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I'm very pleased to announce that the Journal of British Studies has accepted my article, 'The phantom airship panic of 1913: imagining aerial warfare in Britain before the Great War', for publication. This is exciting for a number of reasons. Naturally, one reason is because it's another peer-reviewed article (number six, by my count). That's always good, and even more so when you're on the job market. And it's been a while since I last had an article accepted, and while I have one or two other things in the works the pipeline was starting to look dry. It's also great to get into JBS, as it's one of the more influential history journals. I've not published in an American journal before (JBS is published by the North American Conference on British Studies), so this puts my work before a new audience (though presumbly British historians in North America read British journals too, just as those in Australia do) -- though at the admittedly high price of submitting to an American English style guide.

It's also great because, of course, phantom airships are perhaps the most characteristically Airminded (as distinct from airminded) thing I do. I've been going on about them in one way or another for the entire millennium: on this blog, in my book, my PhD thesis, my 4th year thesis, one or even I think two undergraduate essays. But while the 1913 phantom airship panic does feature in my book, it only gets about a third of one chapter (alongside the 1922 and 1935 air panics), and is treated in a very formal manner -- it's not really a good place to refer to if you want to get a good overview of what was going on. The only other academic discussion, in Alfred Gollin's The Impact of Air Power on the British People and their Government, 1909-14, is disappointingly brief. So hopefully this can become a standard reference for the 1913 panic, in the same way that the articles by Gollin and by David Clarke are for the 1909 panic. (Gollin's article was published in Albion, which merged with JBS in 2005, another reason why it's nice for them to publish my sort-of sequel.) Not that it's my last word on the phantom airships; in fact now I can cite it and build on it in future work.

Per JBS's self-archive policies, the accepted version of the article is available for download; when the final revisions are in I'll update the upload. Those of you who have been paying attention will realise that it's a revised version of an article I put up last year under a slightly different title (when submitting it to a different journal, which obviously ended up rejecting it). Since the revisions were quite extensive (the referees gave very constructive and consistent advice), it's probably worth commenting on the major changes. Most noticeably, it's considerably shorter (though not quite short). That's no bad thing; it's nearly a third shorter (nearly 5000 words!) but retains everything essential -- all else being equal more people are more likely to read the whole thing now. The parts that were discarded or modified include most of the original frame, namely the Anglo-German antagonism and the aerial theatre. They're still there in some form, but I place much less weight on them. The original aerial theatre section, in particular, I think I'll expand into a separate article; there wasn't quite the space here to do it justice and it didn't quite work the way I wanted it to. The new frame is more aligned with my actual argument (i.e. it's what I should have done in the first place), placing the phantom airships in the context of prewar and wartime myths and panics, and arguing that they were the successor and culmination of prior spy, naval and invasion panics. This also enabled me to highlight the way that the idea of aerial bombardment that existed in 1913 did not dwell on the possibility of air raids on cities. Instead it appeared more likely that Germany would use its Zeppelins to attack British military and naval facilities. There are numerous other changes which I won't go into, but overall I think it's much better. Especially since it's going to be published!

Origin of the League of Nations

I did my second Turning Point for ABC New England radio today, and chose to talk about the founding the League of Nations in 1920. The League is usually considered to be a failure, because it didn't prevent the Second World War or even play any significant role after the Italian invasion of Abyssinia. But I argue that this is too harsh, because the League did have some real successes and because it normalised the idea that international cooperation is the best way to solve international problems. I also briefly discussed ways in which the League might have been more effective, including the idea of arming it with an international air force.

Image source: Wikimedia.

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S.55s over the Alps

This photograph purportedly shows a squadron of Italian Savoia-Marchetti S.55X flying boats over the Alps on 1 July 1933, during the second and last of the long-distance formation flights led by the Fascist air minister, Italo Balbo (hence 'balbo', briefly in vogue to describe a large formation of aircraft), Rome to Chicago and back. These flights were (and were intended to be) a powerful and spectacular display the reach and power of Italian aviation, repeated and enhanced through images such as this, and therefore a prime example of what I call aerial theatre.
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Sputnik I

After taking some time to recover after the marathon Road to War, I'm taking part in a new series of talks with ABC New England North West's Kelly Fuller, along with fellow members of the UNE School of Humanities Nathan Wise (who came up with the concept), Sarah Lawrence and Richard Scully (and more, if we can persuade them!) This time the unifying theme is much broader: we will be looking at turning points in history. So we can range far and wide, rather than having to focus on the events of a single week in 1914 or 1915. You'll be able to find all the talks at SoundCloud.

I was first up, and decided to talk about the launch of Sputnik I on 4 October 1957, not only in terms of starting the Space Age, but also because it created no small amount of fear in the United States as the prospect of a (mythical, as we now know) missile gap opened up. I wish I'd had more time to go into that side of the response to Sputnik, because they strike me as being something similar to the kind of panics I'm interested in for Britain earlier in the century. But different. The oddest response is perhaps that of Little Richard, one of the pioneers of rock 'n' roll, who was actually on stage in Sydney when he saw what he thought was Sputnik, and interpreted it as a sign of the End Times. Have a listen if you'd like to know more!

Image source: NASA.

So, after a month of reposts, my celebration of Airminded's 10th anniversary is nearly over. All that remains is the surprise which I promised, which is (no surprise!) the PhD thesis I submitted way back in 2009, for which I was subsequently awarded my PhD -- after all, Airminded began life as a PhD blog. This thesis formed the basis for my book published in 2014, but they are different works. While there is of course substantial overlap between them, the book has been substantially revised and updated from the thesis, and in places completely rewritten. So the book is much better, but the thesis is a lot cheaper, because it's free. I'm aware that there are people who are interested in my book but can't afford the asking price (or find it in a library), so the thesis is the next best thing. I actually should have put it online as soon as it was passed, so that it could be read and cited, but I was worried that publishers wouldn't be interested in it. But I now think that fear is greatly exaggerated -- much like the knock-out blow from the air itself!

You can download my PhD thesis from the Downloads page or directly from here.

[Part of a celebration of Airminded's 10th anniversary; originally posted on 6 September 2014. The start of my investigation into rumours of, well, secret Zeppelin bases in Britain in 1914, which continued here and here, and concluded here. And will eventually be published somewhere.]

On ABC New England last week I briefly mentioned rumours of secret Zeppelin bases in Britain in the early months of the First World War. So far as I have been able to determine, the stories, which peaked in October 1914, centred on three locations: the Lake District, the Scottish Highlands and the Chiltern Hills.

The one in the Lake District is the best known of these, partly because of the involvement of B. C. Hucks, a famous aviator before the war (he was a regular at Hendon, the first British pilot to loop and, later, inventor of the Hucks starter), but paradoxically it's the hardest to find much information about. According to Cole and Cheesman,

One persistent rumour of a Zeppelin operating from a clandestine base near Grasmere was dispelled only after Lieut. B. C. Hucks -- a highly experienced prewar civil pilot -- had searched the Lake District from a Blériot monoplane.1

Hayward adds a few more details:

In September 1914 a local rumour in Cumberland held that a German airship was operating from a clandestine base near Grasmere, and flew sorties over Westmorland by night. The story was only dispelled after a Royal Flying Corps pilot undertook several patrols above the Lake District in a Bleriot monoplane, and saw nothing but glorious scenery.2

Similarly brief accounts can be found here and there, but they all likewise concentrate on Hucks' search rather than the rumours themselves, and I haven't been able to find any primary sources.3
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  1. Christopher Cole and E. F. Cheesman, The Air Defence of Britain 1914-1918 (London: Putnam, 1984), 8. 

  2. James Hayward, Myths and Legends of the First World War (Stroud: Sutton, 2002), 18. 

  3. Presumably the War Office and the Home Office are the places to look. Hucks' WO 339 might also have something. 

[Part of a celebration of Airminded's 10th anniversary; originally posted on 1 March 2014. This was an initial roughing out of an idea for my next big research project, which hasn't quite happened because I've been distracted by other things and haven't got any funding yet. But I still hope to pursue it in some form.]

Under the terms of an agreement made in 1909 between the three main British aviation bodies, the Aeronautical Society of Great Britain concentrated on 'the scientific phases of the movement', the Aero Club of the United Kingdom was responsible for 'sporting and social aspects', and the Aerial League of the British Empire, the one I'm most interested in, took on 'the patriotic and propaganda' side of things.1 In terms of this propaganda role, I've usually tended to see the Aerial League as focusing more on fostering airmindedness among elites than the masses. After all, its ranks were filled with peers, solicitors, generals, journalists, politicians and other examples of the better-off classes of society.

But while this may be fair comment for the interwar League I'm starting to realise that this misrepresents the scope, or at least the ambition, of its activities before 1914. For example, in June 1910 it organised a very successful aeronautical exhibition in the grounds of the Crystal Palace, which ran for a couple of months. Claude Grahame-White's weekly aerial displays were the major drawcard, pulling in up to 10,000 spectators; according to Charles Gibbs-Smith, there were nearly riots when bad weather prevented flying.2 After hosting a luncheon for journalists to show them how the grounds had been adapted for aviation (including the construction of 'What is termed an "aerial cottage" -- that is to say, a cottage with an aeroplane shed attached and forming a part of the design'), Colonel H. S. Massy told them 'that the object of the league was to form a great central aeronautical institute with branches all over the country at which young men of small means would be able to qualify as airmen'.3 So although, as far as I know, this scheme was never attempted, there was at least an idea that it would be desirable to help those who could not otherwise afford to learn to fly.

The motive wasn't simply altruism, of course; it was to do with that other part of the Aerial League's remit, the 'patriotic'. As Massy further explained, 'if we, in this country, allowed the fatal drowsy sense of security born of freedom from foreign attack to gain the upper hand with us, we should not only be a laughing-stock, but an easy prey to our neighbours'.4 The same motivation presumably explains the Aerial League's patronage of a play entitled War in the Air, which premiered at the London Palladium on 23 June 1913. It was written by Frank Dupree, a journalist with the Standard who had flown with Gustav Hamel from Dover to Cologne in April, in an aeroplane which was donated to New Zealand by the Imperial Air Fleet Committee. Unfortunately, I haven't been able to locate any detailed descriptions of the plot in contemporary sources, although one London newspaper ridiculed its stage effects, claiming that 'Nothing [unintentionally] funnier has been seen on the veriety stage for years'.5 However, Andrew Horrall gives a useful précis in Popular Culture in London:

War in the Air, a play designed to arouse the nation to the hovering peril, whose cast included a young Noël Coward, detailed the heroics of Tommy Vincent the commander of Britain's fictional Central Aerial Station. As in many melodramas, female weakness caused the trouble. Vincent's fiancée had unwittingly allowed Britain's enemies to dupe his pilots into believing that the north-east coast was being invaded. As the British squadron headed north, the enemy's aircraft attacked Kent. Needless to say, such an evil, ungentlemanly ruse was discovered when the emboldened fiancée cabled a new warning and was avenged unsparingly as Vincent's planes destroyed the enemy fleet over Dover. These aerial battles were carried out between planes suspended on wires above the audience. Subsequent performances in Willesden and Shoreditch proved to Londoners that British pilots would protect them, from both air and seaborne invasions.6

It sounds like it combined elements of the invasion, naval and spy fiction of the period, which I would argue is quite characteristic; the airship panic earlier in the year -- in which Dupree's paper had played an enthusiastic part -- was much the same, and another airship play which opened a few months later, Sealed Orders, had a similar mix.7 I'm not sure if the Aerial League had any involvement in War in the Air beyond its patronage, and sending along representatives on opening night (as did the Imperial Air Fleet Committee).8 It doesn't appear to be mentioned in the minutes of the Aerial League's executive committee. But what was evidently its message -- the need for aerial preparedness -- certainly fit with the Aerial League's goals.
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  1. Flight, 4 September 1909, 532, 533

  2. The Story of the Air League 1909-1959 (Sidney-Barton, 1959), 5. 

  3. The Times, 7 June 1910, 12. 

  4. Ibid. 

  5. Quoted in New Zealand Herald (Auckland), 20 September 1913, 4

  6. Andrew Horrall, Popular Culture in London c. 1890-1918: The Transformation of Entertainment (Manchester and New York: Manchester University Press, 2001), 93. Horrall's main source is The Era, 28 June 1913, 19. 

  7. Ibid. [Correction: Horrall, Popular Culture in London, 93.] 

  8. The Times, 21 June 1913, 10. 

[Part of a celebration of Airminded's 10th anniversary; originally posted on 15 May 2013. I've come up with some absolutely terrible titles for Airminded posts, but I like this one very much.]

Roland Garros is today mainly known for having given his name to the home of French tennis. But long before then he was famous as a pioneer aviator in both peace and war. In December 1912, for example, he set a new altitude record of 17,000 feet, while in September 1913 he made the first non-stop flight across the Mediterranean, from France to Tunisia. On the outbreak of war the following year, he joined the French Army as a pilot flying Morane Parasols and flew his first combat mission in mid-August. After some unsatisfactory initial experiments with a rifle-armed observer, Garros sought a way of firing a machine gun in the direction of flight. By April 1915 he had a Parasol equipped with the first deflector gear, which consisted of an armoured propellor with deflecting plates, the idea being that any bullets which hit the propellor would bounce off and the rest would pour into the enemy aircraft. As insane as this seems, it worked, enough: Garros shot down three German aeroplanes in a few weeks, before being forced down behind enemy lines himself and captured. His war wasn't over, however. He escaped from a POW camp in Magdeburg in February 1918, made his way back to France and then back into the air, and claimed a fourth German victim before being killed in action in October, just over a month before the Armistice.1

Despite never meeting the formal definition of five combat kills (which anyway wasn't settled until after his capture), the ovations awarded him by an adoring press had effectively made Garros the first air ace. He wasn't the first French airman to shoot down an enemy aircraft, but something about the solitary nature of his victories captured the public imagination, and set the template for the more successful aces of all nationalities who followed him. So it's interesting to discover that this narrative was prefigured by a rumour about Garros published in the British press at the very beginning of the war, which had him ramming and destroying a Zeppelin at the cost of his own life.
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  1. Robert Wohl, A Passion for Wings: Aviation and the Western Imagination, 1908-1918 (New Haven and London: Yale University Press, 1994), 203-10, 238-9. 

[Part of a celebration of Airminded's 10th anniversary; originally posted on 31 August 2011. This is one of a number of posts from Airminded's 7th year making an interesting or original point which probably deserve a wider audience somehow, but which either fall a bit outside my comfort zone or aren't quite big enough for an article. Or I just haven't found the time to write them up. So here (and in Google) they remain, for now.]

RAF recruiting poster

As Alan Allport has noted, Winston Churchill's famous speech of 20 August 1940 was and is remembered for a 'single, unrepresentative sentence', i.e.:

Never in the field of human conflict was so much owed by so many to so few.

The speech was given during the Battle of Britain, and 'the Few' are universally taken to be the pilots of Fighter Command, the last line of defence against the Luftwaffe. But, as Alan says, Churchill had relatively little to say about the Battle that day -- he did talk about it, but only as part of a general speech on the war situation. I suggested that if you read the line in context, it actually looks like Churchill is talking about Bomber Command, as he doesn't dwell on Fighter Command at all.
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[Part of a celebration of Airminded's 10th anniversary; originally posted on 3 March 2011. Sometimes, blogging takes time. Which reminds me, there are at least two posts I need to finish writing... one day.]

Rutland Reindeer

A recent comment by J Campbell raised the question of whether Nevil Shute's 1949 novel No Highway was in fact a prediction of the De Havilland Comet airliner's metal fatigue problems, which led to two crashes ('hull losses', in industry parlance) in 1954. My response was that it seemed unlikely that Shute had any particular insider knowledge which could have led to such a prediction (made before the prototype had even flown) given that he had already been out of the aircraft manufacturing business for some years. (And if he did have reason to think that the Comet would have metal fatigue, why not warn de Havilland instead of writing a novel?) My own suggestion was that instead No Highway might have been loosely inspired by the R101 disaster back in 1930, a formative moment in Shute's life. Having read the novel now, I don't have any actual evidence for this, but there is an intriguing additional parallel which may have been overlooked (or not, I'm no Shute scholar).

In Shute's novel -- spoilers ahead -- the tailplane of the (fictional) Rutland Reindeer (seen above, from the 1951 film version No Highway In The Sky) is believed by an RAE scientist named Theodore Honey to be susceptible to metal fatigue. The story revolves around the efforts of Honey and Scott, his superior at Farnborough, to prove that an earlier Reindeer crash was due to metal fatigue and so ground the Reindeer fleet before disaster strikes. The obstacles include a slapdash investigation of the previous accident, entrenched interests at the Reindeer's manufacturer Rutland and its operator CATO, the (also fictional) Commonwealth Atlantic Transport Organisation, the novelty of Honey's fatigue theory (inspired by recent advances in nuclear physics!), and Honey's own diffident character and his eclectic interests, including pyramidology, British Israelism, the Second Coming (predicted for 1994), interplanetary rocket travel and spiritualism. Of which more in a moment.
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