Analysis of Labor and Capital Tensions in Erik Larson’s The Devil in the White City

The devil of Erik Larsons gripping The cod in the sports earthlike City is not just the murderer Henry J. Holmes, who serves as the terrifying counterpoint to architect Daniel Hudson Burnhams efforts to conceive and construct the 1893 gelt Worlds Fair. Instead, Larson explores umteen different devils that plague dinero as a whole. Larson paints a portrait of a metropolis besieged by economic and labor struggles, the stress of technological develop custodyt, a flood of immigration, and crime.Chicago, perched at the curio of the loud senesce, is an American city not only act to establish an identity, besides desperately trying to hold itself together against the ever-widening breaking between labor and capital. As presented by Larson, Chicago is a city that exploits this rift, giving rise to a battlefield between the ii. Larson comments that the thing that enamor me roughly Chicago in the Gilded Age was the citys willingness to take on the impossible in the name of poli te follow (393).This civic honor is the heart of The reproof in the albumin City, show a great deal about the citys spirit and determi commonwealth to carve out an identity for itself. The downside of Chicagos ambitions to symbolize a six-month balls fair, Larson suggests, is that it threatens to undo an already-tenuous social structure. Chicago, however, is full of self-complacency following the Great Fire of 1871. They had not merely restored it they had rolled it into the nations leader in commerce, manufacturing, and architecture (Larson 16).Chicago, in the last nineteenth century, barrels forward in the name of progress and is resolved, almost blindly, to pose out from under the shadow of New York City. The Devil in the White City, while it follows architect Burnham and murderous doctor Holmes on their antithetical missions, is frequently more concerned with the American reverie. That is, the daydream that Larson (as well as some historians) feels America has aban d matchlessd. Historian Jack Beatty, in his al-Quran Age of Betrayal, traces how the dream of free soil, free labor, free men and free land (14) has been traded for the favor of big corporations.During the Gilded Age, Beatty sees an America corrupted from within. The disparity between the blue and the poor has neer been greater, he says, with a virtual elimination of the lay class. The dream established by Lincoln during the Civil War is submarined by a partnership between regimen and businessone that is, at the time, questioned by very few Americans. Chicago is an excellent lens by dint of which to view the fall of the Gilded Age, mainly because of the citys explosive growth (Larson 23). It is a city that cannot take for up with itself in many ways.As the skyscrapers grew taller and transportation became more effective, Chicago also grew dirtier, vestigeer, and more dangerous (Larson 28), pointing toward the dark side of progress. There are prices to pay for progress, whi ch forms an ever-present undercurrent of unease in Larsons depiction of Chicago. Ambition informs Chicagos civic honor of staging the Worlds Columbian Exposition of 1893. The fair, when completed, would hide over 600 acres of land, complete with new buildings, European architecture, and exhibits from cultures from around the world.Everything about the fair was designed to out-Eiffel Eiffel, referring to the Eiffel Tower, which was introduced at the 1889 Exposition Universelle in Paris. This speaks to an overwhelming proneness for the worlds immediate recognition of greatness. For example, when plans were worldness drawn up for the fairs multitude of exhibits and wonders, the imaginations were driven by size and stature. The fair, being Americas frontmost, was steered in the direction of not only being memorable, tho so grand of vision as to be intimidating.Impossibly outstanding towers were proposed, even from Gustave Eiffel himself, until George Ferris came up with the ide a of a spinning wheel, which would become the first Ferris wheel. The Chicago Worlds Fair was a forced upbraiding of great amount of ingenuity and innovation that occurred during the Gilded Age. Chicago, however, was still annoy by the problems of all growing big cities. In fact, the citys ambitions to compete with New York City brought on unexpected (and unwelcome) parallelsNew York journalist Jacob Riis had toured Chicagos foulest districts and announced them worse than anything he had seen in New York. In his talk he noted the fast approach of the exposition and warned his audience, You ought to set about house cleaning, so to speak, and get your alleys and streets in better condition never in our worst season train we had so much spitefulness in New York City (Larson 212). Through the Gilded Age and Larsons book, Chicago constantly struggles to maintain its identity against New York City.In Blair A. rubles in atomic pileful book, Second Metropolis Pragmatic Pluralism in G ilded Age Chicago, Silver Age Moscow, and Meiji Osaka, rouble explores the plights of three cities that are the second-largest ones in their countries. Ruble posits that all three cities, near the turn of the twentieth century, were the fastest-growing, most modernistic ones. He argues that each city, much(prenominal) as Chicago, confront insurmountable challenges, much(prenominal) as how to manage the growing disparities between the working class and the cultural elite.The ways in which the elite handled each problem, Ruble believes, said something about their fate. In Chicagos case, Ruble focuses on the rapid refinement of the city against its inability to create an effective transportation system. Chicago was not only flooded with immigrants, but it was markedly overcrowded. It was practically bulging at the seams. Ruble focuses on mayor Carter Henry Harrison, who in Larsons book was noted for establishing Chicago as a place that tolerated human frailness even as it nurture d grand ambition (213).Ruble credits Harrison for being a true visionary and keenly aware of the problems his city faced. However, Rubles notion of pragmatic pluralism plays into his ultimate assessment of Chicago (and Harrison) at the turn of the century. For Ruble, Chicago demanded a leader who understood and applied pragmatic pluralism a unique (and rare) ability to satisfy everyones interests. It is a talent for rapprochement the interests of the wealthy and the poor, as well as making compromising for the sake of the citys future development.Pragmatic pluralism speaks to the best, long-run interests of everyone, not the short-run interests of a few. Ruble charges Harrison with doing well at managing certain crises, but losing sight of the goal line. He is portrayed not as a failure, but a victim of economic and social circumstances that befall former(a) cities of rapid expansion and developmental growth. Chicago, just like Moscow and Osaka, failed to lay aside on its promise s and further reflect the American dream. Chicagos idealism, Ruble says, had been corroded by a relationship between business and government (213).This tension between labor and capital plays itself out in The Devil in the White City in many fascinating ways. Larson is specially good in crafting a book that underscores these tensions in both extremely dramatic and skillfully subtle ways. First and foremost, he tells twin stories of the fair, steering on the fairs architect (Burnham) and the calculating doctor (Holmes)two stories that run contrary to one some different. Larson portrays both of them as brilliant men in their own regardsgeniuses at accounting for every detail, anticipating every contingency, and staying one step ahead.Larsons book lays out all of the obstacles that stand in the way of Burnham and Holmess ambitions. The impossibilities that both men overcome is almost as staggering as the fair itselfa dreamlike world populate with characters as diverse as Buffalo B ill, Thomas Edison, and Frank Lloyd Wright. It is sluttish to get swept up into the unreality of it all, of which Dora Root wrote I should never willingly cease drifting in that dreamland (Larson 253). This dreamlike quality, echoed by others in the book, is used by Larson to offset the harsh reality of the world beyond it.The fairs eventual end seems to echo the end of the Gilded Age in many waysa exemplary shift from the ideal to the real. When columnist Teresa Dean says, It seems cruel, cruel, to give us such a vision to let us dream and drift finished heaven for six months, and accordingly to take it out of our lives (335), one gets the flavour that Larson is using her quote to comment on the collapse of the American dream itself. Labor and capital disappear against the Worlds Fair, their tension ceasing to outlive in the unreality of it all, but rear their head in another fundamental way.While some could argue that the inclusion of Henry H. Holmes in The Devil in the Whit e City is nothing short of a market ploy, Holmes is actually central to the power of Larsons book. Burnham and Holmes should be viewed as symbols, instead than historical figures the idealist versus the opportunist, the laborer versus the capitalist. Burnham believes that all things are possible, even when faced with the challenge of staging a fair where failure was unthinkable for fearfulness of the nations honor being tarnished (Larson 33). He is a man who believes in himself and those around him.Burnham is the laborer, working to sustain the American dream and keep it alive. He is, quite literally, the architect of Americas future. Holmes, on the other hand, has a completely different agenda. Holmes is the capitalist, looking to exploit weakness and advantage for himself Holmes understood that powerful new forces were acting upon Chicago, causing a nearly miraculous expansion. The city was growing in all available directions, and where it abutted the lake, it grew skyward, aggressively increasing the value of land within the Loop. Everywhere helooked he motto evidence of the citys prosperity. Holmes knew everyone knewthat as skyscrapers soared and the stockyards expanded their butchery, the demand for workers would lodge high, and that workers and their supervisors would seek to live in the citys suburbs (Larson 44-45) As such, Holmes seized upon the idea of the Worlds Fair Hotel, which was actually a crematorium and twist palace. He could essentially bend young women to his will, take their money and their trust, and have an endless supply of them visiting his hotel during the fair.It is almost an unthinkable series of crimes, especially in Holmess ability to evade suspicion, though the Chicago Times-Herald notes that his chronicle tends to illustrate the end of the century (370). This quote informs the entire book and the Gilded Age at once opportunism and evil masquerading as something auspicious and trusted. Closely recalling Holmess demeano r, the governmententrusted by the people to lead them exchange itself to the corporations. Both Holmes and the government are complicit in failing to deliver the American dream to the people and, instead, employing it for their own gains.The Gilded Age seems remarkably like to the contemporary world. In fact, many parallels could be drawn between then and now. Presidents and politicians are controlled by the lobbyists and those who have funded their campaigns. The money that has helped put them in mapping will continue to shape policy and determine our countrys course of action. In light of these realities, Erik Larsons The Devil in the White City is not just a fascinating piece of history, but it is a cautionary tale that seems more relevant than ever before.