Cold War

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One sub-species of military intellectual is the retired field marshal (or admiral, or air marshal) who, at the end of a long career, sets down their thoughts on the future of warfare for the interested reader. Even though they may be quite famous, their essays into futurism are nowadays read less often than that of their junior counterparts, full-time military intellectuals like J. F. C. Fuller or L. E. O. Charlton, who had substantial careers in the military but left while still relatively young (and may well have borne chips on their shoulders due to their usually enforced early retirement). Partly this is due to their naturally having written less -- often just a few pages at the end of their memoirs. Often it would be due to writing and intellectualism not being something which came naturally to them. But because of their great experience (and, greater experience of the heights of strategy than the Fullers and the Charltons, one might add), it's worth looking at what the retired field marshals have to say.
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Cmnd. 124, Defence: Outline of Future Policy, is one of the most famous (and infamous) documents in British military history. It's better known as the 1957 Defence White Paper, or the Sandys White Paper after the Minister of Defence responsible for it, Duncan Sandys. It ended National Service, committed Britain to nuclear deterrence, and foreshadowed drastic cuts in conventional force levels. Aviation bore the brunt of these last. Fighter Command was to be abolished (though in the end it won a reprieve, at least until 1967) and a large number of advanced fighter types under development for the RAF were cancelled, including the Avro 720, the Fairey Delta 2, the Hawker Siddeley P.1121, and the Saunders-Roe SR.177. Only the English Electric P.1 and TSR-2 were spared (the latter only temporarily). Unsurprisingly, all this was controversial then and remains so today for those who remember such things. Certainly, the White Paper was a cost-cutting exercise: Sandys had a brief from the Prime Minister, Harold Macmillan, to find savings of £100 million from the defence estimates. But my interest here is the intellectual context of the Sandys White Paper: it wasn't just about saving money.
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[Cross-posted at Cliopatria.]

The new Military History Carnival has been posted at Wig-Wags. One of the featured posts, The state of strategy at Kings of War -- which looks at the great strategic thinkers of history and wonders why there seem to have been relatively few in recent times -- inspired the above title. It's posed as a question, not a statement ('Why I don't care about strategy') because I'm not sure that my not caring is a good thing for a military historian, especially since I do deal with strategic thought in my work on early twentieth-century airpower. But I find myself uninterested in the eternal principles of strategy, or how to win the war in Afghanistan, or whether China will replace the United States as the world's superpower, or whether Clausewitz was right or Douhet (or vice versa, or neither or both). Or at least, I find some of these things interesting sometimes, but as somebody who lives on this planet, not as an historian.

When I first started researching my area, two of the first books I read were George Quester's Deterrence Before Hiroshima and Robin Higham's The Military Intellectuals in Britain, and I still find the latter especially useful. As it happens, both books were published in 1966, and both reflect their Cold War context very deeply. Both Quester and Higham were concerned to use their studies of the interwar fear of the bomber to draw conclusions for military thinkers in their own day. To some extent this distorted their analysis: they were much more interested in those ideas and events which seemed to parallel the development of nuclear strategy, rejecting those which did not as wrong or just uninteresting. So I think I am wary of indulging in a similar presentism. (Not that I have a gift for it.)

But is this realistic, sensible, or even defensible? Isn't part of the point of history to learn from it? Conversely, isn't it possible that I could learn something about history by studying the present day? Professionally speaking, aren't there possible gains for a military historian in fostering closer contact with those creating the military history of the future (applied military history, perhaps)? Is this simply a distaste for the reality at the core of my study -- killing, dying, suffering? Do historians of crime similarly distance themselves from their closest present-day analogues (criminologists)? Labour historians? Gender historians? Or maybe it's just me?

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Freedom has a new sound!

It is officially too darn hot today: 43° C. So naturally my thoughts turn to a colder time: the 1950s. The above image (which I found as part of x-ray delta one's wonderful Flickr stream; he also has a suitably breathless blog, ATOMIC-ANNIHILATION) would seem to be part of a public relations exercise from Convair, relating to its interceptor, the F-102A Delta Dagger. I'm not sure what year it's from exactly, but the Dagger entered service in 1956, so probably then or the following year. (So it could be an early effort from Don Draper.) Evidently there were a lot of complaints from the public about sonic booms from the Dagger, the USAF's first supersonic interceptor. The text is really something else; it almost circles right through brazen propaganda to become an honest argument that sonic booms really are good for you. Almost:

Freedom Has a New Sound!

ALL OVER AMERICA these days the blast of supersonic flight is shattering the old familiar sounds of city and countryside.

At U. S. Air Force bases strategically located near key cities our Airmen maintain their round the clock vigil, ready to take off on a moment's notice in jet aircraft like Convair's F-102A all-weather interceptor. Every flight has only one purpose -- your personal protection!

The next time jets thunder overhead, remember that the pilots who fly them are not willful disturbers of your peace; they are patriotic young Americans affirming your New Sound of Freedom!

Presumably the next panel would show the milkman clutching his ears and screaming in pain, and the one after that the homeowners sweeping up the bits of broken glass. That new sound of freedom wasn't free.

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Just as when reading Brave New World I applied my airminded filters and extracted Aldous Huxley's vision of future warfare, I'm going to do the same for that other great British dystopia, George Orwell's Nineteen Eighty-Four. (Which is what passes for summer reading for me. Quotes taken from this version.)

War is much more important in Orwell's novel than in Huxley's: it's constantly referred to throughout the novel, and it turns out to be a crucial part of the Party's method for maintaining its control of Oceania. Assuming that there actually is a war, that is, and the whole thing isn't just fabricated for that very purpose. War is peace, after all.

But let's assume that Winston Smith's memories and experiences of war reflect some objective reality. Then there are two phases, the war of his youth, and the current, never-ending war, with the Revolution in between. Smith was probably born in 1945, presumably named after Churchill in that year of victory. There were some years of peace, and then a war in the mid-1950s, probably with the Soviet Union and its satellites. Britain seems to have been the only the country in Western Europe not conquered at this time, and absorbed into what was to become Eurasia. But it -- renamed Airstrip One -- became part of Oceania, along with the Americas, southern Africa, and Australasia. A third power, Eastasia, emerged after the end of the civil wars in China.
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Field Marshal Jan Smuts, prime minister of South Africa, broadcast a speech on the BBC on 29 September 1946. He talked about the prospects for peace in the post-war world, a subject on which he could claim some authority, since he had helped unify Anglophones and Afrikaners after the Boer War, and was involved in the Paris peace conferences after both world wars. The speech was mainly about the United Nations (or as he quaintly called it, 'Uno') and the growing signs of friction between the former Allies on the Security Council. And we all know how that turned out. (Churchill had given his 'Iron Curtain' speech in March.) But one section is somewhat confusing for modern readers:

The United States may not long continue to enjoy the sole secret of the atom bomb, and this and other no less deadly weapons will at no distant date be in the possession of other nations also. The flying bombs, now seen nightly in the west, are indications of what is going on behind the curtain. It is highly doubtful whether any new weapons, or indeed any mechanical inventions, could ever be relied on to remove the danger of war. A peaceful world order could only be safely based on a new spirit and outlook widely spread and actively practised among the nations.1

Flying bombs seen nightly in the west? What flying bombs?

Smuts was referring to reports which had been coming out of Sweden since May, and more recently from Denmark and Greece. Fast moving objects, sometimes with wings, sometimes without, were seen flashing across the sky. Some had flames shooting out the rear; others appeared to manoeuvre. Some of them crashed; residents of Malmö reported that windows were broken when a rocket 'exploded' over their town.2 They were sometimes even tracked on radar. A photo was even taken of one. They were seen by military personnel as well as by ordinary people. An example:

One of the mysterious bombs which in recent weeks have been passing across Sweden was seen last night by an officer of the Air Defence Department of the Defence Staff. He reports that the bomb looked like a fireball with a clear yellow flame passing at an estimated height of between 1,500 and 3,000 feet and at a considerable but quite measurable speed.3

The term now given to these objects is ghost rockets.
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  1. The Times, 30 September 1946, 5. Emphasis added. []
  2. Manchester Guardian, 17 August 1946, 6. []
  3. Ibid., 8 August 1946, 6. []

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[Cross-posted at Cliopatria.]

Guernica

A couple of years ago I outed myself as something of a philistine by admitting that I didn't 'get' Guernica, and thought that direct representations -- photographs -- of the ruined city were more powerful, more affecting than Picasso's masterpiece. My incomprehension generated a fair degree of discussion, which was useful, but it was having to teach Guernica this week in tutorials which finally helped me make my peace with it. More specifically, learning something of Picasso's process of design and composition, and the politics of his commission from the Republican government, led me to a better appreciation of its symbolism. Although it depicts -- or rather is inspired by -- the bombing of a city, it seems to be set inside as much as outside, somehow. The woman holding a lantern could be leaning out of a window, one who survived the destruction but suffers from what she has seen. Or she could be leaning in, perhaps symbolising the inaction of the international community after seeing what had happened to Guernica. Creative ambiguity, indeed.

But the other source the students looked at this week was the 1959 French-Japanese film Hiroshima mon amour. And while I've come to understand something of Guernica's power, figurative and non-literal though it may be, I now have a problem with Hiroshima mon amour. In the most simplistic terms, it is a love story between a French woman and a Japanese man, who have a doomed affair in Hiroshima, ca. 1957. But the romance is not the point. Marguerite Duras, author of the screenplay, later wrote that:

Nothing is 'given' at Hiroshima. Every gesture, every word, takes on an aura of meaning that transcends its literal meaning. And this is one of the principal goals of the film: to have done with the description of horror by horror, for that has been done by the Japanese themselves, but make this horror rise again from its ashes by incorporating it in a love that will necessarily be special and 'wonderful', one that will be more credible than if it had occurred any where else in the world a place that death had not preserved.

But if she wanted 'to have done with the description of horror by horror', then why did she and director Alain Resnais include -- at times harrowing -- documentary footage of the ruined city and the victims of the atomic bomb? (Starting from 7.53, continued in the second clip.)
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[Cross-posted at Cliopatria.]

A random thought while sitting in a lecture today: if there is (or can be) such a thing as total war, does that imply that total peace is a meaningful concept?

Firstly, what is total war? One definition, drawn from the ubiquitous set of conference proceedings edited by Stig Förster et al (and more directly, from today's lecture notes), goes something like this. Total war consists of:

  1. total aims: e.g. the destruction of an enemy nation
  2. total methods: e.g. bombing cities
  3. total mobilisation: e.g. conscription for both the armed forces and for labour
  4. total control: e.g. censorship, dictatorship

More briefly, total war is the subordination of every other consideration (law, custom, morality, etc) to the prosecution of war. Total war is an ideal form of warfare, something which can be approached more or less closely, but which can never actually be fully attained. Well, hopefully not, because that would be bad.

So what would total peace look like? I don't think it can simply be the absence of total war; that's just peace generically. Total peace must be total in some sense.
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I watched Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb the other night for the umpteenth time, and I found myself wondering what the ending means. Vera Lynn singing her Second World War hit 'We'll meet again' over a montage of hydrogen bomb explosions (see above). I think the key has to be that -- at least according to popular mythology -- 'We'll meet again' was a favourite song for loved ones separated by war. Here are some thoughts I came up with (or across):

  • Contrast between WWII and WWIII. No one will be meeting again after this one is over.
  • Contrast between the Good War and the Cold War. Back then we fought to save the world from the Nazis, this time we'll be using Nazis to destroy it.
  • Yeah baby! The film has sexual metaphors and allusions all the way through it; the ending then depicts the orgasmic final embrace of the USA and USSR (i.e. what happens when couples 'meet again').

It's probably none of those, of course. Any ideas?

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[Cross-posted at Revise and Dissent.]

I recently rewatched one of my favourite science fiction films, The Day the Earth Stood Still -- the 1951 original, of course, not the currently-screening remake (which I have yet to see, but tend to doubt that it will improve over the original in any area other than special effects). I can't remember when I last saw it, but it must have been before I started the PhD because otherwise the climactic scene would have leapt out out me and smacked me in the face, as it did the other day ... (Warning: spoilers ahead.)

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