The Aerodrome
by Rex Warner
On This Page
Description
WITH AN INTRODUCTION BY MICHAEL MOORCOCK A model of efficiency and order, the aerodrome stands on the hill looking down on the village below. Roy, coming of age in the messy, violent and adulterous world of the villagers, is simultaneously attracted and repelled by this strange place and by the powerful figure of the Air Vice-Marshal. Soon he is led to leave his family, his friends and his love in order to join the aerodrome and confront the secrets of this mysterious and sinister place...Tags
Recommendations
Member Reviews
Great story, but it took till most of the way through the book to figure out if the author was satirizing the philosophy of the Air Vice-Admiral or presenting it as (forgive me) admirable. On the whole, I tended to sympathize with the "bad guy," even after I was sure he was supposed to *be* the bad guy.
I found ‘The Aerodrome: A Love Story’ via the dystopia library catalogue keyword search, having never heard of it before. As has been the case with the majority of books I discovered in said search, I wouldn’t call it a dystopia. It’s an allegorical fable and seems to me very much like the oeuvre of [a:Magnus Mills|38164|Magnus Mills|https://images.gr-assets.com/authors/1244124475p2/38164.jpg]. Perhaps a little more pointed, yet the deadpan tone, dark humour, and level of abstraction are very similar. Of course, Mills started publishing nearly sixty years after ‘The Aerodrome’ - I wonder if it was an influence on him? Anyway, the narrative is an evident allegory for the rise of fascism. The titular aerodrome impinges upon show more and then takes over the village; Roy the narrator joins the ranks of the air force then comes to see how empty it is. Woven into the tale are an extraordinary series of melodramas worthy of Sophoclean tragedy or perhaps a soap opera. Is anyone in the village who they say they are? Are they all secretly related to one another? Who will dramatically die next?
While I could appreciate the acuity of the allegory, my enjoyment was limited somewhat by the tiresomeness of Roy the narrator. His romantic travails take up a lot of space, perhaps demonstrating that people get so caught up in their love lives that they fail to notice fascist takeovers. None of the characters are particularly good people and, to his credit, Warner doesn’t suggest that the pre-aerodrome village and it’s residents were perfect. They appear to have spent most of their time getting drunk and covering up dark secrets. Nonetheless, the casual brutality and horror of the fascist aerodrome are much worse. The book clearly shows how a young man like Roy can be sucked into such a regime, while also demonstrating the emptiness of an ideology obsessed with discipline and cleanliness. The most memorable passages concerned the Air Vice-Marshall, who is quite possibly a pen portrait of a specific nazi. Here Roy reflects on the man’s effect during an incredibly misogynistic speech on sex:
This later speech from the Air Vice-Marshall is especially chilling:
It occurred to me when I finished the book what was missing from the fascism allegory: racism. The village is apparently without any minorities who can be persecuted; the villagers are all condemned of a piece in the speech above. They are killed accidentally and when they rebel, but there's no genocide. It’s an interesting omission. This leaves the regime to be defined by militarism, nationalism, an implied shift from agriculture to industry, and this expressed desire for social transformation. The gender politics are somewhat peculiar and don’t map to fascism well at all. Airmen are not allowed to have children, rather than being expected to spawn a master race. The roles of women seem to be as sex objects and sympathetic confidantes rather than mothers, both inside and outside the aerodrome. On the other hand, two women lead what resistance there is to the aerodrome and one them lays down her life for it. I think Roy’s point of view minimises their actual role, as he only seems to pay attention to women while judging their attractiveness (‘in her youth she must have been a remarkably handsome woman’ recurs) or actually having sex with them. He also comments constantly on the attractiveness of the Flight-Lieutenant, who inducts him into the aerodrome. Roy introduces him as ‘remarkably handsome’ and continues make similar references even when they are at odds. Is this making a point about the psycho-sexual subtext of fascism, or just incidental melodrama? Who knows.
The 2007 edition that I read includes an introduction by Michael Moorcock, which provides some useful background on Warner (apparently Roy is a bit of a self-insert). Moorcock compares ‘The Aerodrome’ with [b:The Old Men at the Zoo|1654440|The Old Men at the Zoo|Angus Wilson|https://images.gr-assets.com/books/1438545564s/1654440.jpg|1649057], which I was distinctly disappointed by. I found Warner’s allegory much more effective, albeit not without flaws. The combination of romantic drama and political metaphor sometimes jarred. The deus ex machina ending was downright unsatisfactory. Nonetheless, there are moments of profundity and an effective message that rural England could slide into fascism through sheer inertia. Although I didn’t like him at all, I found Roy an interesting narrative voice. Also, I have a soft spot for long sentences and cynicism. This struck me as a very cynical novel. show less
While I could appreciate the acuity of the allegory, my enjoyment was limited somewhat by the tiresomeness of Roy the narrator. His romantic travails take up a lot of space, perhaps demonstrating that people get so caught up in their love lives that they fail to notice fascist takeovers. None of the characters are particularly good people and, to his credit, Warner doesn’t suggest that the pre-aerodrome village and it’s residents were perfect. They appear to have spent most of their time getting drunk and covering up dark secrets. Nonetheless, the casual brutality and horror of the fascist aerodrome are much worse. The book clearly shows how a young man like Roy can be sucked into such a regime, while also demonstrating the emptiness of an ideology obsessed with discipline and cleanliness. The most memorable passages concerned the Air Vice-Marshall, who is quite possibly a pen portrait of a specific nazi. Here Roy reflects on the man’s effect during an incredibly misogynistic speech on sex:
Surprising as had been much that we had heard, no one, it seemed, had for that reason allowed his attention to wander; and this fact seemed to me a tribute to the personal force of the man before us who, without any obvious effort or deliberate style of oratory, still compelled us to hang upon his words and to remember them, as I knew we should do, long after his speech was finished. Even now, though we as yet did not perfectly understand the creed and faith that was being put before us, and though there was more of severity than of comfort in what was being said, nevertheless we listened to him with a kind of joy, for it seemed that his own confidence was was infused into us so that we believed that any conclusion which he reached must be accurate, necessary, and inspiring.
This later speech from the Air Vice-Marshall is especially chilling:
”I should like you to understand,” he would say, “that it is by no means sufficient to blame society for its inefficiency, its waste, its stupidity. These are merely symptoms. It is against the souls of the people themselves that we are fighting. It is each and every one of their ideas that we must detest. Think of them as earth-bound, grovelling from one piece of mud to another, and feebly imagining distinctions between the two, incapable of envisaging a distant objective, tied up forever in their miserable and unimportant histories, indeed in the whole wretched and blind history of life on earth. Religion, which for many centuries was did exercise an ennobling, if a misleading, effect, has gone. The race which we, of all people, are now required to protect is a race of money-makers and sentimentalists, undisciplined except by forces which they do not understand, insensitive to all except the lowest, the most ordinary, the most mechanical stimuli. Protect it! We shall destroy what we cannot change.”
It occurred to me when I finished the book what was missing from the fascism allegory: racism. The village is apparently without any minorities who can be persecuted; the villagers are all condemned of a piece in the speech above. They are killed accidentally and when they rebel, but there's no genocide. It’s an interesting omission. This leaves the regime to be defined by militarism, nationalism, an implied shift from agriculture to industry, and this expressed desire for social transformation. The gender politics are somewhat peculiar and don’t map to fascism well at all. Airmen are not allowed to have children, rather than being expected to spawn a master race. The roles of women seem to be as sex objects and sympathetic confidantes rather than mothers, both inside and outside the aerodrome. On the other hand, two women lead what resistance there is to the aerodrome and one them lays down her life for it. I think Roy’s point of view minimises their actual role, as he only seems to pay attention to women while judging their attractiveness (‘in her youth she must have been a remarkably handsome woman’ recurs) or actually having sex with them. He also comments constantly on the attractiveness of the Flight-Lieutenant, who inducts him into the aerodrome. Roy introduces him as ‘remarkably handsome’ and continues make similar references even when they are at odds. Is this making a point about the psycho-sexual subtext of fascism, or just incidental melodrama? Who knows.
The 2007 edition that I read includes an introduction by Michael Moorcock, which provides some useful background on Warner (apparently Roy is a bit of a self-insert). Moorcock compares ‘The Aerodrome’ with [b:The Old Men at the Zoo|1654440|The Old Men at the Zoo|Angus Wilson|https://images.gr-assets.com/books/1438545564s/1654440.jpg|1649057], which I was distinctly disappointed by. I found Warner’s allegory much more effective, albeit not without flaws. The combination of romantic drama and political metaphor sometimes jarred. The deus ex machina ending was downright unsatisfactory. Nonetheless, there are moments of profundity and an effective message that rural England could slide into fascism through sheer inertia. Although I didn’t like him at all, I found Roy an interesting narrative voice. Also, I have a soft spot for long sentences and cynicism. This struck me as a very cynical novel. show less
I ran across this book an outlet mall in Jefferson, WI. and a glance at the covers had me thinking why not ? But where I was expecting an air war story I got instead a morality lesson(I think that i s what it could be called. At first I wasn't sure what I thought of it, but I quickly got caught up in the story and yes it made me wonder, again,
expectations we place on governments. I continue to believe in social democracy, but not the so socialism represented by totalitarian governments like China and Russia.
i
expectations we place on governments. I continue to believe in social democracy, but not the so socialism represented by totalitarian governments like China and Russia.
i
This is an underrated classic allegory of good versus evil. I remember enjoying reading it immensely and was later pleased to find it on Anthony Burgess' list of 99 novels which he considers the best since 1939. This is certainly among the best that I have read from the modern era.
1840 The Aerodrome a love story by Rex Warner (read 25 Mar 1984) I read this because it is on Anthony Burgess' list of the 99 novels in English since 1939 which he calls "outstanding achievements." I had not previously heard of this book, but the jacket calls it "the best English Kafka novel" and refers to its "persistent, underground reputation as a minor classic." It is an allegory about an evil man, the Vice Air Marshal, who takes over an English village, told by a man who has just, at the beginning of the book, turned 21. The moral it seeks to teach seems rather obvious to me--it is anti-totalitarian--but maybe in 1941 it was a very pertinent moral. The author was born in 1905 and attended Oxford. In 1966 he was at the University of show more Connecticut. Some of his novels about ancient Greece and Rome might be worth reading. {But I have never yet read any of them.] show less
A strange but readable book!
Ratings
Members
- Recently Added By
Lists
Best Dystopias
280 works; 277 members
Best of British Literature
226 works; 41 members
Anthony Burgess 99 Post War Novels
99 works; 7 members
THE WAR ROOM
813 works; 24 members
Author Information
Some Editions
Awards and Honors
Distinctions
Notable Lists
Series
Belongs to Publisher Series
Common Knowledge
- Canonical title
- The Aerodrome
- Original publication date
- 1941
- Related movies
- The Aerodrome (1983 | IMDb)
- First words
- It would be difficult to overestimate the importance to me of the events which had taken place previous to the hour (it was shortly after ten o'clock in the morning) when I was lying in the marsh near the small pond at the bo... (show all)ttom of Gurney's meadow, my face in the mud and the black mud beginning to ooze through the spaces between the fingers of my outstretched hands, drunk, but not blindly so, for I seemed only to have lost the use of my limbs.
Classifications
Statistics
- Members
- 268
- Popularity
- 120,922
- Reviews
- 6
- Rating
- (3.45)
- Languages
- 6 — Danish, Dutch, English, Italian, Spanish, Swedish
- Media
- Paper
- ISBNs
- 9
- ASINs
- 6































































