Thunderstruck

THE SCAR

THE YOUNG WOMAN WHO NOW presented herself at the Brooklyn, New York, office of Dr. Hawley Harvey Crippen, and who was destined to cause such tumult in his life, was named Cora Turner. At least that was her name for the present. She was seventeen years old, Crippen thirty and already a widower, but the distance between them was not as great as chronology alone suggested, for Miss Turner had the demeanor and physical presence of a woman much older. Her figure was full and inevitably drew forth the adjective voluptuous. Her eyes were alight with a knowledge not of books but of how hardship made morality more fungible than the clerics of Brooklyn’s churches might have wanted parishioners to believe. She was a patient of the physician who owned the practice, a Dr. Jeffrey, and she had come in for a problem described with Victorian reticence as “female.”

Crippen was lonely, and genetic fate had conspired to keep him that way. He was not handsome, and his short stature and small bones conveyed neither strength nor virility. Even his scalp had betrayed him, his hair having begun a brisk retreat years before. He did have a few assets, however. Though he was nearsighted, his eyes were large and conveyed warmth and sympathy—provided he was wearing his glasses. Lately he had grown a beard in a narrow V, which imparted a whiff of continental sophistication. He dressed well, and the sharp collars and crisp-cut suits that tailors of the day favored gave him definition against the passing landscape, the way a line of India ink edged a drawing. Also, he was a doctor. Medicine in this era was becoming a more scientific profession, one that conveyed intellect and character, and, increasingly, prosperity.

Crippen fell for Cora Turner immediately. He saw her youth as no obstacle and began courting her, taking her out to lunch and dinner and for walks. Gradually he learned her story. Her father, a Russian Pole, had died when she was a toddler; her German mother had remarried, but now she too was dead. Cora was fluent both in German and in English. Her stepfather, Fritz Mersinger, lived on Forrest Avenue in Brooklyn. Crippen learned that for one of her birthdays Mersinger had taken her into Manhattan to hear an opera, and the experience had ignited an ambition to become one of the world’s great divas.

As Crippen got to know her, he learned too that her passion had become obsession, which in turn had led her down a path that diverged from the savory. She lived alone in an apartment paid for by a man named C. C. Lincoln, a stove maker who was married and lived elsewhere. He paid for her food and clothing and voice lessons. In return he received sex and the companionship of a woman who was young, vivacious, and physically striking. But a complication arose: She became pregnant. The problem that brought her to the office of Crippen’s employer, Dr. Jeffrey, was not some routine female complaint. “I believe she had had a miscarriage, or something of that kind,” Crippen said. But this may have been code for a circumstance even more wrenching.

Nonetheless Crippen was entranced, and Cora knew it. With each new encounter, she came increasingly to see him as a tool to help her break from Lincoln and achieve her dream of operatic stardom. She knew how to get his attention. During one of their outings she told him that Lincoln had just asked her to run away with him. Whether true or not, the news had the desired effect.

“I told her I could not stand that,” Crippen said.

A few days later, on September 1, 1892, the two exchanged vows in a private ceremony at the home of a Catholic priest in Jersey City, New Jersey. Presumably the priest knew nothing of the past pregnancy.

Soon after the wedding Cora gave Crippen his first glimpse of a trait in her character that would become more salient as the years passed: She liked secrets. She told him her real name was not Cora Turner—though the name she now gave seemed hardly real, more like something concocted by a music hall comedian. Her true name, she said, was Kunigunde Mackamotzki.

She planned, however, to keep calling herself Cora. It had been her nickname since childhood, but more importantly Kunigunde Mackamotzki was hardly a name to foster success in the world of Grand Opera.

Almost immediately the newlyweds found themselves battered by failed decisions and forces beyond their control.

HAWLEY HARVEY CRIPPEN was born in Coldwater, Michigan, in 1862, in the midst of two wars, the distant Civil War and closer to home the war against Satan, an enemy deemed by most people in the town to be as real, if not as tangible, as the gray-uniformed men of the South.

The Crippen clan came to Coldwater early and in force, their arrival described in a nineteenth-century history of Branch County, Michigan, as “the coming of a colony of methodists.” They spent generously toward the construction of a Methodist church in Coldwater, though at least one prominent member of the family was a Spiritualist. In this he had company, for Coldwater was known as a hotbed not just of Protestant but also of Spiritualist belief, the latter apparently a product of migration. Like so many of their neighbors, the Crippens had moved to Michigan from western New York, a region eventually nicknamed the “burnt-over district” for its willingness to succumb to new and passionate religions.

Crippen’s grandfather, Philo, arrived in 1835 and after courting with alacrity married a Miss Sophia Smith later the same year. He founded a dry goods store, which expanded to become one of the most important businesses in town and a significant presence on Chicago Street, the main commercial corridor, where the Chicago Turnpike sliced through. Soon Crippens seemed to be taking over. One operated a flouring mill on Pearl Street; another opened a store that sold produce as well as general merchandise. A Crippen named Hattie played the organ at the Methodist church, and still another, Mae, became a principal in the city’s schools. There was a Crippen Building and a Crippen Street.

The town of Coldwater grew rapidly, thanks to its location both on the turnpike and on the main line of the Lake Shore Michigan Southern Railroad, and Chicago Street became the center of commerce in southern Michigan. A man with money strolling the street could buy nearly anything from an array of specialized shops that sold boots, guns, hats, watches, jewelry, and locally made cigars and carriages, for which the town was becoming increasingly famous. The most prestigious industry was horse breeding. One farm cultivated racing horses that achieved fame nationwide, among them Vermont Hero, Hambletonian Wilkes, and the most famous, Green Mountain Black Hawk.

Coldwater was wealthy, and its residents built houses to reflect the fact, studding the town’s core with graceful homes of wood, brick, and stone, many destined to survive into the twenty-first century and transform Coldwater into a mecca for students of Victorian architecture. One early edition of the Coldwater city directory observed, “The pleasant drives and parks shaded perfectly by magnanimous maples, the many miles of well kept walks, the brilliantly lighted streets, the neat and substantial residences, the urban appearing business places all in part go to make up this city so fortunately inhabited with well educated, intelligent and thoughtful people whose actions both publicly and privately are devotedly American.”

Philo Crippen and his wife soon had a son, Myron, who in turn married a woman named Andresse Skinner and eventually took over the family’s dry goods empire, while also serving as tax assessor for the city’s first ward and an agent for a sewing machine company. In 1862 Myron and Andresse had their first child, Hawley Harvey, who arrived in the midst of national tumult. Every day the Coldwater newspapers reported the ebb and flow of shed blood, as the country’s breeders shipped off horses to support the Union effort, in all three thousand horses by the war’s end. The Coldwater Union Sentinel of Friday, April 29, 1864, when Hawley Harvey was two years old, cast gloom over the town. “The spring campaign seems to have a bad send off,” the newspaper reported: “—disaster, defeat or retreat has attended thus far every effort of our armies.” Branch County’s young men came back with foreshortened limbs and grotesque scars and told stories of heroic maneuvers and bounding cannonballs. In these times conversation at Philo’s dry goods store did not lack for exuberance and gore.

DESPITE THE WAR HAWLEY enjoyed a childhood of privilege. He grew up in a house at 66 North Monroe, one block north of Chicago Street, at the edge of an avenue columned with straight-trunked trees having canopies as dense and green as broccoli. In summer sunlight filtered to the ground and left a paisley of blue shadow that cooled the mind as well as the air.

Sundays were days of quiet. There was no Sunday newspaper. Townspeople crossed paths as they headed for their favored churches. In the heat of summer cicadas clicked off a rhythm of somnolence and piety. Hawley’s grandfather, Philo, was a man of austere mien, which was not unusual in Coldwater among the town’s older set. A photograph taken sometime after 1870 shows a gathering of about twenty of Coldwater’s earliest residents, including Philo himself. It is true that in this time people set their faces hard for photographs, partly from custom, partly because of deficits in photographic technology, but this crowd might not have smiled for the better part of a century. The women seem suspended in a state somewhere between melancholy and fury and are surrounded by old men in strange beards that look as if someone had dabbed glue at random points on their faces, then hurled buckets of white hair in their direction. The day on which this photograph was taken must have been breezy because the longest and strangest beard, stuck on the oldest living citizen, Allen Tibbits, is a white blur resembling a cataract. Grandfather Philo stands in the back row, tall and bald at his summit, with tufts of white hair along the sides of his head and the ridge of his jaw. He has prominent ears, which fate and blood passed downward to Hawley.

A man of strong opinion and Methodist belief, Grandfather Philo exerted on the Crippen clan a force like gravity, suppressing passion and whim whenever he entered the room. He hunted evil in every corner. Once he asked the Methodist council to “prevent the ringing of bells for auctions.” In those days members of the congregation paid the pastor for their seats, with the highest-priced pews in front selling for forty dollars a year. It was an impressive sum—over $400 today—but Philo paid it and made Hawley and other members of the family join him every Sunday. In matters involving the Lord, no expense was too great.

Worship did not end with the pastor’s amen. At home Grandfather Philo read the Bible aloud, with special emphasis on the gloomy fates that awaited sinners, in particular female sinners. Years later Hawley would tell an associate, “The devil took up residence in our household when I was a child, and never left it.”

Somewhere in these three generations a weakening occurred. Grandfather Philo and his brother, Lorenzo, had faces that expressed strength and endurance and over time came to resemble dynamited rock more than human flesh. Two generations later Hawley emerged, pale, small, and myopic, harried now and then by bullies but himself gentle in manner and unscarred by hard work. His childhood progressed at a saunter, his days routine save for widely spaced moments of community excitement, such as the installation in 1866 of a toboggan slide and the fire in 1881 that destroyed Coldwater’s Armory Hall, the town’s only theater. The disaster prompted one of the town’s leading cigar-makers, Barton S. Tibbits, to build a striking new opera house, and soon Coldwater began drawing the likes of James Whitcomb Riley, who read his poetry from the stage, and an array of less high-brow entertainers, including the Haverly’s Minstrels with their “$10,000 Acting Dogs,” various traveling companies hell-bent on performing Uncle Tom’s Cabin, innumerable mind readers and mediums, and most memorably Duncan Clark’s Lady Minstrels and New Arabian Nights, described by the Coldwater Republican as “eight females, scantily dressed”; the Courier called it “the vilest show that ever appeared in Coldwater.”

CRIPPEN ENROLLED IN THE UNIVERSITY of Michigan’s School of Homeopathy in 1882, when homeopathy was a mode of medicine that enjoyed great popularity among doctors and the public. The founder of homeopathy was a German physician named Samuel Hahnemann, whose name subsequently became applied to many hospitals around the United States. His treatise, Organon of Rational Therapeutics, first published in 1810, became the bible of homeopathy, positing that a doctor could cure a patient’s ills by using various medicines and techniques to conjure the same symptoms as those evoked by whatever disease or condition had assailed the patient. He distilled his beliefs to three words, similia similibus currentur: Like cures like.

Crippen left the school in 1883 without graduating and sailed for London in hopes of continuing his medical education there. The English medical establishment greeted him with skepticism and disdain but did allow him to attend lectures and work as a kind of apprentice at certain hospitals, among them the Hospital of St. Mary of Bethlehem. An asylum for the insane, its name had shrunk through popular usage to Bedlam, which eventually entered dictionaries as a lowercase word used to describe scenes of chaos and confusion. It was here that Crippen felt most welcome, for the treatment of the insane was a realm in which few doctors cared to practice. Nothing cured madness. The most doctors could do was sedate resident lunatics to keep them from hurting themselves and others. In an environment where nothing worked, anything new that offered hope had to be considered.

Crippen brought with him an array of skills and a knowledge of compounds that asylum officials saw as useful. As a homeopath, he knew the powers not just of ordinary opiates but also of poisons such as aconite, from the root of the plant monkshood; atropine, from belladonna (or deadly nightshade); and rhus toxin from poison ivy. In large doses each could prove fatal, but when administered in tiny amounts, typically in combination with other agents, such compounds could produce a useful palette of physical reactions that mimicked the symptoms of known diseases.

At Bethlehem Hospital Crippen added a new drug to his basket, hydrobromide of hyoscine, derived from an herb of the nightshade family, Hyoscyamus niger, known more commonly as henbane. He used it there for the first time, though he long had known of the drug from his studies back home in America, where it was employed in asylums as a sedative to quell patients suffering delirium and mania, and to treat alcoholics suffering delirium tremens. Doctors injected the drug in tiny amounts of one-hundredth of a grain or less (a grain being a unit of measure based historically on the average weight of a single grain of wheat but subsequently set more precisely at 0.0648 grams or 0.002285 ounces). Crippen also knew that henbane was used commonly in ophthalmic treatments because of its power to dilate the pupils of the eye both in humans and animals, including cats, a property that would prove particularly important to Crippen’s future. Any miscalculation would have been dangerous. Just a quarter-grain—that is, 0.0162 grams or 0.0005712 ounces—was likely to prove fatal.

Crippen did not stay long in London. Overall he had found his reception to be as chilly as the city’s climate. He returned to the United States and enrolled in medical school at Cleveland Homeopathic Hospital. He studied surgery but said, later, that his training was purely theoretical—that he had never really operated on patients, alive or dead. Later he had occasion to insist, “I have never performed a postmortem examination in my life.”

THE CITY OF COLDWATER expected much from Crippen. He was not a man’s man, like his uncles Lorenzo and General Fisk, but rather the cerebral sort, and medicine seemed a good career for him to pursue. The local papers tracked his travels; on March 21, 1884, the Coldwater Courier noted “Hawley Crippen, son of Myron Crippen, is in the city.” He had returned for the funeral of his grandmother, Mrs. Philo Crippen, who had died a few days earlier. Supposedly, if improbably, her last words had been, “Blessed hope of a glorious immortality.” An item in the next day’s paper noted that Hawley Crippen “graduates at the Medical College of Cleveland next week.”

After graduation Crippen opened a homeopathic practice in Detroit, but two years later he moved to New York to study ocular medicine at the New York Ophthalmic Hospital, a homeopathic institution at Third Avenue and Twenty-third Street. A few decades earlier the hospital had undergone a traumatic shift from allopathic medicine—where doctors sought to cure disease by conjuring symptoms opposite to those suffered by patients—to homeopathy, in the process jettisoning all its surgeons by giving them “permanent leave of absence.” Under the new protocol and guided by a new cadre of physicians, “the success of the institution was as remarkable as its previous failure had been,” according to History of Homeopathy, published in 1905 by a devotee, Dr. William Harvey King. One of the most important of the school’s new leaders had the unfortunate surname Deady. School records show that Crippen graduated in 1887, one of the few students to do so each year. Wrote King, “The real worth of the hospital is measured by the good accomplished in the relief of suffering humanity rather than by the number of graduates who receive its coveted diploma.”

Now in his mid-twenties, Crippen began an internship at the Hahnemann Hospital in New York, and there he met a student nurse named Charlotte Jane Bell, who had come to America from Dublin. Soon the Coldwater Courier had some exciting news: Shortly before Christmas 1887, Hawley Harvey Crippen had gotten married.

He and Charlotte left New York for San Diego, where Crippen opened an office. The two reveled in the absence of winter and in the blue clarity of the coast. Crippen’s parents, Myron and Andresse, by now had moved from Coldwater to Los Angeles, a day’s train ride north. Charlotte became pregnant and on August 19, 1889, gave birth to a son, Otto. Crippen and family moved again, this time to Salt Lake City, where Charlotte again became pregnant. In January 1892, shortly before this baby’s expected arrival, Charlotte died suddenly, the cause attributed to apoplexy. Crippen sent Otto, now a toddler, to Los Angeles to live with his grandfather and grandmother, then himself fled back to New York. It was then that he joined the practice of Dr. Jeffrey, and took lodging in the doctor’s house, and met the woman who was to alter the course and character of his life.

THEIR MARRIAGE BARELY UNDER WAY, Crippen and Cora moved from New York to St. Louis, where Crippen became an eye doctor in the office of an optician. They did not stay long in St. Louis. The city lacked the boisterous glory of New York and had little to offer a woman intent on a life in the world’s embrace. No doubt at Cora’s urging, the couple moved back to New York.

Cora’s “female complaint” now worsened. There was pain and bleeding. She saw a doctor, who told her the problem lay in her ovaries. He recommended removal by surgery: an ovariectomy. Crippen had misgivings. He had seen enough surgeries and their results to know that while surgical skills had advanced greatly since the barbaric practices of the Civil War, an operation was not something to be done on a whim. Though progress with disinfectants had reduced the incidence of catastrophic infection and though improvements in anesthetics had made the whole process endurable, surgery remained a dangerous undertaking. But Cora’s discomfort was too great. She agreed to have the operation.

Soon afterward Cora paid a visit to her sister, Mrs. Teresa Hunn, at her home on Long Island, and showed her the scar. It was still “fresh,” a seam of angry red skin. During a subsequent visit Mrs. Hunn saw the scar again. It was still sufficiently impressive to score itself into Mrs. Hunn’s memory, so that even years later she was able to detail its appearance: “it was healed much better than it was the first time I saw it. It would be about 4 or 5 inches long and about 1 inch wide, but I could not quite exactly say. It was more a cream colour than the rest of her skin, and paler looking. The outside, near the flesh, was paler than the centre of the scar.” One detail Mrs. Hunn failed to note was whether the operation had required the removal of Cora’s navel, a procedure that commonly accompanied such surgery.

The operation meant that Cora would never bear children, which became for her a source of grief. A close friend, Mrs. Adeline Harrison, later would say, “There was only one little shadow in their lives of which I was aware. They both were passionately fond of children, and she was childless.” Whether Crippen truly shared his wife’s longing is open to debate, however, given that he had sent his own son to live in Los Angeles and did not now bring him back.

One of Cora’s half-sisters, Mrs. Louise Mills, said that her sister “craved motherhood” and that the lack of children cast a shadow over their marriage. “When I visited them four years ago they appeared to be perfectly happy,” she reported, except that Cora “would bemoan the fact that she had no child. I fear that in the latter part of her married life she became more and more lonesome.”

In a letter to another of her half-sisters, Cora wrote, “I love babies. I am certain that a baby makes a great deal of difference in a family. In fact, it is not complete without a baby. So I envy you. Oh, I tell you, it makes a great deal of difference when it is your own.”

PRESSURES ACCUMULATED. AFTER RECOVERING from her surgery, Cora threw herself into her singing lessons, which Crippen was glad to pay for. He liked seeing his young wife happy. In May 1893 the nation slid into a deep depression—the Panic of ’93—and the demand for Crippen’s medical expertise plummeted. He paid for Cora’s music lessons as long as he could but soon was compelled to tell her the lessons had to cease, at least for a while. They moved to less expensive rooms. As their income dwindled, they moved again, and again, until at last they found themselves forced to make a decision that Cora at the time of her marriage to the young and prosperous-seeming Dr. Crippen never imagined she would have to face. She should have been on stage by now, living well in an apartment in Manhattan or for that matter in London, Paris, or Rome. Instead she and the doctor found themselves not just back in Brooklyn, a discouraging condition in itself, but having to surrender to an even more humiliating state of affairs. They moved in with Fritz Mersinger, Cora’s stepfather.

For Cora this was a turning point. First there had been St. Louis, little more than a smoke-grimed outpost. Then came a steady rung-by-rung decline as the panic deepened and people lost jobs, and parents struggled to provide their families with food and heat.

Cora pushed Crippen to find work that would yield a better standard of life and get them out of Mersinger’s house and out of Brooklyn, closer to the world she had glimpsed in that first opera of her life, the men in their black suits and capes and tall hats, the women whose diamonds gleamed from the opera house boxes like constellations in a winter sky. Legitimate medicine—and homeopathy still was considered legitimate, though its appeal was fading—had failed to generate the required level of income.

It is likely, given Crippen’s temperament, that he would have preferred simply to wait for better times, when once again a visit to the doctor would be perceived as necessary and affordable, not as a luxury to be done without.

Cora, however, could not wait. To do so, to be patient and accept what fate had to offer, would have been out of character. Filson Young—his full name was Alexander Bell Filson Young—a prominent journalist and author at the start of the twentieth century, described Cora as “robust and animal. Her vitality was of that loud, aggressive, and physical kind that seems to exhaust the atmosphere round it, and is undoubtedly exhausting to live with.”

When Crippen first met her in Dr. Jeffrey’s office, what immediately had drawn his attention besides her beauty and lush proportions was her impulsive, buoyant nature, her energy, and her determination not to let herself be crushed by the exigencies of late-nineteenth-century urban life. But increasingly what had seemed impulsive and charming began to appear volatile and wearing, even alarming.

Years later, referring to Cora in this first phase of their marriage, Crippen said that “she was always rather hasty in her temper.” He knew, however, that others rarely saw this aspect of her personality: “to the outside world,” he said, “she was extremely amiable and pleasant.”

The tension in their marriage increased.