Going Solo

“But hang on a minute!…What was this?…There was someone with him!…There was another fellow scooting behind him this time!…As naked as the Major he was, too!…What on earth was going on aboard this ship?…Did all the male passengers get up at dawn and go tearing round the deck with no clothes on?…Was this some Empire-building body-building ritual I didn’t know about?…The two were coming closer now…My God, the second one looked like a woman!…It was a woman!…A naked woman as bare-bottomed as Venus de Milo…But there the resemblance ceased for I could see now that this scrawny white-skinned figure was none other than Mrs Major Griffiths herself.”

Dahl has a lively and humorous tone, using short, fragmented sentences and exclamatory punctuation to convey his surprise and amusement. The rapid-fire succession of thoughts and observations creates a sense of immediacy and spontaneity, as though the reader is experiencing the scene alongside Dahl. The use of ellipses and exclamation marks punctuates his internal monologue, emphasizing his incredulity and the absurdity of the situation.

“And so it remained for the rest of my time in Tanganyika. I loved it all. There were no furled umbrellas, no bowler hats, no sombre grey suits and I never once had to get on a train or a bus.”

The absence of “furled umbrellas, bowler hats, and sombre grey suits” symbolizes the departure from the rigid, dreary, and conventional British lifestyle of the 1930s. Dahl’s Tanganyika is painted as a place of freedom and escape from the monotonous and structured life he left behind. The imagery of not having to “get on a train or a bus” further emphasizes the contrast between the bustling, scheduled life of Britain and the open, unconfined spaces of Tanganyika. It reflects a slower pace of life where one is not bound by schedules or the formalities of urban existence.

“The result was that none of them made any effort to learn our language, so we had to learn theirs instead.”

This quote reflects a common expectation among colonizers that the colonized should adapt to the colonizer’s language and ways rather than the other way around. The use of “none of them” generalizes the local population, suggesting a perceived lack of initiative or desire to engage with the foreign language. This sentiment reveals a one-sided view of cultural exchange, where the burden of communication is placed on the indigenous people. However, the latter part of the quote, “so we had to learn theirs instead,” indicates a reversal of the expected norm, where the colonizers must adapt to the local language to facilitate communication. This necessity could be seen as a form of cultural immersion that has the potential to foster greater understanding and respect for the local culture.

“But I do miss the company of other white men. There aren’t many even moderately intelligent Europeans in the town.”

Robert Sanford’s lamentation speaks to the racial segregation and the colonial mindset of the British Empire during that era. The distinction he makes between himself and the local population is clear, as he longs for the presence of “even moderately intelligent Europeans.” The implication that intelligence and companionship were qualities he could only find among his own race is telling of the times. It also points to the insular communities that colonial officers formed, often detached from the rich cultures and knowledge of the local people.

“The Germans think this Bwana Hitler is a wonderful fellow. But he is actually a raving mad maniac. As soon as the war begins, the Germans will try to kill us all, and then, of course, we shall have to try to kill them before they can kill us.”

By referring to Hitler as “Bwana,” a term Mdisho understands, Dahl bridges the cultural gap between them. This approach allows Mdisho to grasp the gravity of the situation within his own frame of reference. It is a method of communication that respects Mdisho’s background while also conveying the urgency and danger posed by Hitler and the German forces.

“‘I am really not trained for this sort of thing,’ I said. ‘I’m just a chap who works for Shell.’”

Dahl’s self-description as “just a chap who works for Shell” is similar to the experience of many who were conscripted or volunteered for service without prior military experience. This contrast between his civilian life and the military responsibilities he suddenly faces amplifies the sense of disorientation and anxiety he feels. He has dropped hints about the war in previous chapters through letters to his mother, but he is still surprised to find himself thrust into the middle of it.

“‘Then we are equal, bwana,’ [Mdisho] said, smiling with his wonderful white teeth. ‘That makes us exactly equal, you and me.’

‘Yes,’ I said. ‘I suppose it does.’”

This exchange occurs after Mdisho, driven by a sense of loyalty and a warrior spirit, kills a German plantation owner using Dahl’s sword. Mdisho’s assertion that they were now “equal” reflects his perception that the act of violence has somehow leveled the playing field between him and Dahl. For Mdisho, the killing of the German represents a significant action—one that he believed grants him a status similar to that of his colonial master. His smile and reference to their equality can be seen as an attempt to bridge the gap between them, possibly indicating a desire for recognition and respect from Dahl, who occupies a position of power in the colonial structure. Dahl’s ambivalence in his response could stem from a realization that in war, the distinctions of class, race, and status—so rigidly maintained in peacetime—can become meaningless in the face of shared experiences of violence and survival.

“After I had gone solo, I was allowed to go up alone for much of the time and it was wonderful.”

The sense of wonder that Dahl describes captures the exhilaration and joy of flying alone, unencumbered by the presence of an instructor. This feeling stems not only from the physical sensation of flight but also from the emotional and psychological satisfaction of mastering a complex skill. For Dahl, going solo represents both a personal achievement and a profound connection with the act of flying itself. The open skies become a space of liberation where he can experience the thrill of aviation on his own terms. At this point in the narrative, the realities of war have not yet fully intruded on Dahl’s experience, allowing him to savor the freedom and beauty of flight.

“There is no question that we were flung in at the deep end, totally unprepared for actual fighting in the air, and this, in my opinion, accounted for the very great losses of young pilots that we suffered out there.”

This quote connects to the theme of The Absurdity and Tragedy of War. These young pilots, full of potential, were lost not necessarily because of the enemy’s superiority but because of systemic failures within their own ranks. Dahl’s observation that the “very great losses” were a direct result of this unpreparedness shows the futility of sending ill-equipped individuals into battle. The deaths of these pilots are portrayed as avoidable, a result of the hurried and desperate nature of war rather than any heroic or necessary sacrifice.

“There seems, on re-reading it, to be an implication that I was shot down by enemy action, and if I remember rightly, this was inserted by the editors of an American magazine called The Saturday Evening Post who originally bought and published it.”

Dahl’s tone suggests a certain detachment or even mild irritation at the way his personal experience was repackaged. It reflects his awareness of the tension between the reality of his experiences and the way they are represented in media. This manipulation of truth for the sake of a more marketable story points to the commercialization of war narratives and the way individual experiences are sometimes distorted to serve broader narrative or ideological purposes. Dahl is also critiquing Americans specifically. He implies that American sensibilities may favor a more embellished or romanticized version of events, especially those related to war and conflict, which aligns with the broader American cultural narrative of heroism.

“But somehow I didn’t want to—once invalided home, I knew I’d never get on to flying again, and who wants to be invalided home anyway. When I go I want to go normally.”

In this excerpt from Dahl’s letter to his mother, we see a deep personal conflict and a strong sense of pride. Dahl expresses a reluctance to be invalided home, which would signify a permanent end to his flying career—a passion and a significant part of his identity. The passage reveals Dahl’s disdain for the idea of returning not as a triumphant soldier but as someone who is no longer capable of serving. At age 24, he was still looking at the world with a young man’s sense of Adventure in Conflict.

“Then David Coke said, ‘As you don’t seem to know anything at all, I’d better try to help you. What would you like to know?’”

Dahl had just met Coke when he said this, and this early interaction set a tone of camaraderie and mentorship from the outset. It shows that their relationship, although new, was founded on mutual respect and a shared understanding of the demands of their roles. Coke’s immediate willingness to assist Dahl suggests that their relationship would likely be built on this foundation of trust and support. Coke, being more experienced, took on a mentor-like role, helping Dahl navigate the complexities of being a pilot during the war. This relationship was a source of strength for Dahl, providing him with both practical advice and the moral support needed to face the challenges of combat.

“I had been in some fairly primitive lavatories in East Africa, but the 80 Squadron latrines at Elevsis beat the lot.”

By focusing on something as mundane and universally relatable as the poor state of the latrines, Dahl brings a touch of levity to the narrative and highlights The Absurdity of War. This moment of humor humanizes the experience of war, reminding readers that even in the most extreme circumstances, soldiers still had to deal with the everyday inconveniences and discomforts that are often overlooked in grander narratives of war.

“I could see several Greek seamen on the deck of the ship waving their caps at me and I waved back at them. That is how stupid I was. I quite literally sat there in my cockpit waving away at the Greek seamen below, forgetting that I was in a hostile sky that could be seething with German aircraft.”

This quote encapsulates Dahl’s happy-go-lucky attitude, a demeanor that permeates much of Going Solo. Even in the midst of war, Dahl often maintained a sense of casualness and humor, which made the dangers of his situation seem distant or even surreal. Dahl often treats his experiences as part of a grand adventure rather than as a sequence of life-threatening events. His waving back at the seamen demonstrates his inclination to focus on the human and mundane aspects of his experience rather than the constant, looming threat of violence. This perspective reflects The Absurdity of War and allows Dahl to preserve his sense of self and his optimism despite the chaos and danger that surround him.

“I had never flown a Hurricane in formation before. Even in training I had only done formation flying once in a little Tiger Moth. It is not a particularly tricky business if you have had plenty of practice, but if you are new to the game and if you are required to fly within a few feet of your neighbour’s wing-tip, it is a dicey experience. You keep your position by jiggling the throttle back and forth the whole time and by being extremely delicate on the rudder-bar and the stick.”

This quote shows how Dahl blends technical explanation with personal reflection, allowing readers to understand both the mechanical difficulties of the task and the psychological pressure of performing it under less-than-ideal circumstances. He begins with a straightforward, almost instructional tone as he explains the mechanics of formation flying. These specific technical details show the complexity and precision required in such a task. However, he does not use too much jargon, making the language and terminology accessible to even those who have no familiarity with the parts of a plane.

“I was standing quite naked beside the three legged basin outside the tent with David Coke trying to wash off some of the sweat of battle when boom bang woomph wham rat-tat-tat-tat-tat a tremendous explosion of noises slammed into us overhead with a rattle of machine-guns and a roar of engines.”

The use of onomatopoeia creates an immediate and visceral sense of the chaos and violence that erupted around them, immersing the reader in the sudden shift from calm to combat. The sequence of sounds—starting with the low, heavy “boom bang woomph wham” and escalating to the sharp “rat-tat-tat-tat-tat” of machine guns—creates a rising tension that mirrors the escalating danger that Dahl and Coke faced. This progression from deep, resonant explosions to the staccato of gunfire gives a sense of the escalating panic and urgency of the moment.

“We were undaunted by the thought that there were only seven of us with seven Hurricanes on a bare field and fifty miles to the north about one half of the entire German Air Force was trying to hunt us down. From where we sat we had a fine view of the Bay of Athens and the blue-green sea and the crazy oil tanker lying at anchor.”

This quote connects to the theme of Adventure and Exploration amidst Conflict. Rather than being consumed by fear, Dahl finds beauty in his surroundings, allowing himself and his comrades to momentarily escape the grim realities of war. This sense of optimism shows Dahl’s approach to the war—not just as a series of terrifying events but as a grand adventure filled with moments of discovery and awe. His curiosity and sense of wonder are hallmarks of Dahl’s writing, reflecting his inherent optimism and his tendency to see the world through a lens of intrigue and discovery.

“‘You know what I think,’ a young man called Dowding said. ‘I think someone wants to be able to say that the brave RAF in Greece fought gallantly to the last pilot and the last plane.’”

The idea that the soldiers were being set up to be martyrs for a cause rather than being given a realistic chance of success speaks to the disillusionment that Dahl and his fellow pilots felt as they recognized the disconnect between the decisions of their commanders and the harsh realities they faced. The phrase “to the last pilot and the last plane” implies a potential willingness by those in command to expend all available resources and personnel to create a story of unwavering bravery and commitment. This notion adds a tragic dimension to the soldiers’ efforts, as it raises the possibility that their lives and efforts were being used as pawns in a larger, perhaps indifferent, game of war.

“All of a sudden those two Germans were so close they made my skin prickle. I saw their pale faces turned towards me, each face framed in a black helmet with the goggles pushed up high over the forehead, and for one thousandth of a second I fancied that my eyes looked into the eyes of the pilot.”

The enemy pilots were no longer just distant adversaries in their planes but were brought into disturbingly close proximity where the reality of their shared humanity became undeniable. In this moment, the traditional boundaries of us versus them blur as Dahl is forced to confront the fact that these were men much like himself, performing their duty under equally harrowing circumstances. The intimacy of the encounter disrupts the typical narrative of anonymous, dehumanized warfare, forcing Dahl to grapple with the uncomfortable realization that the people he was fighting were not so different from him.

“On the other hand, it is easy to be critical of one’s commanders after the event and it is a game that all junior ranks enjoy playing. It is wrong to indulge in it too much.”

Writing half a century later, Dahl has the benefit of hindsight, which allows him to reflect on his experiences with greater clarity and maturity than he might have had at the time. With distance from the events of World War II, Dahl can appreciate the complexities and pressures that his commanders faced, and he recognizes that decisions made in the heat of the moment often involved factors that those in junior ranks might not have fully understood or appreciated at the time. This perspective could also be influenced by the fact that he was promoted to wing commander after the events in the book, so he could empathize with the commander.

“The local newspaper, which was all we got to read, had not mentioned anything about Hitler’s persecution of the Jews in 1938 and 1939. Nor did I have the faintest idea that the greatest mass murder in the history of the world was actually taking place in Germany at that moment.”

Dahl’s admission that he was unaware of the Holocaust at the time serves as a reminder of how even significant historical events can be obscured or unknown to those not directly affected by them. This ignorance was not unique to Dahl; it reflects the broader experience of many people who were unaware of the full scale of the atrocities being committed during World War II due to geographical, political, or social isolation or the fact that Hitler’s regime hid what they were doing through propaganda.

“‘You could have Germany,’ I said brightly. ‘When we have beaten Hitler then perhaps England would give you Germany.’

‘We don’t want Germany,’ the man said.

‘Then which country did you have in mind?’ I asked him, displaying more ignorance than ever.”

The man Dahl was speaking to is Jewish and responsible for Jewish orphan refugees. His desire was for a homeland for the Jewish people, a place where they could live safely and with dignity after the horrors of the Holocaust and the displacement they have endured. Dahl’s suggestion that “England would give you Germany” reflects a profound misunderstanding of the Jewish plight and the aspirations of the man he was speaking to. Dahl doesn’t understand that the intense and deeply rooted need for a Jewish homeland could not simply be satisfied by offering a defeated enemy’s land. For the Jewish community, especially in the aftermath of the Holocaust, the idea of living in Germany, a place associated with such immense trauma and suffering, was unthinkable.

“‘[Dahl’s mother’]’ll have moved,’ the operator said. ‘She’ll probably have been bombed out like all the rest of them and she’s had to move somewhere else.’”

This quote serves as a moment of foreshadowing, fulfilling earlier mentions in the book where Dahl acknowledges the possibility that his mother would have to move if war broke out. From as early as Chapter 2, Dahl references the looming threat of war and the impact it would have on civilians, including his own family.