Rocket Fighter, by Mano Ziegler

What a remarkable read! Mano Ziegler, a second world war fighter pilot with the Luftwaffe, published, in 1961, “Raketenjaeger 163“. This excellent little book was subsequently published in English as “Rocket Fighter”. It is the very readable story of the development of the Messerschmidt 163 rocket-powered interceptor during WWII. My copy came as a gift from a close friend of mine.

image: Wikipedia

It is wonderfully written. Lovely English – one may ask whether this is because it was well written in the original German (which I find more than likely) or is it an artifact of translation by someone who can write beautiful English? It comes across in waves of easy-to-read, rolling prose.

It’s worth mentioning, at a remove of seventy years since WWII, that the work is completely free of any political rancour or bitterness, and there is little mention of the war itself at all, except toward the end of the book when the onward juggernaut of the Soviets was making its way across eastern Germany. The war is seen always as an effect, a shadow, an influence.

The story here is about the airmen who worked to the best of their abilities to transform this innovative new rocket plane into an actual operational fighter. The heroes are the airmen. They are no different to American airmen, or British airmen. At one point, a pair of Mustangs fly over and strafe the airfield, causing the flyers and a number of their female colleagues (WAAFs of some kind) to fling themselves into a slit trench or ditch for shelter. Emerging from shelter after the raiders had gone, one of the airmen shakes his fist at the retreating Americans: “look at my bloody trousers – straight from the cleaners too!!” These men had an excellent custom of “birthdays”. if something happened to an airman where he ought by rights, to have died – but survives – that day, ever afterwards, becomes a new birthday, with cake and drinks and appropriate celebration.

The heroes are the men that lived and died working on the rocket planes, which were unreliable if amazing when they worked. And these brave men sometimes died hard, literally dissolved by the liquid rocket fuel, which was concentrated Hydrogen Peroxide.

The astonishing technology is the other hidden hero here. History is generally written by the victors: I was brought up in 1970’s Britain, and was taught in school that Frank Whittle invented the jet engine. German aviation technology seems almost like “alternative history” to me. Men like Alexander Lippisch, who pioneered the tail-less “delta” shaped aircraft (so iconic later in the Avro Vulcan) so nearly brought the Germans victory in WWII. To read or watch Philip K Dick’s nightmare vision of a 1960’s where the Nazis won (“The Man in the High Castle“) and see a world spanned by supersonic jets, and a manned mission to Mars, is to shiver. Terribly plausible, at one level, when you consider this frighteningly advanced technology, and the upright, honest and capable men, like Mano Ziegler and others, who were set by the Nazis to develop it and fly it.

Extraordinary complexity

We live in times of extraordinary complexity. Perhaps it was ever thus: were there ever truly simple and straightforward times? Yet, our willingness and our ability to discern complexity is under attack as never before. It is under attack from social media; it is under attack from the rise in sentimentality we’ve seen over this last twenty years or so, and it is under attack because of the fashion for hyperbole and over-statement.

The deplorable rise of “spin” – the use of language to conceal, obscure or divert people from the facts – has much to answer for.  The use of carefully chosen, politically charged, and nuanced phrasing, has, paradoxically, eroded our capability to discern nuance.

We look back at events like the Great War, and perhaps see simple causes, straightforward effects, obvious and clear protagonists and antagonists.  We view such events through the simple lens of modern thinking.  Cliches such as “senseless slaughter” come to our lips; we take off our hats, and rightly, spend a moment in silence to remember the fallen. 

But it was never that simple: that war was no simple struggle between good and evil, nor even a titanic battle between two great empires, the British and the Austro-Hungarian.  Britain, even the British Empire, was part of an alliance, and not even the senior partner at that.   

And then, consider what else was happening at the same time as the Great War.  The struggle for female emancipation and women’s suffrage.  The Easter Rising and the struggle for independence in Ireland.  The Russian revolution.  The technical innovation happening as a result of the war; the changing relationship between the New World and the Old.  

All of it points to a time of complexity to which we don’t do justice by over-simplifying what happened. It is not less true today.  I’m minded to reflect on our shortening attention span.  My boss wants 3-5 bullet points, size 21 font, one slide in Microsoft PowerPoint – just the salient facts to present to the Board.  In the second war,  Churchill reputedly turned to his underlings and asked them to provide for him a “report on the current state of the Royal Navy – on one side of a sheet of paper”.  As writers we do have a duty to keep things simple, to use short words, sentences and paragraphs, and to cut out unnecessary waffle. There is a case for simplicity – but we have made the case for simplicity our idol. 

How are we going to comment meaningfully and profitably on the hideous complexity through which we are now living? Three bullet points won’t cover Brexit nor explain the reasons for and against it.  One side of a sheet of paper may not cover the reasons for our changing culture.  A few photographs will not explain the balance of power between the West, China and Russia.  The job of the commentator is made doubly difficult by the fact that everyday folk have lost interest in complexity.  Today we have Twitter and Instagram – but think of the walls of text in a Victorian newspaper.  Today we want to see things reduced to three bullet points, the sound bite, the black and white. We want to see the spectacle of wrong and right, of bread and circuses.  Who needs a judge and jury when you’ve got Facebook?

Walk East Til I die, by Mike Pinnock

I like a good outdoorsman’s travelogue, and this falls into the same category as Nicholas Crane’s “Clear Waters Rising” or “Two degrees West”.  An Englishman of a certain age sets himself to do an all-but impossible adventure – what’s not to like? I’m an Englishman of a certain age myself – but Mike is older.  I should admit early on in the interests of transparency that Mike is a relative of mine.   

All that said, I liked the historical accounts in this work better.  There’s only so many pints of lager you vicariously enjoy.  Mike paints an interesting story of Eire today and in the past.  My wife and I visited Kerry on our honeymoon in 1990, and we were told that almost no-one lives within twenty miles of the west coast of Ireland, except for those whose living depends on tourism.  Mike’s account bears that out – there seems to be no-one there.  A far cry from queuing up to walk along Crib Goch in Snowdonia, as you’ll have to do on any fine weekend in summer.  

I learned much of Irlsh history.  You’ll not be learning this kind of thing in English schools, not this last 40-50 years. I’d heard of Michael Collins, of the Easter Rising, and of the Irish Free State, and few would not have heard of Eamon De Valera.  What Mike has done has coloured in the gaps a little, brought to life some of that fascinating past, some of the terrible suffering.  From the medieval saints, through the Norman overlordship, and onto Cromwell’s atrocities, then the Potato Famine and the emergence of Eire, Mike has provided some insights into Irish history without ever being partisan or taking an obvious side.  

Cool Hand Luke, by Donn Pearce

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When set against the wider genre of prison literature, “Cool Hand Luke” is perhaps somewhat tame. This isn’t “Papillon” and it certainly isn’t in the same category as anything coming out of the prison-based suffering that took place in the Soviet Union. This story has nothing of the human privation and suffering shared with us by Solzhenitsyn in “The Gulag Archipelago” or “A day in the life of Ivan Denisovich”.

In spite of this book being made into to a classic film about torment and suffering in prison, it doesn’t really deal with the full horror of man’s inhumanity to man in prison.  To learn about that you’d be better off listening to Joan Baez’ wonderful song “Prison Trilogy (Billy Rose)”, and then weeping.

What we do have here, is prison guards and prisoners as real people. We get stories within stories. The author introduces his hero only gradually, delicately, subtly.  Even the narrator doesn’t tell the story but puts it in the mouth of one of his characters, “Dragline”, all of whose teeth were brutally kicked out by Miami detectives. “Dragline” is played in the movie by George Kennedy, in one of his best roles.

The story is an interesting reflection on post-war Florida. It’s difficult to pin down exactly when the story is set.  At one point, the narrator (the prisoner called “Sailor”) uses the term “diesel locomotive” making it clear that this is new and unusual.  He refers to a train called the “Silver Meteor’.  Most of the convicts are under thirty; some seem to have been WWII veterans. In the end, we learn that Luke’s experiences in the war have by no means left him unchanged.

There are hostages to fortune which may offend the modern liberal reader. Twenty-first century sensibilities will not take kindly to the frequent use of certain words describing African Americans. And then there is the passage describing “The Girl” – a schoolgirl of sixteen.

But in the end, this book was a thought-provoking, worthwhile and entertaining read. Have you got your mind right? That deep underlying question can keep some of us awake at night, for there’s a little of Cool Hand Luke in us all.

All the landscape was the mill

A crowd of ladies from a faraway land, each dressed in brightly coloured fabrics, would come chattering past the house each day. They would sweep along every morning and evening, their conversations bright, adult, and quite incomprehensible in some unknown language. The little boy asks, who are those ladies? His mother tells him that they all work in the mill at the bottom of the street.

The boy learned a lesson young: who you are and what you are can be seen from where you’re going – and when. The direction you’re walking, and the time of day, tells us something about who you are.

At the bottom of the street, a crossroads. Go left into a quiet lane past the allotments to the edge of town. Go right past a bowling green smooth like a billiard table, to a sweet shop. Straight on, to the park, to school, to Cubs. The crossroads of our lives – turn each way for different lives, different paths. People will know where you are going, when you walk through these streets. Here, brick and tarmac, there, woods and quiet shrubs and grasses. Straight on – for play, and for learning.

The sepia stains of history lie on these streets, or at least it seems so, to the boy and to the man he became. Here, a grandfather swam in an outdoor pool. There, a street where an unsmiling lady stood in a crowd of joy and cheers, struggling to see the good in VE Day. Over there, the flats, and the outlines of vanished streets. The streets are gone, but the memories remain, thick like dust, easy to discern if you’re the right sort. Listen carefully, even today, and you can hear the treble drone of bombers, or the wretched tears of poverty, the grinding life of the urban poor.

He came back to those streets in a kind of pilgrimage, thinking somehow to reconnect with the past, with the feeling of those early days. If he could represent his childhood. all the carefree years of boyhood, as an icon, that icon would be a little image of the mill at the bottom of the street. He walked past that mill every day for years uncounted, it seemed to him when he was young. Endless weeks, he went past that mill, morning, afternoon, evening. And he never went inside it, in all his life.

As a young man, he’d sat with this father watching old Laurel and Hardy movies. They were amusing; there were wry smiles. But even as he watched them, he found that they were just not as funny as they had been when he was a small boy. He’d mentioned this to his father, who’d shook his head with the greybeard wisdom of ages. “The boy who rolled around laughing on the floor at these movies, no longer exists”, he said. The boy became the man, the young man became the older man.

Could these streets ignite a kind of holy nostalgia? Could they form a harbour into which a pilgrim might sail, to sojourn briefly in the past – a visit only. Not to remain. The mill was still there; the streets were still there. The crossroads by the bowling green was unchanged. The municipal lines of alternating plane trees and lime trees in the park – still there, save for a few gaps caused by storms of old.

Walking in past the park, he’d noticed that no single youngster was out playing. It was 4.30pm on a spring weekday afternoon. The roundabouts were siezed and rusted, the swings abandoned, it seemed. Where was everybody? Where were they all? He knew, really. No Marie Celeste mystery here. Just the modern world, risk averse, focussed on itself, with smartphones, tablets and unwillingness to be out of doors.

The mill was the fixed point – all the landscape was the mill. But there was no river of bodies pouring down the street to find work there. That river had dried up long ago. Here had been a future for hands of skill. No longer. That much had changed even in his own youth. What remained now, was clearly foreseeable even back then – if you could read the writing on the wall. What had been a mill making clothes, was now a university department. It was a department covering such matters as textiles and art, so there remained a tenuous connection with what had been. On the river of time, you cannot paddle upstream. That river flows only in one direction.

He walked up the street, remembering the red and blue bricks in the pavement. He recalled cycling down the street on a baking hot day, trying to keep in the shade. The baleful sunlight of reality was upon him now, beating mercilessly on his head. No golden light of evening, nor delicate pink at dawn, but scorching tropical sunshine at noon. A sunshine, as Kipling wrote, that sometimes strikes men dead.

Yet, though saddened, he knew things had to change. There is no going back. There’s no returning to those places of golden childhood. Nostalgia is a hip-flask from which we can allow ourselves no more than a discreet sip, every now and then. If we look back, we must look in thankfulness, not in nostalgia.

Treading his way up what he thought was a dried up riverbed, he noticed that there was a new river of bodies making their way to the mill, young people, people learning. people looking to the future. And reassured somewhat, he left that harbour and sailed away back home.

The Silk Roads, by Peter Frankopan

I got this book on the basis that it was about Central Asia. A legitimate assumption, perhaps, given it’s title. But no, it is not about “the Silk Roads” as such.

The expression “Silk Road” comes not from antiquity but from a 19th century German historian. Just thought I’d throw that into the pot, so to speak.

Peter Frankopan’s book is a new history of the world, starting in deep classical antiquity, and ending right now in the second decade of the 21st century.

Persia and other middle eastern “silk road” countries are mentioned early on. The importance of the nations and states through which what we now call the “Silk Road” becomes apparent, though Persia -Iran- seems to be considered paramount.

The book makes a detour, in order to gain a wider perspective, into a history of Western Europe and the adventures of Europeans in the New World.

In my view, the latter part of the book is tilted subtly against the west and against America. This is never shrill, but it is there nonetheless. In this, it only really reflects the zeitgeist. Me, I like the West, I like America, and I like what they stand for.

Overall, an excellent piece of work, in the “grand sweep of history” style which does appeal to me.

Sapiens, by Noah Yuval Harari

A very readable canter through the entire history of humankind, from pre-conscious apes out on the Savannah, through to the possibility of post-human cyborgs and immortality.

Harari has taken a humanist and atheist standpoint throughout, which I found challenging and upsetting in places. I was warned by the person who recommended the book to me (who knew I was a Christian) that I would find it challenging. And it is, and rightly so. But my faith in a transcendent, caring and personal Cod is not shaken by the work of this liberal academic. Some might say I’m too thick to understand.

He has expressed some outrageous and refreshing ideas; a key theme throughout the book has been to question the established wisdom on economics, politics, history, culture and language. I was particularly impressed with his chapter on the individual, the market and the state, noting that the free market cannot really survive without the state. He avoids the espousal of Socialism, but manages nonetheless to articulate the main flaws in the free market, capitalist system. He acknowledges that, notwithstanding those flaws, it is that same system that has brought us so far this last five hundred years.

He notes that European cultures prevailed over comparable or even superior Islamic and Asian cultures because of the concept of credit. What he does not say is that there was little choice. Kings came before Parliaments seeking money: they needed credit, generally to fight wars. This development, of itself, fueled the rise of Parliaments and of democracy.

His final remarks on the future seem ill-at- ease and somewhat hurried. He describes a number of ideas as if they were new- ideas like immortality and post-humanity, cyborgs, genetic modification of people, to name a few. Some of these ideas have been discussed by modern science fiction writers such as Paul McAuley, Richard Morgan, and Alister Reynolds, for decades. He goes on to confuse science fiction as a whole genre with that small sub-genre we call space opera, demonstrating a perhaps understandable ignorance of sci-fi at the very part of his work that would call for an understanding of it. But his final chapter does articulate some of the potentially dreadful and also potentially changing possibilities that lie ahead of us.

Overall, refreshingly positive in outlook, once you are past the early sections where you could be forgiven for thinking that the author does not like the human race. Me, I do like the human race. I think it is excellent. I am a member.