallory liner Alamo, at 2,237 tons, and the usual large complement of British ships, which on Friday included the Comino, Hilarius, Kendal Castle, Mexican, Norna, Red Cross, Taunton, and the stately Roma in from Boston with its Captain Storms. As the Pensacola’s twenty-one-man crew readied the ship for its voyage to the city of Pensacola on Florida’s Gulf Coast, two men came aboard as Captain Simmons’s personal guests: a harbor pilot named R. T. Carroll and Galveston’s Pilot Commissioner J. M. O. Menard, from one of the city’s oldest families. At
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Erik Larson (Isaac's Storm: A Man, a Time, and the Deadliest Hurricane in History)
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The one universal balm for the trauma of war was tea. It was the thing that helped people cope. People made tea during air raids and after air raids, and on breaks between retrieving bodies from shattered buildings. Tea bolstered the network of thirty thousand observers who watched for German aircraft over England, operating from one thousand observation posts, all stocked with tea and kettles. Mobile canteens dispensed gallons of it, steaming, from spigots. In propaganda films, the making of tea became a visual metaphor for carrying on. “Tea acquired almost a magical importance in London life,” according to one study of London during the war. “And the reassuring cup of tea actually did seem to help cheer people up in a crisis.” Tea ran through Mass-Observation diaries like a river. “That’s one trouble about the raids,” a female diarist complained. “People do nothing but make tea and expect you to drink it.” Tea anchored the day—though at teatime, Churchill himself did not actually drink it, despite reputedly having said that tea was more important than ammunition. He preferred whiskey and water. Tea was comfort and history; above all, it was English. As long as there was tea, there was England. But now the war and the strict rationing that came with it threatened to shake even this most prosaic of pillars.
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Erik Larson (The Splendid and the Vile: A Saga of Churchill, Family, and Defiance During the Blitz)
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Like most people, I acquired my initial sense of the era from books and photographs that left me with the impression that the world of then had no color, only gradients of gray and black. My two main protagonists, however, encountered the fl esh-and-blood reality, while also managing the routine obligations of daily life. Every morning they moved through a city hung with immense banners of red, white, and black; they sat at the same outdoor cafés as did the lean, black-suited members of Hitler’s SS, and now and then they caught sight of Hitler himself, a smallish man in a large, open Mer-cedes. But they also walked each day past homes with balconies lush with red geraniums; they shopped in the city’s vast department stores, held tea parties, and breathed deep the spring fragrances of the Tier-garten, Berlin’s main park. They knew Goebbels and Göring as social acquaintances with whom they dined, danced, and joked—until, as their fi rst year reached its end, an event occurred that proved to be one of the most signifi cant in revealing the true character of Hitler and that laid the keystone for the decade to come. For both father and daughter it changed everything.
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Erik Larson (In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin)
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THE FAIR HAD A POWERFUL and lasting impact on the nation’s psyche, in ways both large and small. Walt Disney’s father, Elias, helped build the White City; Walt’s Magic Kingdom may well be a descendant. Certainly the fair made a powerful impression on the Disney family. It proved such a financial boon that when the family’s third son was born that year, Elias in gratitude wanted to name him Columbus. His wife, Flora, intervened; the baby became Roy. Walt came next, on December 5, 1901. The writer L. Frank Baum and his artist-partner William Wallace Denslow visited the fair; its grandeur informed their creation of Oz. The Japanese temple on the Wooded Island charmed Frank Lloyd Wright, and may have influenced the evolution of his “Prairie” residential designs. The fair prompted President Harrison to designate October 12 a national holiday, Columbus Day, which today serves to anchor a few thousand parades and a three-day weekend. Every carnival since 1893 has included a Midway and a Ferris Wheel, and every grocery store contains products born at the exposition. Shredded Wheat did survive. Every house has scores of incandescent bulbs powered by alternating current, both of which first proved themselves worthy of large-scale use at the fair; and nearly every town of any size has its little bit of ancient Rome, some beloved and be-columned bank, library or post office. Covered with graffiti, perhaps, or even an ill-conceived coat of paint, but underneath it all the glow of the White City persists. Even the Lincoln Memorial in Washington can trace its heritage to the fair.
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Erik Larson (The Devil in the White City)
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Olmsted’s greatest concern, however, was that the main, Jackson Park portion of the exposition simply was not fun. “There is too much appearance of an impatient and tired doing of sight-seeing duty. A stint to be got through before it is time to go home. The crowd has a melancholy air in this respect, and strenuous measures should be taken to overcome it.” Just as Olmsted sought to conjure an aura of mystery in his landscape, so here he urged the engineering of seemingly accidental moments of charm. The concerts and parades were helpful but were of too “stated or programmed” a nature. What Olmsted wanted were “minor incidents … of a less evidently prepared character; less formal, more apparently spontaneous and incidental.” He envisioned French horn players on the Wooded Island, their music drifting across the waters. He wanted Chinese lanterns strung from boats and bridges alike. “Why not skipping and dancing masqueraders with tambourines, such as one sees in Italy? Even lemonade peddlers would help if moving about in picturesque dresses; or cake-sellers, appearing as cooks, with flat cap, and in spotless white from top to toe?” On nights when big events in Jackson Park drew visitors away from the Midway, “could not several of the many varieties of ‘heathen,’ black, white and yellow, be cheaply hired to mingle, unobtrusively, but in full native costume, with the crowd on the Main Court?
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Erik Larson (The Devil in the White City)