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Flight to Arras
Flight to Arras
Flight to Arras
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Flight to Arras

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The World War II aviator and author of The Little Prince tells his true story of flying a reconnaissance plane during the Battle of France in 1940.

When the Germans first invaded France in May of 1940, the French Air Force had a mere fifty reconnaissance crews, twenty-three of which served in Antoine de Saint-Exupéry’s Group II/33. After only a few days, seventeen of the crews in Saint-Exupéry’s unit had already perished.
 
Flight to Arras is the harrowing story of a single mission over the French town of Arras, an endeavor Saint-Exupéry realized the futility of even as he witnessed it unfolding. Filled with tension, emotion, philosophy, and historical detail, and penned by a master storyteller, this extraordinary memoir serves as a record of a little-known chapter of the Second World War, and an unforgettable portrait of the brave souls who fought despite desperate odds.
LanguageEnglish
Release dateOct 22, 1969
ISBN9780547539607
Flight to Arras
Author

Antoine de Saint-Exupéry

Antoine De Saint Exupéry, born in Lyon 29 June 1900, was a French writer and aviator. He is best remembered for his novella The Little Prince, and for his books about aviation adventures, including Night Flight (1931) and Wind, Sand and Stars (1939). In 1921 he began his military service and trained as a pilot. He became one of the pioneers of international postal flight. At the outbreak of the Second World War he joined the French Air Force flying reconnaissance missions until the armistice with Germany. Following a spell writing in the United States, he joined the Free French Forces. He went on a mission to collect information on German troop movements in the Rhone valley on 31 July 1944 and was never seen again. His plane disappeared. It was assumed that he was shot down over the Mediterranean. An unidentifiable body wearing French colours was found several days later and buried in Carqueiranne that September.

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Rating: 3.8099175206611573 out of 5 stars
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  • Rating: 3 out of 5 stars
    3/5
    The first part was exciting, but then Exupery becomes rather philosophic and the book gets bogged down into an anti-war polemic.
  • Rating: 4 out of 5 stars
    4/5
    It's amazing what had to be done in the war, and Saint-Exupery captures perfectly the drama of every moment of his mission.
  • Rating: 2 out of 5 stars
    2/5
    A French pilot talking about his scouting flight flown while the German's were pouring into his country like a flood. The French high command was in disarray and he felt his scouting flight was probably useless and likely to get him killed. But he went anyway. Along the way on this one flight he talks about philosophy, life, the situation in France, and with the French Air Force.

    A sample: "There is a cheap literature that speak to us of the need of escape. It is true that when we travel we are in search of distance. But distance is not to be found. It melts away. And escape has never led anywhere. The moment a man finds that he must play the races, go the Arctic, or make war in order to feel himself alive, that man has begun to spin the strands that bind him to other men and to the world. But what wretched strands! A civilization that is really strong fills man to the brim, though he never stir. What are we worth when motionless, is the question." ~ WWII French pilot Antoine de Saint-Exupery

  • Rating: 5 out of 5 stars
    5/5
    Saint Ex's account of flying recon in the opening days of the German invasion of France. He recounts highlites of the time by condensing it into a single account of a flight over the enemy town of Arras. I found it to be a good account of what its like to be on the edge of death, depressing and morose, as the subject requires, yet beautiful and humane.As usual Saint Ex fills the pages with poetic and original descriptions and many metaphors. This is about travel literature:"There is a cheap literature that speaks to us of the need to escape. It is true that when we travel we are in search of distance. But distance is not to be found. It melts away. And escape has never led anyone anywhere. The moment a man finds he must play the races, go to the Arctic, or make war in order to feel himself alive, that man has begun to spin the strands that bind him to other men and to the world. But what wretched strands! A civilization that is really strong fills man to the brim, though he never stir. What are we worth when motionless, is the question." -pg. 113about fear and death:"Man does not die. Man imagines that it is death that he fears; but what he fears is the unforseen, the explosion. What man fears is himself, not death. There is no death when you meet death. When the body sinks into death, the essence of man is revealed. Man is a knot, a web, a mesh into which relationships are tied. Only those relationships matter. The body is an old crock that nobody will miss. I have never known a man to think of himself when dying. Never." -pg.183seeing your own death coming:"And point by point I recognized the extraordinary sensation that now and then accompanies the imminence of death-a feeling of unexpected leisure..The plane was burning, the fighters were after it and spattering it with bullets..but he had felt no desire of any kind. He had felt nothing. He had time on his hands. He was floating in a sort of infinite leisure." -pg.68----Saint Ex wrote Flight to Arras (along with Little Prince) while in the USA for 2 years, right after the events of the book, he then returned to fly more missions in the later days of the war. Prophetically to the tone of the book, he died while on a recon mission off the coast of France, returning home from his last mission.
  • Rating: 2 out of 5 stars
    2/5
    As the last days before the fall of France in 1940 approach, Saint Exupery & his fellow flyers face almost certain death with every flight. This volume is his description of the recon flight he ton to Arras and what went through his mind as he flew. He describes the plight of the refugees fleeing the Gernans with no idea where they will end up and how they will feed themselves. The plight of children is most moving.He analyzes his feelings about dying especially for a cause that seems hopeless. He also thinks back to his youth and how it influenced him to be the man he is at the moment. This is a classic in the annals of aviation literature.
  • Rating: 5 out of 5 stars
    5/5
    "Flight to Arras" is a powerful memoir written by Antoine de Saint-Exupéry, a renowned French aviator and author, best known for "The Little Prince". Published in 1942, the book recounts Saint-Exupéry's experiences as a pilot during the early days of World War II.The memoir takes place during the Battle of France in 1940 when Saint-Exupéry served as a pilot in the French Air Force. It provides a deeply personal and introspective account of his time as a reconnaissance pilot, flying dangerous missions over enemy territory."Flight to Arras" delves into the emotional and psychological turmoil experienced by Saint-Exupéry and his fellow aviators. It explores the fear, uncertainty, and camaraderie that existed among the pilots, highlighting their courage and dedication in the face of adversity.The book is not merely a chronicle of military operations but also a philosophical reflection on the nature of war and the human condition. Saint-Exupéry contemplates the purpose and meaning of life in the midst of destruction, questioning the value of sacrifice and the ultimate futility of war.Through vivid and poetic prose, Saint-Exupéry captures the beauty and tragedy of flight, describing the exhilaration of soaring through the skies juxtaposed with the grim reality of war-torn landscapes below. His writing blends technical details of aviation with philosophical musings, creating a unique narrative that engages both the intellect and the emotions of the reader."Flight to Arras" is a poignant exploration of the human spirit, resilience, and the search for meaning in the face of impending danger. It offers insights into the experiences and emotions of those involved in aerial warfare, shedding light on the complexities of the human condition during times of conflict.Saint-Exupéry's introspective and lyrical writing style, combined with his firsthand experiences as a pilot, imbues the book with a sense of authenticity and depth. "Flight to Arras" stands as a testament to the author's literary talent and his profound understanding of the human soul.Overall, "Flight to Arras" is a thought-provoking memoir that transcends its wartime context. It delves into universal themes of courage, mortality, and the search for purpose, resonating with readers long after the final page is turned.
  • Rating: 4 out of 5 stars
    4/5
    My first introduction to Saint-Exupery came in 1993 when Outside Magazine published a list of the Top 25 best adventure books written over the last 100 years. Saint-Exupery’s book Wind, Sand and Stars headed that list. Today some critics still claim that that book is the best one ever written on flying. It is a great read, classic, and still remains one of my all time favorites.

    Flight to Arras is my 4th novel of his to read. For me, it is not at the level of my first exposure to his writings, but it is still an extremely well written book for entirely different reasons. He was a writer with a poetic methodology. And one who was able to dig inside and explain feelings and emotions that put you the reader into the scene, the circumstances, and his head.

    This book takes place during WWII when the Germans were completely over running France. Saint-Exupery belonged to one of two groups flying French reconnaissance planes. Fifty such in the entire French army. One out of every three planes sent out on a mission never comes back. He and his two crew members are sent on a “sortie” that is considered “damned awkward”. In other words, an extremely high probability of not returning.

    But this is not a war story. The suicidal mission becomes a backdrop, linchpin, and the motivator to delve into broad philosophical musings on life, purpose, behaviors, relationships to “Man”, and ends with the analogy of the rebirth potential of a seed that may be all that is left of what came before.

    This is a really good book that explores the reflective aspects of life; and under circumstances where the writer expects to meet his own death. It is a short read, 150 plus pages, but better enjoyed when you have the time to appreciate the soul bearing he exposes and potentially the feelings stirred within yourself.

Book preview

Flight to Arras - Antoine de Saint-Exupéry

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Table of Contents

Title Page

Table of Contents

Copyright

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

XIII

XIV

XV

XVI

XVII

XVIII

XIX

XX

XXI

XXII

XXIII

XXIV

About the Author

Copyright © 1942 by Harcourt, Inc

English translation copyright © 1986 by Harcourt, Inc

Introduction copyright © 1986 by Anne Morrow Lindbergh

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, Including photocopy, recording, of any information storage and retrieval system, without permission in writing from the publisher.

For information about permission to reproduce selections from this book, write to Permissions, Houghton Mifflin Harcourt Publishing Company, 215 Park Avenue South, New York, New York 10003.

www.hmhbooks.com

The Library of Congress has cataloged the print edition as follows:

Saint Exupéry, Antoine de, 1900–1944,

Flight to Arras

Translation of Pilote de guerre

Reprint Originally published New York

Harcourt, Inc., c1942

1 Saint-Exupéry, Antoine de, 1900–1944—Biography. 2 Authors, French—20th century—Biography 3 Air pilots, Military—France—Biography, 4 World War, 1939–1945—Aerial operations, French 5 World War, 1939–1945—Personal narratives, French

I Title

PQ2637 A2747.47313 1985 848' 91209[B] 82 22524

ISBN 0-15 631880 6

eISBN 978-0-547-53960-7

v2.0113

I

Surely I must be dreaming. It is as if I were fifteen again. I am back at school. My mind is on my geometry problem. Leaning over the worn black desk, I work away dutifully with compass and ruler and protractor. I am quiet and industrious.

Near by sit some of my schoolmates, talking in murmurs. One of them stands at a blackboard chalking up figures. Others less studious are playing bridge. Out-of-doors I see the branch of a tree swaying in the breeze. I drop my work and stare at it. From an industrious pupil I have become an idle one. The shining sun fills me with peace. I inhale with delight the childhood odor of the wooden desk, the chalk, the blackboard in this schoolhouse in which we are quartered. I revel in the sense of security born of this daydream of a sheltered childhood.

What course life takes, we all know. We are children, we are sent to school, we make friends, we go to college—and we are graduated. Some sort of diploma is handed to us, and our hearts pound as we are ushered across a certain threshold, marched through a certain porch, the other side of which we are of a sudden grown men. Now our footfalls strike the ground with a new assurance. We have begun to make our way in life, to take the first few steps of our way in life. We are about to measure our strength against real adversaries. The ruler, the T square, the compass have become weapons with which we shall build a world, triumph over an enemy. Playtime is over.

All this I see as I stare at the swaying branch. And I see too that schoolboys have no fear of facing life. They champ at the bit. The jealousies, the trials, the sorrows of the life of man do not intimidate the schoolboy.

But what a strange schoolboy I am! I sit in this schoolroom, a schoolboy conscious of my good fortune and in no hurry to face life. A schoolboy aware of its cares....

Dutertre comes by, and I stop him.

Sit down. I’ll do some card-tricks for you.

Dutertre sits facing me on a desk as worn as mine. I can see his dangling legs as he shuffles the cards. How pleased with myself I am when I pick out the card he has in mind! He laughs. Modestly, I smile. Pénicot comes up and puts his arm across my shoulder.

What do you say, old boy?

How tenderly peaceful all this is!

A school usher—is it an usher?—opens the door and summons two among us. They drop their ruler, drop their compass, get up, and go out. We follow them with our eyes. Their schooldays are over. They have been released for the business of life. What they have learnt, they are now to make use of. Like grown men, they are about to try out against other men the formulas they have worked out.

Strange school, this, where each goes forth alone in turn. And without a word of farewell. Those two who have just gone through the door did not so much as glance at us who remain behind. And yet the hazard of life, it may be, will transport them farther away than China. So much farther! When schooldays are past, and life has scattered you, who can swear that you will meet again?

The rest of us, those still nestling in the cosy warmth of our incubator, go back to our murmured talk.

Look here, Dutertre. To-night—

But once again the same door has opened. And like a court sentence the words ring out in the quiet schoolroom:

Captain de Saint-Exupéry and Lieutenant Dutertre report to the major!

Schooldays are over. Life has begun.

Did you know it was our turn?

Pénicot flew this morning.

Oh, yes.

The fact that we had been sent for meant that we were to be ordered out on a sortie. We had reached the last days of May, 1940, a time of full retreat, of full disaster. Crew after crew was being offered up as a sacrifice. It was as if you dashed glassfuls of water into a forest fire in the hope of putting it out. The last thing that could occur to anyone in this world that was tumbling round our ears was the notion of risk or danger. Fifty reconnaissance crews was all we had for the whole French army. Fifty crews of three men each—pilot, observer, and gunner. Out of the fifty, twenty-three made up our unit—Group 2-33. In three weeks, seventeen of the twenty-three had vanished. Our Group had melted like a lump of wax. Yesterday, speaking to Lieutenant Gavoille, I had let drop the words, Oh, we’ll see about that when the war is over. And Gavoille had answered, I hope you don’t mean, Cap tain, that you expect to come out of the war alive?

Gavoille was not joking. He was sincerely shocked. We knew perfectly well that there was nothing for us but to go on flinging ourselves into the forest fire. Even though it serve no purpose. Fifty crews for the whole of France. The whole strategy of the French army rested upon our shoulders. An immense forest fire raging, and a hope that it might be put out by the sacrifice of a few glassfuls of water. They would be sacrificed.

And this was as it should be. Who ever thought of complaining? When did anyone ever hear, among us, anything else than Very good, sir. Yes, sir. Thank you, sir. Quite right, sir. Throughout the closing days of the French campaign one impression dominated all others—an impression of absurdity. Everything was cracking up all round us. Everything was caving in. The collapse was so entire that death itself seemed to us absurd. Death, in such a tumult, had ceased to count. But we ourselves did not count.

Dutertre and I went into the major’s office. The major’s name was Alias. As I write, he is still in command of Group 2-33, at Tunis.

Afternoon, Saint-Ex. Hello, Dutertre. Sit down.

We sat down. The major spread out a map on the table and turned to his clerk:

Fetch me the weather reports.

He sat tapping on the table with his pencil, I stared at him. His face was drawn. He had had no sleep. Back and forth in a motorcar, he had driven all night in search of a phantom General Staff. He had been summoned to division headquarters. To brigade headquarters. He had argued and wrangled with supply depots that never delivered the spare parts they had promised. His car had been bottled up in the crazy traffic. He had supervised our last moving out and our most recent moving in—for we were driven by the enemy from one field to another like poor devils scrambling in the van of a relentless bailiff. Alias had succeeded in saving our planes, saving our lorries, saving the stores and files of the Group. He looked as if he had reached the end of his strength, of his nerves.

Well, he said, and he went on tapping with his pencil. He was still not looking at us.

A moment passed before he spoke again. It’s damned awkward, he said finally; and he shrugged his shoulders. A damned awkward sortie. But the Staff want it done. They very much want it done. I argued with them; but they want it done.... And that’s that.

Dutertre and I sat looking out of the window. Here too a branch was swaying in the breeze. I could hear the cackle of the hens. Our Intelligence Room had been set up in a schoolhouse; the major’s office was in a farmhouse.

It would be easy to write a couple of fraudulent pages out of the contrast between this shining spring day, the ripening fruit, the chicks filling plumply out in the barnyard, the rising wheat—and death at our elbow. I shall not write that couple of pages because I see no reason why the peace of a spring day should constitute a contradiction of the idea of death. Why should the sweetness of life be a matter for irony?

But a vague notion did go through my mind as I stared out of Alias’ window. The spring has broken down, I said to myself. The season is out of order. I had flown over abandoned threshing machines, abandoned binders. I had seen motorcars deserted in roadside ditches. I had come upon a village square standing under water while the village faucet—the fountain as our people call it—stood open and the stream flowed on.

And suddenly a completely ridiculous image came into my mind. I thought of clocks out of order. All the clocks of France—out of order. Clocks in their church steeples. Clocks on railway stations. Chimney clocks in empty houses. A charnelhouse of clocks. The war, I said to myself, is that thing in which clocks are no longer wound up. In which beets are no longer gathered in. In which farm carts are no longer greased. And that water, collected and piped to quench men’s thirst and to whiten the Sunday laces of the village women—that water stands now in a pool flooding the square before the village church.

As for Alias, he was talking like a bedside physician. Hm, says the doctor with a shake of the head, rather awkward, this; and you know that he is hinting that you ought to be making your will, thinking of those you are about to leave behind. There was no question in Dutertre’s mind or mine that Alias was talking about sacrificing another crew.

And, Alias went on, things being as they are, it’s no good worrying about the chances you run.

Quite so. No good at all. And it’s no one’s fault. It’s not our fault that we feel none too cheerful. Not the major’s fault that he is ill at ease with us. Not the Staff’s fault that it gives orders. The major is out of sorts because the orders are absurd. We know that they are absurd; but the Staff knows that as well as we do. It gives orders because orders have to be given. Giving orders is its trade, in time of war. And everyone knows what war looks like. Handsome horsemen transmit the orders—or rather, to be modern about it, motorcyclists. The orders ordain events, change the face of the world. The handsome horsemen are like the stars—they bring tidings of the future. In the midst of turmoil and despair, orders arrive, flung to the troops from the backs of steaming horses. And then all is well—at least, so says the blueprint of war. So says the pretty picture-book of war. Everybody struggles as hard as he can to make war look like war. Piously respects the rules of the game. So that war may perhaps be good enough to agree to look like war.

Orders are given for the sacrifice of the air arm because war must be made to look like war. And nobody admits meanwhile that this war looks like nothing at all. That no part of it makes sense. That not a single blueprint fits the circumstances. That the puppets have been cut free of the strings which continue to be pulled.

In all seriousness the Staffs issue orders that never reach anybody. They ask us for intelligence impossible to provide. But the air arm cannot undertake to explain war to the Staffs. Reconnaissance pilots might be able to test or verify the Staffs’ hypotheses. But there are no longer any hypotheses. Fifty reconnaissance crews are asked to sketch the face of a war that has no face. The Staffs appeal to us as if we were a tribe of fortune-tellers.

While Alias was speaking I threw a glance at Dutertre—my fortune-telling observer. This was what he said afterwards.

What do they take us for, sending us off on low-altitude sorties? Only yesterday I had to tick off a colonel from division headquarters who was talking the same rot. ‘Will you tell me,’ I said to him; ‘will you tell me how I am going to report the enemy’s position to you from an altitude of fifty feet when I’m doing three hundred miles an hour?’ He looked at me as if I was the one who was mad. ‘Why,’ he said, ‘that’s easy. You can tell according to whether they shoot or not. If they shoot at you, the positions are German.’ Imagine! The bloody fool!

What Dutertre knew, and the colonel seemed to forget, was that the French army never saw French aeroplanes. We had roughly one thousand planes scattered between Dunkerque and Alsace. Diluted in infinity, so far as the men on the ground were concerned. The result was that when a plane roared across our lines, it was virtually certain to be a German. You let fly with all the anti-aircraft guns you had even before you saw him, the instant you heard him; for otherwise he had dropped his bombs and was off before you could say wink!

A precious lot of intelligence we’ll bring home working their way! Dutertre said.

Of

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