Setting
Murphy skillfully sets the stage for the dramatic events that unfolded on October 8, 1871. Before the Great Fire, Chicago was a thriving, bustling city—a hub for ships navigating the Great Lakes and a vital commercial link between eastern and western North America. Built on a marsh, the city's streets were frequently muddy, prompting the construction of elevated wooden sidewalks to keep pedestrians above the mire. That year, a drought had dried out these sidewalks, turning them into ready fuel for fires. Additionally, many of Chicago's grand central buildings, which appeared to be made of stone or concrete, were actually primarily wooden with facades carved and painted to mimic stone. These structures were also highly flammable.
Some buildings were designed to be fire-resistant, but they contained a critical flaw. Murphy describes the Tribune building: "In addition to a granite-block exterior, the interior ceilings were of corrugated iron, resting upon wrought-iron I beams, and every partition wall in the structure was of brick. It was, in all respects, one of the most absolutely fireproof buildings ever erected. That is, in every respect but one—the roof. The roof was a typical tar-over-wood affair . . ." Murphy's depiction of Chicago hints at a sense of overconfidence among its residents, possibly leading to this significant oversight. For the Tribune, firefighters were stationed on the roof to douse it with water, with "the men on it . . . constantly dancing around to stamp out burning cinders." Furthermore, the city's water pumps failed, like many others throughout Chicago, and the supposedly fireproof building was ultimately destroyed.
Murphy dedicates much of his narrative to explaining Chicago's social structure, highlighting that economic classes were divided by neighborhood. The neighborhood where the fire originated was home to diligent men and women; for example, both Catherine and Patrick O'Leary held paying jobs, and their combined earnings allowed them to own a home and a barn. However, newspapers and residents of wealthier Chicago areas labeled them as lazy, ignorant, and criminal simply due to their lower economic status. The affluent owned large, well-built homes, as shown in Murphy's photographs, and they maintained their properties meticulously. When these homes were destroyed by the fire, the blame was effectively shifted onto the poorer residents. Murphy's maps of the fire's progression, combined with his descriptions, reveal a city divided by class, which fostered a lack of cooperation and, in the case of the Great Fire, a dangerous indifference to a neglected part of Chicago.
Literary Qualities
The structure of The Great Fire showcases Murphy's signature style, blending text with a wide array of illustrations, such as photographs, drawings, and engravings from the period. In this work, the illustrations effectively enhance his subject matter. For instance, photographs depicting the O'Learys' home are crucial to his descriptions, as they substantiate his claim that the house was a large, robust structure.
The narrative combines written accounts of The Great Fire with Murphy's own storytelling and analysis of the events. The inclusion of diary excerpts is particularly characteristic of Murphy's historical writing and American historical narratives in general; they offer a firsthand perspective that underscores the events' significance through their impact on individual lives. Utilizing diaries and other firsthand narratives crafts an immersive experience, presenting events from a ground-level view rather than a distant one. This technique allows Murphy to draw his audience into the heart of the action, creating a compelling and dramatic narrative.
For Further Reference
Beavin, Kristi. Horn Book Magazine (November 1998): 768. This is a review of John McDonough's audio recording of The Great Fire. Beavin states, "New nonfiction from the select few children's authors who balance research with literary merit is always noteworthy; when such work is available in audio format, it's cause for celebration. Jim Murphy is among these authors, and this audiobook is one of those works."
Bradburn, Frances. Booklist 91, 19-20 (June 1, 1995): 1757. This is a favorable review of The Great Fire. Bush, Margaret A. Horn Book Magazine 71, 3 (May-June 1995): 343-344. She recommends The Great Fire as a well-crafted and informative book.
Harris, Karen. Booklist 95, 12 (February 15, 1999): 1084. This includes several short reviews of audio recordings for young readers, featuring John McDonough's audio version of The Great Fire. Harris comments, "The scholarly writing of The Great Fire is well complemented by McDonough's reading; the piece should engage serious students."
Hile, Kevin S., and Diane Telgen. "Murphy, Jim." In Something about the Author. Volume 77. Detroit: Gale Research, 1994. This provides a brief overview of Murphy's career along with some photographs. It reprints an interview from Contemporary Authors, Volume 111, with additional information.
Luzerne, Frank. The Lost City: Chicago as It Was and as It Is and Its Glorious Future. New York: Harper and Sons, 1872. A firsthand narrative of Chicago's transformation, notably featured in The Great Fire with a depiction of the deceased.
"Murphy, Jim." In Contemporary Authors. Volume 111. Edited by Hal May, et al. Detroit: Gale Research, 1984. This contains a summary of Murphy's career up to 1984 and a concise yet informative interview with him.
Pendleton, William E., and Richard T. Hart. Recollections of a Bygone Era. New York: Cassell Petter and Galpin, 1896. This book includes Claire Innes's thrilling account of her experiences during The Great Fire.
Price, Susannah. School Library Journal 41, 7 (July 1995): 89-90. A review that strongly endorses The Great Fire. Publishers Weekly 242, 19 (May 8, 1995): 297. A concise yet positive review of The Great Fire.
