This work is a detailed study of how Americans in the 1920s and 1930s interpreted and remembered the First World War. Steven Trout asserts that from the beginning American memory of the war was fractured and unsettled, more a matter of competing sets of collective memories—each set with its own spokespeople— than a unified body of myth. The members of the American Legion remembered the war as a time of assimilation and national harmony. However, African Americans and radicalized whites recalled a very different war. And so did many of the nation’s writers, filmmakers, and painters.
Trout studies a wide range of cultural products for their implications concerning the legacy of the war: John Dos Passos’s novels Three Soldiers and 1919, Willa Cather’s One of Ours, William March’s Company K, and Laurence Stallings’s Plumes; paintings by Harvey Dunn, Horace Pippin, and John Steuart Curry; portrayals of the war in The American Legion Weekly and The American Legion Monthly; war memorials and public monuments like the Tomb of the Unknown Soldier; and commemorative products such as the twelve-inch tall Spirit of the American Doughboy statue.
Trout argues that American memory of World War I was not only confused and contradictory during the ‘20s and ‘30s, but confused and contradictory in ways that accommodated affirmative interpretations of modern warfare and military service. Somewhat in the face of conventional wisdom, Trout shows that World War I did not destroy the glamour of war for all, or even most, Americans and enhanced it for many.
From Scouts to Balloon-busters, the Emergence of Air-to-Air Combat in World War I
When World War I began in August 1914, the airplane had already proven its worth as an intelligence gathering “eye-in-the-sky.” These scouting aircraft soon became indispensable to armies on both sides, and the attempt to drive enemy planes away began in earnest. Local air superiority was incorporated into battlefield strategy, and the use of aircraft to conduct offensive operations would change warfare as dramatically as the first firearms 300 years before. By the end of 1915, the basic formula of the armed scout settled on a single-seater with a machine gun synchronized to fire through its propeller blades. This heavily armed aircraft became the first true fighter plane whose primary function was to destroy enemy aircraft, whether scouts, balloons, bombers, or other fighters. A new glamorized “knight of the air” was born: the ace, a fighter pilot who brought down five or more opponents. From 1916 on, as the combatants relied on airplanes more, flying tactics and strategy—including mass formations—were developed for what would become a deadly struggle for complete air superiority. By 1918, the final year of the war, air battles could be as sprawling as those on the ground.
In The Origin of the Fighter Aircraft, historian Jon Guttman tells the engrossing story of how one of the most amazing inventions became a integral component of warfare. Balancing technical description, personalities, and battle accounts, the author demonstrates that by the end of World War I most of the fundamentals for modern aerial combat had been established.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press