A little over a century ago, bubonic plague--the same Black Death that decimated medieval Europe--arrived on the shores of Hawaii just as the islands were about to become a U.S. territory. In this absorbing narrative, James Mohr tells the story of that fearful visitation and its fiery climax--a vast conflagration that engulfed Honolulu's Chinatown. Mohr tells this gripping tale largely through the eyes of the people caught up in the disaster, from members of the white elite to Chinese doctors, Japanese businessmen, and Hawaiian reporters. At the heart of the narrative are three American physicians--the Honolulu Board of Health--who became virtual dictators when the government granted them absolute control over the armed forces and the treasury. The doctors soon quarantined Chinatown, where the plague was killing one or two people a day and clearly spreading. They resisted intense pressure from the white community to burn down all of Chinatown at once and instead ordered a careful, controlled burning of buildings where plague victims had died. But a freak wind whipped one of those small fires into a roaring inferno that destroyed everything in its path, consuming roughly thirty-eight acres of densely packed wooden structures in a single afternoon. Some 5000 people lost their homes and all their possessions and were marched in shock to detention camps, where they were confined under armed guard for weeks. Next to the attack on Pearl Harbor in 1941, the Chinatown fire is the worst civic disaster in Hawaiian history. A dramatic account of people struggling in the face of mounting catastrophe, Plague and Fire is a stimulating and thought-provoking read.

The theatre of early modern England was a disastrous affair. What we tend to remember of the Shakespearean stage and its history are landmark moments of dissolution. This title is a study of these catastrophes and the theory of performance they convey.

A detailed history of two disasters that befell London, England: the Great Plague of 1665 in which it is estimated that at least 70,000 died, and the Great Fire of 1666, which destroyed four-fifths of the city.

“Like Dr. Frankenstein’s invented creature, the larger-than-life, flesh-and-blood characters of London Bridge in Plague and Fireare made from pieces of the dead past that are forged in the consciousness of an historian—himself a creation of history and of David Madden’s literary magic. Struck by the lightning bolt of the co-joined imaginations of Madden and his reader, the fabricated beings rise up and walk on London Bridge, and they have the audacity to speak for themselves in completely convincing and haunting voices.” —Allen Wier, author of Tehano For more than two thousand years, Old London Bridge evolved through many fragile wooden forms until it became the first bridge built of stone since the Roman invaders. With over two hundred houses and shops built directly upon the bridge, it was a wonder of the world until it was dismantled in 1832. In this stunningly original novel, Old London Bridge is as much a living, breathing character as its architect, the priest Peter de Colechurch, who began work on it in 1176, partly to honor Archbishop Thomas à Becket, murdered in Canterbury Cathedral. In 1665, the year of the Great Plague, Peter’s history is unknown, but Daryl Braintree, a young poet living on the bridge, resurrects him through inspired flights of imagination. As Daryl chronicles the history of the bridge and composes poems about it, he reads his work to his witty mistress, who prefers making love. Among other key characters is Lucien Redd, who as a boy was sexually brutalized by both Puritans and Cavaliers during the English Civil War before being kidnapped off London Bridge onto a merchant ship. Thus traumatized, he aspires to become Lucifer’s most evil disciple. Twenty years later, young Morgan Wood is forced into seafaring service to pay off his father’s debts; and, compelled by obsessive nostalgia for his early life on the bridge, he keeps a journal. Joining Morgan aboard ship, Lucien “befriends” him—to devastating effect. The shops and houses on the bridge survive both the Great Plague and Great Fire, believed to be God’s wrath upon sinful London. Fearing that God may next destroy the bridge and its eight hundred denizens, seven of its merchant leaders revert to a pagan appeasement ritual by selecting one of their virgin daughters for sacrifice. To enact their plan, they hire Lucien, who has returned to the bridge to burn it out of pure meanness. But as Lucien discovers, the chosen victim may be more Lucifer’s favorite than he is. Like his creation Daryl Braintree, David Madden employs diverse innovative ways to tell this complex, often shocking, but also lyrical story. The author of ten novels—including The Suicide’s Wife, Bijou, and most recently, Abducted by Circumstance and Sharpshooter—Madden has, with London Bridge in Plague and Fire, given us the most ambitious and imaginative work of his distinguished career.

ÊOne night, at the latter end of April, 1665, the family of a citizen of London carrying on an extensive business as a grocer in Wood-street, Cheapside, were assembled, according to custom, at prayer. The grocer's name was Stephen Bloundel. His family consisted of his wife, three sons, and two daughters. He had, moreover, an apprentice; an elderly female serving as cook; her son, a young man about five-and-twenty, filling the place of porter to the shop and general assistant; and a kitchen-maid. The whole household attended; for the worthy grocer, being a strict observer of his religious duties, as well as a rigid disciplinarian in other respects, suffered no one to be absent, on any plea whatever, except indisposition, from morning and evening devotions; and these were always performed at stated times. In fact, the establishment was conducted with the regularity of clockwork, it being the aim of its master not to pass a single hour of the day unprofitably. The ordinary prayers gone through, Stephen Bloundel offered up along and fervent supplication to the Most High for protection against the devouring pestilence with which the city was then scourged. He acknowledged that this terrible visitation had been justly brought upon it by the wickedness of its inhabitants; that they deserved their doom, dreadful though it was; that, like the dwellers in Jerusalem before it was given up to ruin and desolation, they "had mocked the messengers of God and despised His word;" that in the language of the prophet, "they had refused to hearken, and pulled away the shoulder, and stopped their ears that they should not hear; yea, had made their heart like an adamant stone, lest they should hear the law and the words which the Lord of Hosts had sent in his spirit by the former prophets." He admitted that great sins require great chastisement, and that the sins of London were enormous; that it was filled with strifes, seditions, heresies, murders, drunkenness, revellings, and every kind of abomination; that the ordinances of God were neglected, and all manner of vice openly practised; that, despite repeated warnings and afflictions less grievous than the present, these vicious practices had been persisted in. All this he humbly acknowledged. But he implored a gracious Providence, in consideration of his few faithful servants, to spare the others yet a little longer, and give them a last chance of repentance and amendment; or, if this could not be, and their utter extirpation was inevitable, that the habitations of the devout might be exempted from the general destructionÑmight be places of refuge, as Zoar was to Lot. He concluded by earnestly exhorting those around him to keep constant watch upon themselves; not to murmur at God's dealings and dispensations; but so to comport themselves, that "they might be able to stand in the day of wrath, in the day of death, and in the day of judgment." The exhortation produced a powerful effect upon its hearers, and they arose, some with serious, others with terrified looks.