The Book of the Fair Expanded Storytelling

Entry: Orange Cider - James Wylder
Created by Floridian orange seller Huelsenkamp, the Orange Cider brought to the 1893 Chicago World’s Fair quickly became one of its most popular—and imitated—treats. But the imitation wasn’t exactly the sincerest form of flattery. While the original beverage was called refreshing and delectable, the imitations didn’t even bother flavoring it with orange. Somehow, they decided using citric acid and vinegar would work just as well. Somehow, they thought that people would not be able to tell the difference between the flavor “Orange” and “Vinegar”. But people could. And did, quickly.
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The reputation of the drink thus became much more conflicted. What might have become a drink that had a long lasting worldwide popularity became an oddity of the Fair. A piece of trivia that should have been a legacy. 
- Bilge’s Encyclopedia of the Universe

Entry: Ferris Wheel - Theta Mandel
A Ferris wheel must always be capitalized because it is named after a person—George Washington Gale Ferris Jr. (not to be confused with the first US President, Ferris Sr, or Dorothy). Mr. Ferris Jr. did not invent the wheel. Nor did he reinvent it. That honour goes to Daniel Burnham, who quickly abandoned the idea over safety concerns, leaving it to be picked up and made reality by Mr. Ferris Jr. and his team of metalworkers. Though the first Ferris Wheel is no doubt one of the most famous inventions to debut at the 1893 Chicago World’s Fair, that particular wheel will one day be surpassed in fame by [ERROR: This information is not available in your timezone]

Evidently, Burnham and Ferris’ invention caught on, the idea blazing a legacy through history, much like the blaze that destroyed Chicago and led to the fair the wheel debuted at in the first place, or the blaze that destroyed a swathe of the fair (though, not the wheel, which was moved, and eventually deconstructed). However, some still fear the power of the wheel, and there is cause to wonder if Burnham was right to pull out of the project over safety concerns. From expositions to monuments to fair grounds, the Ferris wheel has proven itself to be a danger to the body and spirit on many an occasion, including at its debut (see: Chicago Inter Ocean Newspaper, ‘Madman in mid-air’). Technological advancements never come without a cost.
- Bilge’s Encyclopedia of the Universe

Entry: Madman in mid-air - Theta Mandel
In 1893 , the Ferris wheel was introduced to the world. With every new wonder born unto this Earth, a new demon is born with it; in this case, a petrifying fear of heights. Of course, the demon would be forgotten and wither away were it not for the heroic intervention of the sensationalising press, who were luckily available to share the story of the first man documented as being sent mad by the wheel. The story of Mr. A.G. Wherrit, as told to the Chicago Inter Ocean Newspaper, became entirely crazed during his eventful circuit within the world’s first Ferris wheel. Despite his history of temporary insanity in relation to heights, he and his wife journeyed around the great wheel for the standard two rotations, during which time he attempted to throw himself off the structure, and had to be restrained by the attendant and other passengers. Eventually, a brave woman who wished to remain anonymous wrapped her skirt about his head, calming him until he could be safely removed from the ride.

It’s a good thing he didn’t attempt the captive balloon ride, or who knows what articles of clothing may have been savaged in the process.
- Bilge’s Encyclopedia of the Universe

Entry: Korean Pavilion, Chicago World’s Fair - James Wylder
With the Joseon Kingdom of Korea opening its borders to the world in the previous years, King Gojong decided to make their nation known across the world in the world expos and fairs that had begun to crop up in various countries. Thus, in February of 1893 he sent assistant interior minister Jeong Gyeongwon to America to participate in the World’s Columbian Exhibition. With him were five other staff, and ten court musicians: Park Yonggu, Lee Chaeyeon, Choe Munhyeon, An Giseon, Yi Gyeongryong, Choe Eulryong, Shin Heungseok, Jeong Giyong, Yi Changeop, and Yi Jaeryong. They set up a Pavilion with a traditional Korean roof in the Manufacturers and Liberal Arts building, which was sadly dwarfed in size by their rival nation of Japan’s gigantic display on the fair’s wooded isle. But their gambit of making ten of their sixteen member entourage musicians paid off. Korea was recognized for their excellent music, and president Grover Cleaveland even heard them play.

Some records seem to indicate they played a strangely anachronistic song during the fair, but with no sheet music records surviving it is hard to tell the accuracy of this. 
- Bilge’s Encyclopedia of the Universe


Sept. 27th, 1893 - Theta Mandel
Sept. 27th, 1893 — Officer Porkington’s private notes (keep clear — police property)
Questioning commenced: 11:14 p.m.
Subject: Ella Blake, Thwarted Singer
Miss Blake claimed that she merely wanted to sing. She and her sister (Miss Helen Blake) began an impromptu performance of fair hit ‘After the Ball’, but were quickly met with protest, including from Miss Madge Heath, a dancer within the Mexican Theater where the women were attempting to sing. Although chaos ensued, it still seems unlikely that she didn’t see the weapon until it was too late. Confused beyond reasonable, given the circumstances? Under the influence, perhaps, or overcome with hysterics.
Ended 11:22.

Questioning commenced: 11:23 p.m.
Subject: Madge Heath, Dancer
“If you coulda heard ‘em, you woulda shot ‘em too.” Incriminating words from the dancer who the Blake sisters claim started the hullabaloo. My job would be a lot easier, if only she were the shooter! Still, like the last, there’s something more than you’d expect from a little frustration. Something under the eyes. Something mighty queer… like an infection, a shadow. Can’t quite shake the horrors to which she bore witness earlier this evening.
Ended 11:32.

Questioning commenced: 11:33 p.m.
Subject: Officer Pearce
Accompanied Blake sisters. Diligently attempted to prevent escalation between the women. Unable to prevent the tragedy, he seems now ashamed of failing in his duty. Under the awful chaos, he could hear something, an echo — although the Blake sisters were unable to perform, someone did, for you are never out of earshot at the fair. He tried to impress upon me the atmosphere of the fair, the sublime majesty of the excitement and the bustle and the fast-moving crowds desperate for a taste of this turning point in modern history, but I suppose you had to be there. Which I wasn’t. Couldn’t get leave; been stuck processing the backlog from the dozens arrested at the fair. At least they got to be there… lucky sods. I don’t feel so lucky, though, when I think about why I can’t interview Sergeant Gleason of the Columbian Guard. Morgan claimed he was “just passing through”, noticed the commotion, tried to help out. Poor man…
Ended 11:57.

Just shy of midnight, discussed case with two men from some federal government agency. Black-suited, all official-like, well above my pay grade. I told them the particulars of the case, and they kind of nodded and seemed happy with it all. I don’t know what there is to smile about… a man was shot, after all. Still, they seemed satisfied. Mentioned something about the “repeated melody’s potential for Project Bluechick”, whatever that means. They departed, and Lizzie brought me some cider from the fair, but I think it must have been a knock-off. Didn’t taste orange at all. 

Questioning commenced: 12:03 a.m.
Subject: George F. Morgan, Theater Manager
Firing into a crowd because of some commotion is one thing. Hitting a Sergeant is worse. When I saw Morgan’s trembling hands, I was certain that he would carry his actions with him for the rest of his life. And yet, this was a man in shock, not guilt; no premeditation, I am certain. Whatever compelled George to such violence, it may be powerful, but it is no quality within himself. He is not a violent man; that, at least, may provide him some comfort.
Ended 12:34 a.m.

I was permitted to journey to the scene of the crime. My first taste of the fair. What had been missing from my beverage was present in the air; some orange tang, some magic, even after everyone had gone. Surrounded by towers of light so wondrous I would have thought the creation impossible, had I not seen one with my own eyes. And further structures, such as the salt-Lady Liberty, ice that refused to melt, and yes, that mystical fruit which somehow remained fresh. There was something here, moving underneath it all, even without the people to do all the hustling and bustling. The movement was there regardless. Upon reaching the Mexican Theater where the calamity had occurred, the rustle of the air grew to a crescendo, and I found myself wishing for a sturdy weapon, certain that I could not be alone. And yet, alone I was, despite the sounds of movement giving way to a melody. A most familiar melody to any fairgoer, one that had breached the bounds of the fair and made its way even to my lowly station.

A little copper climbed an old fair’s knee,
    Begged for a story—"Do, Chicago, please.
    Why are you single; why all alone?
    Have you no visitors; have you no love?"
    "I had much company hours, hours ago;
    Where they now sleep, you will soon know.
    List' to my story, I'll tell it at once,
    I found them all faithless, after the ball"
After the fun is over,
    After the break of morn--
    After the dancers' leaving;
    After the stars are gone;
    Many a heart is aching,
    If you could read them all;
    Many the hopes that have vanished,
    After the ball.
Not even the melody remained of this twisted song after it’s first refrain, and I clutched my ears and tried to drown it out as it beat down upon my ears like iron hammers, hellbent on destruction --
    THEY LEFT ME, ALL
    THE FAIRGOERS WHO SWORE
    THEY WOULD NEVER LEAVE
    AFTER THE BALL.

    THEY HAD THEIR FUN
    WHY WOULD THEY STAY?
    SEE WHAT THEY CREATE
    AFTER THE BALL!
I believe it is at this point when I finally passed out from the strain of withstanding such onslaught; the empty echo of the mournful but violent music had ended by the time I awoke, which was to the first trickle of fair-hands, setting up for the day. One of them, a strapping yellow-haired man, placed a hand on my shoulder and gave me some advice:
“Never go to a place that should be busy when it is abandoned. Not unless you intend to restore it to life.” 
I think I shall heed his words from now on.

Entry: Project Bluechick - Theta Mandel
The CIA project created to develop mind control techniques known as ‘Project Bluebird’ is widely known, many documents relating to the operation eventually having been declassified. However, what was not previously widely known was that the project began with the CIA’s precursor in a proto-form known as “Project Bluechick”. The name implies the organisation was aware of the fledgling nature of the project, and that it may one day be succeeded by a more advanced operation.

The Devil in the White City - Theta Mandel
Chicago Inter Ocean Newspaper - May 7th, 1896
DEVIL IN THE WHITE CITY FINALLY HANGED!
By Massachino Cleverly

Today, on the 7th of May 1896, the man who terrorized the beautiful white city of the World’s Columbian Exposition three years past was at last consigned to his fate. His head hung loosely over his neck as the rope was lowered after that most terrible of punishments had been carried out, choked to death. A most fitting end for a man known for asphyxiating his victims, depriving them of oxygen after securing access to their wealth. Typically targeting young women and killing even children, it was a relief to all when this monster was captured by private detective agency Pinkerton two years previously, and sentenced to the execution which has now been carried out! May this menace’s potentially two hundred victims finally find peace.

Early history class report: World’s Columbian Exposition - Theta Mandel
Written by Jhe Sang Mi
In 1893, elements from dozens of cultures from across the Earth were gathered and displayed in one place: the World’s Columbian Exposition, also known as the Chicago World’s Fair. Abundant with cutting-edge technological marvels, the exposition was intended not only to show that Chicago had recovered well after the disastrous fire two decades earlier, but also to bring together examples of culture from across the globe. One of these cultures included Korea.

The royal band of Korea led a carriage tour around the fairgrounds, leading the way for the President himself, Grover Cleveland. Dignitaries in traditional colourful, heavy silk dress (hanbok) emerged from the administration building to welcome the President on the opening day — May 1st, 1893 . After centuries of isolation, Korea’s presence at the World Fair, even hosting their own pavilion, was a turning point in their engagement with the outside world.

However, it wasn’t all community bonding and delicious orange cider; many of the non-white cultures were only permitted to be in the fair in order to be made a laughing stock, belittled and exploited for white American enjoyment. One such example is the deplorable Dahomey village, where a white minstrel troupe performed the role of slaves, wearing blackface and depicting West Africans in particular as savages. Our Korean ancestors would have no doubt faced humiliation and fear on the fairground, and that is something we cannot dismiss in our discussion of the cultural impact of the Chicago World’s Fair.

Entry: Panic - Sean Dillon
Painted by Wellmainer Jones (1868-1961) over the course of the World’s Fair, Panic depicts a man descending in free fall in a landscape overwhelmed by buildings. Stylistically, the painting has been compared to the works of Edvard Munch (1863-1944). While famous for paintings such as The Scream, Madonna, or The Sick Child, it is his 1910 painting The Sun and his 1896 work Lady from the Sea that most evokes the visual style and implications of Panic. Of particular note is the painting’s use of nudity to depict the fragility of the falling man. Quite controversially, the painting fully depicts the falling man’s genitalia, though in the expressionistic style that Jones was well known for.

The painting has been interpreted by many art scholars of the early 1900s as a response to the then ongoing economic panic of 1893, the then largest economic crisis in history, with particular note being made towards the people within the buildings, in particular the one on the far left clearly being People’s Party candidates James B Weaver and James G Field laughing at the falling man’s plight. However, more modern critics in-tune with the cosmological implications of the 1893 World’s Fair note an eerie precursion of nuclear imagery. Specifically, with regards to the general shape of the painting as a collective whole alongside the blinding color pallet portraying the image of nuclear fallout. The falling man, curiously enough, bears an unmistakable similarity to J Robert Oppenheimer in his late thirties or early forties.

Other implications make themselves apparent to a larger concern than mere nuclear annihilation. Of note are the men in black suits in the building that curls like a decayed finger. The men are each wearing masks that would be widely worn in the trenches of World War I. Equally, there’s the smallest of the buildings, wherein a pair of men dressed for the late 20th century sits by a fire throwing British Pounds with the face of Queen Elizabeth II. The smoke from the fire is consumed by another building like noodles.

When asked about the origins of the painting in 1900, Jones was noted to claim that he initially came up with the idea after experiencing a brief psychotic episode in early November of 1888. He put the idea aside for many years before recalling the incident in a dream shortly after the World’s Fair began. When pressed for more detail regarding the psychotic episode, Jones claimed to have been visited by the devil dressed like a royal doctor. The cold eyes, Jones described, were the most terrifying thing he’d ever seen. He would also note that whenever he looks at the painting, it seems to change. Jones would joke that perhaps that’s true of all art. But the interviewer would note a rather pained expression on his face while saying that line.

Reputedly, the only other time Jones would talk about Panic would be in 1960, two months before his death. At a Christmas party held by a notorious New York gangster of ill repute, an art student by the name of Philip Thompkins (1932-2023) studied the painting (which, at the time, was owned by said gangster) for a half hour before stepping outside for a smoke. A nearby vagrant muttered a few words to himself before approaching Thompkins. Claiming to be the artist of the painting, the vagrant demanded the painting to be destroyed due to it creating evil, going so far as to attack the young art student. The vagrant was taken away by the police shortly thereafter.
Thompkins would go on to write a number of books claiming the vagrant was indeed Wellmainer Jones, though it remains unconfirmed if this is true. It should be noted that Jones would ultimately perish in a New York hospital, having been brought in by a good samaritan whose name has been lost to time. The cause of death would be ruled as resulting from untreated injuries from an incident two months prior.
The location of the painting is currently unknown.
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Next Stop:
Cable Line Road
by James Wylder