Archive for June, 2015

The Ogre by the Throat Extreme Eiger: The Race to Climb the Direct Route up the North Face of the Eiger, Peter and Leni Gillman (Simon & Schuster 2015)

Sing When You’re WingingButterflies and Moths in Britain and Europe, David Carter (Pan 1982)

Soul Feud – The Soul of the Marionette: A Short Enquiry into Human Freedom, John Gray (Penguin 2015)

Or Read a Review at Random: RaRaR

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Extreme Eiger by Peter and Leni GillmanExtreme Eiger: The Race to Climb the Direct Route up the North Face of the Eiger, Peter and Leni Gillman, with Jochen Hemmleb (Simon & Schuster 2015)

A book that’s easy to read about a climb that’s hard to imagine: the north face of the Eiger by the direttissima, the most direct route. That first attempt in 1966 was like taking the Ogre by his throat and daring him to bite. For John Harlin, the “blond Greek god” who led the English-speaking half of the climb, the dare didn’t come off. He died when a rope snapped and he fell hundreds of feet to his death.

For the other climbers, the tragedy either strengthened or shattered their resolve. Harlin’s team had consisted of Layton Kor, a fellow American, and the Scot Dougal Haston. Kor abandoned the climb; Haston joined forces with the larger German team also making the attempt. He made it to the top, but he too could easily have died. In mountaineering, skill is no guarantee of survival. Nothing is a guarantee: you need luck when you pit yourself against stone, snow and ice. Haston’s luck ran out in 1977, when he was killed by an avalanche while skiing.

He was only thirty-six, but he had taken a lot out of his time on earth. When you risk your life, you experience it more intensely. On level ground, fetching a portable stove that’s a hundred metres off isn’t a memorable event. Half-way up a mountain, it can be very memorable:

Their trials were not over. So far they had brought over two rucksacks, which meant that two were at the far end of the 100-metre traverse. The missing equipment included their stove. Neither [Chris] Bonington nor Kor appeared keen to fetch it. Bonington pointed out that he was there to take photographs; Kor said his feet were cold and he was worried about frostbite. Without saying a word, Haston departed into the snowstorm with the one functioning head torch. (ch. 10, “Parallel Lines”, pg. 202)

Next comes one of the moments that will make you hold your breath: Haston “lost his footing and slid on his back towards the drop above the second icefield, only too aware how insecure the rope anchors were.” The ropes held and he made it back with the stove:

He had been gone for more than an hour and his colleagues’ relief was clear when he arrived. He later described the traverse as the wildest he had ever done, all the more memorable for taking place on the North Face of the Eiger in darkness and a storm. ‘As an experience it was total.’ (Ibid.)

If Chris Bonington declined to take a risk over a stove, he took big risks elsewhere. He was indeed only there to take photographs, but he ended up leading part of the climb when Kor, expert on rock but inexperienced with ice, was defeated by an icy gully leading to the top of the Central Pillar. Bonington took over, made good progress and then got worried: the “veneer of ice” became “ever thinner” and he “imagined it shearing away, most likely carrying both him and Kor to the bottom of the face” (ch. 12, “The Turning Point”, pg. 232). His judgment in 2014 was: “It is the hairiest thing I have ever done.” (pg. 233)

Peter Gilman covered the climb in 1966 for the Daily Telegraph, but has re-interviewed the surviving members of both teams for this re-assessment of one of the most famous stories in mountaineering. Harlin is still a controversial figure. “Complex” is one way of summing him up. He was a poseur and fantasist, but he could inspire love, loyalty and respect too. Not in Don Whillans, though. The Mancunian maestro thought Harlin was a bullshitter.

Whillans also had a complex personality. Alcoholics often do. He doesn’t play much part in this book, but as one of the great figures of post-war mountaineering it’s appropriate that he appears. The war itself has an important part, because it was one of the obstacles that the German team had to overcome. Men like Peter Haag, Jörg Lehne and Günther Strobel were too young to have fought in the war, but they all experienced the poverty that followed Germany’s defeat. Mountaineering was not the cheapest or safest sport and by the time they set out to challenge the Eiger they had all proved their dedication and determination.

And while they were the bigger team, they also had the poorer equipment. Not that anyone in 1966 had good equipment by today’s standards: “The climbing equipment historians Mike Parsons and Mary Rose offered a startling metaphor for the comparison between the two eras: it was as if the 1966 climbers were in a ‘bare-knuckle fight’.” (ch. 8, “The Opposition Has Started”, pg. 154) Clothing got wet and didn’t dry; ice axes and boots were primitive; ropes frayed and broke. The direttissima still isn’t easy, but it was a lot harder in 1966.

There was also the psychological barrier: it had never been done before. Harlin hadn’t expected competition, but his own smaller team might not have succeeded without German help, even if he had survived. But “German” isn’t the most exact word. Apart from Lehne, Haag and Co were from the distinct region of Swabia, whose inhabitants were typecast by the rest of Germany as “penny-pinching Scrooges who needed to get a life”. In response:

They are given to a self-deprecating humour that mocks the stereotypes, referring to Swabian intelligence, Swabian humour and Swabian workmanship. They delight in confusing non-Swabians with the formulation ‘Janoi’, which means ‘yes’ and ‘no’ at the same time. In 2009 the world ‘Muggeseggele’ was chosen by a group of Stuttgart newspaper readers as the most beautiful Swabian word. It denotes a tiny unit of measurement and means, literally, the scrotum of a male housefly. (ch. 7, “The Unknowns”, pg. 123)

There is much more than mountaineering in this book: it’s about a confrontation not just between men and mountain, but between different cultures, nationalities and personalities. And it follows the climbers not just up the Eiger, but into the rest of their lives, which were sometimes cut short. Like bikers and drug-addicts, mountaineers tend to know a lot of people who died young.

Haston died young and so did some of the German team, pursuing the same thing: adventure in high places. The Nordwand – “north wall” – of the Eiger has been the scene of some of the greatest adventures of all and has claimed more than its share of young lives. As the Gillmans explain, Eiger doesn’t really mean “Ogre” in German (pg. 20), but the urban legend is easy to understand. The Eiger can fling you or freeze you to death. It never sleeps and never gives up and the Mordwand – “murder wall” – was still trying to kill Dougal Haston during the last few metres of the climb:

Below him, Hupfauer and Votteler were watching in trepidation, as aware as Haston that they had only a poor belay and one slip by Haston could kill them all. ‘He scraped his way up,’ Votteler said in 2014. ‘It was more than a masterpiece.’ (pg. 306)

By then, Haston didn’t have an “ice axe or functioning crampons”, and, to reach a rope, he had to set up on a “tension traverse” by driving an ice dagger into hard ice. As he himself put it in his book Eiger Direct, co-written with Peter Gillman, it was “Three lives on an inch of metal.”

Life itself is like climbing a mountain and we all fall off in the end. Mountaineers risk falling off sooner than most, but they play with high stakes for great rewards. This is a book about extraordinary men, extraordinary experiences and an extraordinary achievement. If you want to understand mountains and the men who challenge them, it’s an excellent place to start.

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Butterflies and Moths in Britain and Europeby David CarterButterflies and Moths in Britain and Europe, David Carter, designed by Roger Phillips (Pan 1982)

I like all the lepidoptera, but the butterflies in this book seem drab and uninspiring set against the moths, which are astonishing creatures visually, behaviourally and evolutionarily. Butterflies receive much more attention and they aren’t often presented beside their smaller relatives as they are here. In the tropics, they would meet the challenge better. In northern Europe, they’re second-best. Northern moths come in a huge variety of gorgeous patterns and shapes, but their beauty and interest suffer more when they’re dead and pinned in an entomological cabinet.

Comparing the dead specimens with the photographs from life, you can see that there’s an elegant self-sufficiency about a moth at rest. Many of them look like crosses between priests and dandies wearing richly embroidered cloaks, sometimes trimmed with fur, and either drawn close to the body or stretched wide in deltas and vees. Even their antennæ could be ritual hats and tiaras. But it’s hard to generalize about such a vast collection of genera and species and some moths look like clowns instead: the scarlet-and-black or yellow-and-black arctiids, whose colors warn predators off.

Their sounds warn predators off too. Bats don’t hunt by sight, so night-flying arctiids generate high-pitched sounds to advertise their inedibility. But just as some harmless moths have evolved to look like wasps, shedding scales on their first flight to leave suitably transparent patches on their wings, so some have evolved to sound like the arctids: there are sonic mimics as well as visual ones. Elsewhere evolution hasn’t added but subtracted: some female moths don’t have wings at all. The females of some species sit and wait for mates and look more like spiders than insects. One of my favourite moths, on the other hand, has multiplied its wings: the pure white Pterophorus pentadactyla, or large white plume moth, looks much the same when pinned to a collector’s board as it does resting on a leaf, because it holds its quintuply-split, silkily-fringed wings “at right angles to the body and folds its legs backwards so that it looks like a letter T.”

Other moths carry letters on their wings rather than in their postures: the wings of the silver y, or Autographa gamma, say something in both English and Greek, as its common and scientific names denote, but I can’t work out which “Hebrew character” the moth of that name is supposed to carry. Its scientific name, Orthosia gothica, isn’t any help. On the other hand, the Mother Shipton, or Callistege mi, really does seem to have two long-nosed, long-jawed crones looking at each other on left and right wings: Mother Shipton was a “famous Yorkshire witch”.

This species reminds me of the contrast between the beauty of moths and their very ugly and alien larvæ and pupæ, some of which can also generate sounds to warn off predators. Aesthetically and intellectually moths are worth investigating, and this book is an excellent place to start. It’s not only well-designed, well-written, and with some very beautiful photographs, it has a separate food-plant index too, running from Abies, or “fir”, to Vitis, or “vine”.

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The Soul of the Marionette by John GrayThe Soul of the Marionette: A Short Enquiry into Human Freedom, John Gray (Penguin 2015)

The philosopher John Gray is an interesting mixture of conservative and liberal, like a cross between Roger Scruton and a Guardian-reader. Like Scruton, he writes well, eschews pretension and offers some good critiques of liberalism. Unfortunately, he shares something else with Scruton: he seems to know very little about human biology and genetics. I’ve never seen him suggest that culture has biological roots, for example, or hint that human beings are more than superficially different. Does he really believe that Icelanders, Somalis and Japanese are part of a single, more or less identical human race?

If he doesn’t, he’s keeping very quiet. Perhaps he’s being prudent. It wouldn’t be good for him to deny the central dogma of modern liberalism: that we’re all the same under the skin. It would distress his many fans in the Guardian-reading community, lose him his reviewing gig at the New Statesman and make it much harder for him to get books published. But something else may stop him publishing books: the passage of time. Like the Oozalum bird, he seems to be moving in ever-decreasing circles and his books are getting shorter and shorter. If he goes on like this, by 2025 he’ll be issuing postcards.

Perhaps he should already be issuing them. If The Soul of the Marionette were a postcard, this is what might be on it:

Aus so krummem Holze, als woraus der Mensch gemacht ist, kann nichts ganz Gerades gezimmert werden.

That’s Kant: “From the crooked timber of humanity no straight thing can be made.” I agree with Kant, but I would say that some human timber is crookeder than others. Gray doesn’t say this. He’s got the Guardian-reading community to think of. Instead, he illustrates the imperfectability and illusions of humanity by discussing writers like Heinrich von Kleist, Bruno Schulz, Giacomo Leopardi, Philip K. Dick, Stanislav Lem, Borges, Poe and so on. We think we’re free but we aren’t. Our behaviour has mysterious roots and takes place in an often unknowable world. This emphasis on literature helps explain his appeal to Guardianistas: lit crit is much more to their taste than genetics or neurology. Gray flatters his readers’ intellects without ever discussing the concept of intellect or intelligence.

How are they relevant, after all? We’re all the same under the skin and have been for many millennia. That’s the central dogma of liberalism. In fact, we aren’t the same and big differences between human groups can evolve very quickly. If Gray recognized this, he would have even stronger reason to attack the illusions of men like George Bush, Tony Blair and the neo-conservatives, who thought that democracy could be brought to the Middle East using violence. For example, he wrote a mordantly funny “Modest Proposal” in defence of torture, which was collected in Gray’s Anatomy (2010). There’s nothing as powerful as that here, but I think the writing is better here. The ideas are often vague but always interesting and you’ll want to try the authors he discusses, if you haven’t already. All the same, I would prefer more genetics and less lit crit.

His Guardianista fans wouldn’t like more genetics, but that’s precisely why I would. Prominent among the distressed Guardianistas would be Will Self. He’s one of those thanked at the end of this book for “conversations that stirred the thoughts” that went into it. Self’s friendship with Gray, like Self’s friendship with J.G. Ballard, is a worrying sign to me. It’s also puzzling. Gray thanks Nassim Taleb at the end of the book too. How is possible for him to take both those men seriously? Taleb is a highly intelligent and interesting writer. Self is a tedious charlatan. He’s also full of liberal illusions about the unity of humanity and the benefits of mass immigration. If Gray is still writing books in 2025, I hope Self is no longer a fan of his. I certainly think the illusions of Self will have been even more starkly exposed by then.

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Nature by Numbers30-Second Elements: The 50 Most Significant Elements, Each Explained in Half a Minute, ed. Eric Scerri (Icon 2013)

Fresh FleshThe Complete Illustrated Guide to Freshwater Fish & River Creatures, Daniel Gilpin and Dr Jenny Schmid-Araya (Hermes House 2011)

The Reich StoffRocket and Jet Aircraft of the Third Reich, Terry C. Treadwell (Spellmount 2011)

Past MastersJustice for All: The Truth about Metallica, Joel McIver (Omnibus Press, revised edition 2014)

Ant on E – Burgess on Waugh

M.O.R. of BabylonSleazy Listening: Frottage, Fladge and Frenzied Fornication in the Music of the Carpenters, Dr Miriam B. Stimbers (University of Nebraska Press 2015)

Or Read a Review at Random: RaRaR

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30-Second Elements ed by Eric Scerri30-Second Elements: The 50 Most Significant Elements, Each Explained in Half a Minute, ed. Eric Scerri (Icon 2013)

Pythagoras thought the world was governed by whole numbers and their ratios. He was wrong, but you could still call chemistry a Pythagorean subject. The huge difference between, say, the noble gas neon and the alkali metal sodium is actually based on a tiny difference in protons. Neon has ten, sodium has eleven. That’s why the two of them behave so differently. As Hugh Aldersey-Williams says on page 64: “Neon is so inert that it forms no chemical compounds at all.” But Brian Clegg says this of sodium on page 16:

This soft, silver-tinted alkali metal is known for its reactivity. Drop a small piece into water and it will fizz energetically as it converts to sodium hydroxide and hydrogen, giving off plenty of heat.

The atomic weight of an element, or the number of positively charged protons it has, affects the number of negatively charged electrons it has. Electrons and their arrangement determine how an element reacts with itself and with other elements. So one proton extra can make a huge difference: it can tip the balance between one configuration of electrons and another, between the inertness of neon and extreme reactivity of sodium.

And sodium obviously isn’t something you’d want to put in your mouth. Except that it is. Sodium is essential for life and isn’t dangerous when ingested as part of the compound NaCl, a.k.a. sodium chloride, a.k.a. table salt. The other half of the compound, chlorine, is also dangerous in its free state: when breathed in, it “burns away the lining of the lungs, leaving victims drowning the fluid that oozes out” (pg. 54).

Elsewhere, carbon and oxygen are the opposite: benign or essential for life when they exist as free elements, but potentially deadly in combination as CO, carbon monoxide, or CO2, carbon dioxide. Chemistry is a complicated business, but there is an underlying simplicity in the whole numbers that represent sub-atomic particles: protons, electrons and neutrons.

This simplicity is laid out in the periodic table, which was proposed and perfected by the Russian chemist Dmitri Mendeleev (1834-1907) in the nineteenth century. As explained in the introduction to this book, the table arranges elements in columns and elements in the same column share chemical properties. Neon is in the column of noble gases, on the far right, while sodium is in the column of alkali metals, on the far left. An extra proton turns helium into lithium, neon into sodium, argon into potassium, krypton into rubidium, and so on. A small change in atomic weight translates into a huge change in chemical behaviour.

An extra proton also turns platinum into gold and gold into mercury. But the transitions in behaviour aren’t as sharp in the inner columns of the periodic table: all of those elements are metals, even though mercury is liquid at room temperature. It’s also poisonous and when it was used to “treat animal fur in hat-making”, it inspired “the phrase ‘mad as a hatter’ and the character of the Hatter in Lewis Carroll’s 1865 novel Alice’s Adventures in Wonderland” (pg. 90). The double-page elemental biographies discuss culture as well as chemistry and chemists, but they’re all brief and this is a primer, not a proper scientific text.

And one page of each biography is occupied by an image: 30-Second Elements is a book for the internet age and its short attention spans. But the images are colourful and inventive – a glowing skeleton dancing amid seashells for “Calcium”; diamonds surrounding a cut-away earth for “Carbon”; the Statue of Liberty atop coils of tubing for “Copper” – and they capture the spirit of chemistry, both as a subject and as a phenomenon. Chemistry is rich, exuberant and endlessly fascinating. All its big names and big discoverers are here, from Lavoisier, Mendeleev and Humphrey Davy to William Ramsey, Marie Curie and Glenn Seaborg.

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Freshwater Fish ed. by Daniel Gilpin and Dr Jenny Schmid-ArayaThe Complete Illustrated Guide to Freshwater Fish & River Creatures, Daniel Gilpin and Dr Jenny Schmid-Araya (Hermes House 2011)

Fresh-water fish are special in part because fresh water seemingly isn’t. It’s the transparent stuff that human beings drink and bathe in. It’s an everyday thing that, in most parts of the world, falls regularly from the sky. And yet very strange creatures live in it: fish, which breathe water and drown in air. That inversion of normality doesn’t seem so remarkable in the sea: the saltiness of the water doesn’t seem to contradict the strangeness of the citizens, as it were. Instead, saltiness and citizens go together.

The difficulty of keeping a marine aquarium seems appropriate too. What else should you expect? But a freshwater aquarium seems special in part because it’s so simple. Even if the water has to be heated, it still seems everyday, like bathwater. But it’s bathwater with aliens in it.

In truth, of course, it’s human beings who are the aliens. Water is where life began. Fish are still there, breathing in the natural way, not the unnatural one. The ocean is the womb of life and when life left the ocean, it had to find ways to re-create it. Blood is a portable ocean and human beings have gills for a time when they’re embryos. We were fish once. Fish still are. But they’ve continued to evolve and to find new habitats. As the introduction to this book points out, moving from the sea to fresh water is like moving from a continent to an island. The world shrinks and fresh-water fish don’t generally have such big ranges as marine ones. Some species are confined to single rivers or single lakes or even single pools, which makes them vulnerable to pollution and desiccation.

But some fish can survive desiccation:

West African lungfish, Protopterus annectens

This fish inhabits temporary swamps and floodplains. When these habitats start to dry, the fish buries itself in the mud and secretes a thin layer of slime around its body. This dries to form a fragile cocoon which helps to maintain moisture. By slowing its body metabolism, it can survive within this cocoon for a year or more, although it normally re-emerges within a few months, when the rains return. … Once the water within its burrow has [evaporated] it relies entirely on its primitive lung to obtain oxygen. (“Africa: Knifefish, Elephantfish, Bichir and Lungfish”, pg. 157)

So lungfish are a step towards life on land. Elsewhere, other fish step in other directions. Electrophorus electricus, the electric eel of South America, isn’t truly an eel but is truly alien. It uses electricity both as a weapon and as a sense, because it lives where vision isn’t always useful: in the “calm, turbid waters” of streams, rivers and swamps (“South America: Sharks, Rays, Sawfish and Electric Eel”, pg. 127). Some cave-dwelling fish have lost their eyes entirely, like Typhlichthys subterraneus, the southern cavefish of Tennessee and Kentucky (pg. 111).

But Toxotes chatareus, the archerfish of Asia and northern Australia, has excellent eyesight, because it can squirt jets of water and “shoot insects” from overhanging branches up to five feet away: “Once it has knocked its target into the water it darts across to snap it up” (“Asia and Oceania: Other Perch-Like Fish”, pg. 231).

This makes it popular with some aquarists. Other fish are popular for their appearance, not their behaviour. Fresh-water fish can’t match the range of colour and patterns found in salt-water fish, but a shoal of neon or cardinal tetras, Paracheirodon innesi and P. axelrodi, is like a cloud of swimming jewels. Surprisingly for such a well-known aquarium fish, the neon tetra is restricted “in the wild to the tributary streams of the Solimões River, which flows into the Amazon” (“South America: Tetras”, pg. 140).

The paintings here capture the beauty of both species: one of the good things about the natural history series to which this encyclopaedia belongs is that it uses paintings to illustrate the main text, not photography. Capturing the shine, shape and colour of fish is a challenge to artists, so when they meet the challenge their art rewards the observer. The amphibians, reptiles and mammals also covered here are less challenging, so less rewarding, but they’re few in number and fish dominate the book. I like that dominance and I like the maps that open each geographic section. Rivers and lakes are prominently marked, from the Amazon to the Mississippi, from the Nile to the Euphrates, from Lake Victoria to the Caspian Sea. There’s lots of interesting information here and lots of attractive art.

Fish are strange creatures and that strangeness seems to strengthen in that everyday liquid we call fresh water. But water is strange too, wherever you find it and whatever it tastes like. It’s still being studied, still throwing up surprises, despite the simplicity of its composition: two atoms of hydrogen to one atom of oxygen. We should remember that as we read books like this.

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Jet and Rocket Aircraft of the Third Reich by Terry TreadwellRocket and Jet Aircraft of the Third Reich, Terry C. Treadwell (Spellmount 2011)

War accelerates technology. Aircraft entered the First World War in 1914 as little more than powered kites that fell apart easily, didn’t carry weapons and barely figured in military strategy. By 1918, they were fast-climbing, power-diving sharks of the air equipped with machine-guns and bomb-racks. They had also become central to military strategy.

As this book describes, technology was also accelerated by the Second World War. But it happened most obviously on the German side. The Allies began and finished the war using propeller-driven aircraft. The Germans began with props and finished with something extra: jet aircraft like the Me-262 Schwalbe (Swallow) and rocket aircraft like the Me-163 Komet. The ingenuity and technological sophistication of these aircraft aren’t the only astonishing things about them. The odds against which they were developed and put into service are astonishing too.

The Third Reich was being hammered by British and American bombers from the west and relentlessly ground down by the Red Army in the east. Fuel, parts and pilots were in ever-shorter supply. But both the Schwalbe and the Komet saw active service. Other aircraft described here, like the Bachem BA-394 Natter (Viper) and the Heinkel He-178 Volksjäger (People’s Fighter), didn’t get that far. An unofficial name of the He-178, the Salamander, is a clue to why. The Volksjäger was commissioned in late 1944 and by then the Reich was on fire. In legend salamanders are said to dwell in fire and flourish there. The He-178 didn’t flourish, but Terry C. Treadwell delivers this verdict: “Despite the dead ends and final defeat, Ernst Heinkel had made a major contribution to the world of jet- and rocket-propelled aircraft” (pg. 122).

Treadwell seems to know his subject and navigates the complicated history of test-flights, modifications and specification changes with assurance. His introduction to the book begins in “A.D. 1232, during the Mongol siege of the city Kai-fung-fu”, which was where the “first recorded use of a rocket” took place. He discusses the development of rockets, then devotes the first chapter to the “Messerschmitt Me 163B ‘Komet’” (pp. 19-69). Even today the Komet seems like something out of science fiction: a bat-winged rocket-plane powered by highly dangerous chemicals – C-Stoff and T-Stoff – that would “ignite on contact with the skin” (pg. 41). That’s why the pilots and ground crew had to wear protective gear: a photo caption on pg. 48 describes “Leutnant Fritz Kelb wearing his asbestos flying suit climbing into the cockpit of his Me 163B”.

It was a tight fit there, because the Komet was a tiny aircraft. And it was probably more dangerous to its own side than to the enemy. Test-pilots fractured their spines and lost their lives trying to correct its failings. Hanna Reitsch, the famous “Nazi aviatrix”, nearly died when she crash-landed a Komet in 1941, for example. Hitler and Göring sent flowers to her hospital bed and “critics of the Me 163 projects saw their chance of having the programme stopped” (pg. 38). However, another test-pilot for the Komet, Rudolf Opitz, “demonstrated the Me 163B with take-off dolly attached to the satisfaction of all concerned” and the programme continued.

The Komet was still being flown as a glider at that stage. Adding an engine added more complications, more dangers and more delay. The “first operational sortie” wasn’t until 13 May 1944, when Hauptmann Wolfgang Späte tried to shoot down two P-47 Thunderbolts. But the Komet’s speed got in his way: he was chasing the Thunderbolts and about to fire when “the left wing suddenly heeled over and the whole aircraft began to shake violently” (pg. 52). Then the engine “flamed out”: Späte had “inadvertently touched the ‘Sound Barrier’, as it was later to be known”.

That exceptional speed was apparent again later in the month:

Another encounter took place on 31 May 1944, this time between a photo-renaissance Spitfire and a Komet from No. 1 Staffel. The Spitfire pilot was at 37,000 feet and about to make his first run over the target, when he noticed a white trail some 7,000 feet below and about a mile away. The Spitfire pilot climbed his aircraft to 41,000 feet and saw the tiny aircraft just 3,000 feet below him and about 1,000 yards away. The sudden realisation that the tiny machine had climbed around 8,000 feet in the same time that the Spitfire had climbed 4,000 feet was quite disturbing. The only description the pilot could give of his potential adversary was that it appeared to be all-wing and travelled exceptionally fast. (ch. 1, pg. 54)

If Allied bombs were turning Germany into a hell of high explosive, then bats were rising out of that hell. While its fuel lasted and its rocket engine functioned, the Komet was uncatchable, but like the Me-262 the Me-163 was highly vulnerable when landing:

As he ran out of fuel and glided into land, the P-51 Mustang attacked and hit the little rocket plane. The Komet made a perfect landing, but when the ground crew got to the pilot they found the pilot, Feldwebel Herbert Klein, dead in the cockpit with a bullet hole in his head. The bullet had passed right through his seat armour. (pp. 68-9)

That was in January 1945, when the Third Reich was close to final defeat. In February, the Luftwaffe High Command “ordered that production of the Me 163B cease”. As Treadwell notes, of the 364 Komets built, “only 70…ever saw combat”. Like its celestial namesake, the Komet blazed briefly and then faded to black. It was an astonishing aircraft built and flown in atrocious conditions and a worthy choice for chapter one.

Chapter two is devoted to an even stranger aircraft: the Bachem Ba-349 Natter, a vertical take-off rocket-plane designed to fly, attack a bomber formation, then fall apart in mid-air and descend to earth on parachutes. The first manned test-flight killed the pilot, Oberleutnant Lothar Siebert, but the programme continued and ten Natters were eventually “assigned to an operational air defence site at Kircheim, east of Stuttgart” (pg. 82). The pilots waited more than a week to intercept a “heavy bomber formation”, but encountered an “American tank unit” instead. The Natters were destroyed “to prevent them falling into the hands of the Allies” (pp. 83-5). Three were nevertheless captured intact elsewhere, lasting proof, as Treadwell puts it, that “ingenuity could be born of desperation”.

The remaining eight chapters of the book describe more ingenuity and more desperation: the near-suicidal Fieseler Fi 103R Reichenberg, a piloted version of the pulse-jet V1 Doodlebug; the Arado Ar-234, “regarded as the world’s first pure jet bomber”; the Junkers Ju-287, with its revolutionary swept-forward wings; and so on. The tenth and final chapter is about the most important aircraft of them all: the Messerschmitt Me-262 Schwalbe, the “twin-engined jet fighter” that might have altered the outcome of the war if it had been delivered sooner and in greater numbers. The Reich might have won or forced a truce, rather than being battered into unconditional surrender.

But because the Me-262 is more important, it’s received much more attention from historians of military aviation and Treadwell is right to leave it till last. It’s the most attractive aircraft here too: Schwalbe, Swallow, is an appropriate name. Despite its deadliness – at least when its engines worked and its airframe held together – the Me-262 doesn’t seem to belong with the sinister, bat-like Me-163 and the stub-winged, embryo-like Ba-349. Those are alchemical aircraft, born of fire, blood and flesh-eating chemicals. They belong to the final days of the Third Reich and aeronautically speaking they’ve stayed there. Rocket aircraft never became routine and captured Me-262s were the great prize carried off at the end of the war by the Americans, Russians and British.

So the strange and sinister come first, the significant comes last. That’s the way readers of this book will want it. The prose here is functional rather than polished, but that suits the subject and there’s a well-judged balance of text and photos. Rocket and Jet Aircraft of the Third Reich is an excellent introduction to those aircraft, describing both highly advanced technology and age-old politicking, as the Luftwaffe and SS compete for control of aviation in a collapsing empire. Bombs fall, cities die, and bats rise out of hell in a way that is still fascinating and disturbing more than seventy years later.

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Justice for All by Joel McIverJustice for All: The Truth about Metallica, Joel McIver (Omnibus Press, revised edition 2014)

Metallica matter now because they mattered then. They were never the heaviest or fastest metal band in the world, but for a time they were the best. That time began with their first album, Kill ’Em All in 1983, and ended after their first EP, Garage Days Re-Revisited in 1987. They’ve written good songs since, but they’re no longer the best metal band in the world.

That’s what I think, anyway. It’s also pretty much the verdict you’ll find in this book. Like Mick Wall in his Black Sabbath bio Symptom of the Universe, Joel McIver is an objective fan, not an obsessive sycophant. He calls it as he hears it. When he hears Masters of Puppets (1986), he concludes that Metallica “produced a monster: a record that would expand their fanbase, cement their place in metal and ensure their place in musical history” (ch. 12, “The Truth about Master of Puppets”, pg. 150). When he hears Load (1996), he concludes that it’s “a massive step down in songwriting and concept from any music, even the weakest, most cynically radio-friendly Black Album track that Metallica had done previously” (ch. 19, “1996-1997”, pg. 234).

So maybe the bus crash in Sweden that killed Cliff Burton, the bassist on their early albums, also ended Metallica as a musical force. Burton’s death in 1986 is certainly one of the big “What might have been?” moments in popular music. What would have happened to Metallica’s music if he’d survived? I think it would have stayed better for longer. Burton was an interesting, independent-minded man who might have saved James Hetfield and Lars Ulrich from themselves. With his guidance, Metallica might not have gone the radio-friendly route and ended up playing with the Los Angeles Symphony Orchestra.

But I don’t think Metallica would have bettered their early work. That would have been difficult. And success was undoubtedly a factor in their decline. So was getting older. Metallica mellowed and it showed in their music. Slayer prove that this isn’t inevitable and it’s good that Slayer are also part of this book. It’s valuable not just as a biography of Metallica but also as a history of heavy metal. Metallica were influenced by older bands, so McIver discusses Motörhead, Venom and Diamond Head. Metallica were part of a scene, so he discusses Exodus, Slayer and Testament. Metallica influenced younger bands, so he discusses Celtic Frost, Machine Head and many others.

He also discusses the genesis of thrash metal and of newer genres like death and black metal. Heavy metal is interesting in part because it so obviously evolves and mutates, not just musically but sartorially, tonsorially and typographically too. The possibilities of the electric guitar had by no means been exhausted in the 1960s and ’70s. In the ’80s the hunt for greater heaviness and speed was on. This is the drummer Gene Hoglan:

“I used to soundcheck the drums for Slayer on the Haunting the West Coast tour, and all they played at soundchecks were Dark Angel songs. I remember Slayer guitarist Jeff Hanneman saying to me (adopts worried tone), ‘Dude, Dark Angel, I saw ’em back in LA, they’re faster than us, they’re heavier than us, they’re better than us.’ And I was like, ‘Dude, you’re in Slayer! What are you worrying about Dark Angel for?’” (ch. 12, pg. 150)

The results of metal’s mutations can sometimes be laughable, but the cartoonishness of metal can be part of its appeal too. One of the good things about Metallica is that they have a sense of humour and irony. The liner-notes for Garage Days – which was “Not Very Produced by Metallica” – are both funny and literate. The music on the EP is full of jokes too, but McIver correctly notes that it “boasted one of the best overall sounds they would ever achieve” (ch. 15, “1986-1988”, pg. 183). The good sound and high spirits are absent on their next album, …And Justice for All (1988).

Metallica began to decline with Justice and I suppose I might have skipped the second half of the book. But McIver’s prose, though it isn’t polished, isn’t painful either and there are some interesting things to read about, like the law-suit against Napster and the long-lasting feud with Dave Mustaine. He might have left Metallica very early on, but he stayed true to one of their traditions: make your own decisions. Mustaine has gone his own way and so have Metallica. Good or bad, their choices have been their own. I think McIver does justice to all those choices and delivers what he promises: the truth about Metallica.

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