Chicago World Fair

1893 Chicago was one of the most revolutionary times in United States history; the Chicago World Fair was in full effect and became a total success, despite those who disregarded it. Although the fair only lasted 6 months, it changed the future all for the better. This time was full of pure joy and exciting change; however, not all was entirely well in the White City. Nearly right around the corner a darker, more twisted occurrence was at large. Notorious serial killer H. H. Holmes recognized a rare opportunity to satisfy his dark fancies within the widespread of newcomers flooding the Chicago streets for the fair. In The Devil in the White City, author Eric Larson expresses, in explicit detail, the irony of both the good and evil occurrences

A beautiful portrait of the fair is built with Larson’s detailed depictions of “the buildings, waterways, and scenery” (Larson 274) within this spectacle. The clear pictures painted in the reader’s mind transports them to this wonder-filled attraction. However, more disturbing images are depicted in subtle ways, like the fact that Holmes “often smelled vaguely of chemicals” (Larson 46.) An image of horror conjures within the mind of the reader at this seemingly minuscule detail. The beauty and novelty of fair existing parallel to the grotesque nature of Holmes’ past times can only be excused as pure and unadulterated dramatic irony. The brilliantly cogent pictures Larson captures with his words really represent the all too real and terrifying realities that were taking place during the magic of the

The fair at this time was the greatest thing that could have happened to the United States; however, within the same Illinois borders, the worst was occurring. Chicago’s equally amazing story of murder, lies, and betrayal also became world-renowned and, as unlikely as it may have been, both stories took place simultaneously. The success of the fair parallel to Holmes’ own twisted success is ingeniously laid out by Larson and his excellent usage of rhetorical devices. Larson’s use of superb juxtaposition, hauntingly realistic imagery, and high-level language finalize the ironic nature of the darkness within the White