Thunderstruck by Erik Larson Summary

Thunderstruck intertwines the true stories of Hawley Crippen, a mild-mannered murderer, and Guglielmo Marconi, the inventor of wireless telegraphy, against the backdrop of Edwardian Europe. Their lives collide during a transatlantic manhunt aided by Marconi’s groundbreaking technology, blending true crime with scientific innovation.

Fans of narrative nonfiction, true crime enthusiasts, and history buffs will appreciate Larson’s meticulous research and gripping storytelling. The book appeals to readers interested in early 20th-century technological advancements and dramatic real-life mysteries.

Yes. The book chronicles the 1910 Crippen murder case and Marconi’s quest to popularize wireless communication. Both narratives are rooted in historical records, with Larson dramatizing key moments like Crippen’s escape aboard the SS Montrose and Marconi’s rivalry with other inventors.

Absolutely. Larson’s dual narrative builds relentless suspense, offering a vivid portrait of Edwardian society. Critics praise its seamless blend of science, crime, and history, calling it “splendid narrative history” comparable to his bestselling The Devil in the White City.

• Progress vs. Tradition: Marconi’s wireless challenges societal skepticism.
• Morality and Deception: Crippen’s crime contrasts his reputation as “the kindest of men.”
• Human Connection: The wireless irrevocably alters global communication.

Larson depicts Crippen as an unlikely killer—a diminutive, unassuming homeopath whose affair with Ethel Le Neve leads to his wife’s murder. His botched escape and eventual capture humanize him, with even Scotland Yard’s chief inspector expressing sympathy.

Marconi emerges as a relentless innovator battling scientific rivals and personal scandals. His wireless technology becomes pivotal in Crippen’s capture, symbolizing the dawn of a new era where technology bridges oceans and solves crimes.

The climactic chase sees Inspector Dew racing the SS Montrose to Canada via a faster liner, using Marconi’s wireless to coordinate Crippen’s arrest at sea. This scene underscores the wireless’s transformative power in law enforcement.

Larson rigorously cites primary sources, including trial transcripts and Marconi’s correspondence. He vividly recreates Edwardian London’s fog-bound streets and the cutthroat race to dominate wireless technology, though he dramatizes dialogue for narrative flow.

Like The Devil in the White City, it pairs crime with historical innovation but focuses more on technology’s societal impact. Fans note its slower pacing than Larson’s later works but praise its rich character studies.

Some reviewers argue the dual narrative creates uneven momentum, with Marconi’s technical struggles occasionally overshadowing the Crimean drama. Others find Crippen’s motives underexplored, though Larson emphasizes factual ambiguity.

For true crime meets history, try The Devil in the White City (Larson) or The Professor and the Madman (Simon Winchester). For Marconi’s era, The Invention of Air (Steven Johnson) explores scientific rivalry.