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Over five years ago, Heather Mac Donald wrote an indispensable critique of the Smithsonian that covered some of the controversy surrounding the Enola Gay (ed note: Armavirumque reader Greg Weston points out that Bockscar, the plane the dropped the bomb on Nagasaki, has long been on display without controversy in his hometime of Dayton, in a hanger on the campus of the United States Air Force Museum.) Now the Enola Gay is back-this time in a hanger of its own outside Washington-in a display that will focus "on the facts to allow people to view it based on their own beliefs." Yet the Smithsonian Museum in Washington, DC has been in a tizzy for years about what to do with a killing machine that brought peace (as opposed to, say-in the Vonnegutian line-a peace machine that brought killing). Like the great gates of the Temple of Janus, when the bomb-bay doors of this airplane closed-up over fifty years ago it ushered in an era of peace and prosperity that came with the nuclear age. Such has been the awkward fate of the Enola Gay-the bombers of bombers that helped end a world war and has since spared future generations from the outbreak of another. Movies are easy enough to control-with the twist of a dial movies stop, run backwards, turn off, whatever-but a ton of nuts and bolts is a different matter. The fantasy of running time in reverse is a precept of their form of revisionist history. It should come as little surprise that the clever Vonnegut has carved out his place in-not just the hippie generation-but now too the postmodern demi-monde of TAs and assistant curators.
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In our present case, that victor is the pc crowd filling our museums and universities and lording over a fiefdom of doting courtiers. This image of a backwards bombing-raid, elegant and fantastic as it is, is something like how history is often viewed by the victor. It was their business to put them into the ground., to hide them cleverly, so they would never hurt anybody ever again.
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The minerals were then shipped to specialists in remote areas. Touchingly, it was mainly women who did this work. When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Over France, though, German fighters came up again, made everything and everybody as good as new. But there were still a few wounded Americans, though, and some of the bombers were in bad repair. They used them to suck more fragments from the crewmen and planes. The Germans below had miraculous devices of their own, which were long steel tubes. The containers were stored neatly in racks. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers, and lifted the containers into the bellies of the planes. The formation flew backwards over a German city that was in flames. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation. Over France a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen.
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Seen backwards by Billy, the story went like this:Īmerican planes, full of holes and wounded men and corpses took off backwards from an airfield in England.
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There is a famous scene in Kurt Vonnegut’s Slaughterhouse Five in which one of the characters watches a war movie in reverse: It was a movie about American bombers in the Second World War and the gallant men who flew them.