Category Archives: Weapons
Fifteen seconds before 5.30am on July 16 1945, above an area of New Mexico desert so unforgivingly dry that earlier travellers christened it the Jornada del Muerto (Journey of the Dead Man), a new sun flashed into existence and rose rapidly into the sky. It was a little before dawn.
This strange, early daybreak was the Trinity Test: humanity’s first encounter with the atomic bomb. Within a month two bombs were dropped on Japan: the first, “Little Boy”, a uranium weapon, at Hiroshima; the second, “Fat Man”, a plutonium weapon of the implosion design tested at Trinity, on Nagasaki. Casualty estimates vary widely, but perhaps as many as 150-250,000 people died as a direct result of these two events. The following half century was one of intense nuclear testing, the residue of which might be the signature for the proposed new epoch of the Anthropocene.
The extraordinary story of the Manhattan Project, which led to this point, has been told many times. It begins with the realisation that atomic weapons, releasing vast amounts of energy via a nuclear chain reaction, were possible. It includes a 1939 letter, signed by Albert Einstein, alerting President Roosevelt to the dangers of a German atomic bomb programme, and tells how, following the United States’ entry into the second world war after the Japanese attack on Pearl Harbor, the programme accelerated rapidly under the control of General Leslie Groves.
The Manhattan Project absorbed the British and Canadian “Tube Alloys” atomic programme, and drew on a dazzling array of scientific talent. More than a purely scientific endeavour, it was an engineering and industrial enterprise on a massive scale, employing about 130,000 people at its peak, and perhaps half a million cumulatively.
This article is part of Conversation Insights
The Insights team generates long-form journalism derived from interdisciplinary research. The team is working with academics from different backgrounds who have been engaged in projects aimed at tackling societal and scientific challenges.
Site Y was a town built from scratch to build the atomic bomb at Los Alamos, New Mexico. Here, under the scientific directorship of J Robert Oppenheimer – a complex, charismatic figure (so famous after the war that he was instantly recognisable by his porkpie hat) – scientists, including many who’d fled Nazi persecution in Europe and were acutely aware of what a Nazi bomb might mean, built the “gadget” tested at Trinity.
By then, though, circumstances had changed. In late 1944, as Allied forces advanced across Europe, it became apparent that the German bomb programme had stalled years before. After Franklin Roosevelt’s death in April 1945 and Germany’s defeat in May, the Trinity Test was prioritised so Harry Truman, the new president, would have news of it when he met Joseph Stalin and Winston Churchill at the Potsdam conference.
Trinity is a striking moment. Scientists, military personnel and observers gathered in observation bunkers 10,000 yards from ground zero, at a base camp ten miles away, and at Compañia Hill, 20 miles away. Overnight, thunder, lightning and rain swept across the area, imperilling the test.
Don Hornig, the last man to “babysit” the bomb in its metal shack at the top of a 100ft tower, recalls passing the time by reading an anthology of humorous writing, Desert Island Decameron, by the light of a 60-watt bulb. He hoped the wet tower would act as a lightning rod if there were any lightning strikes. The alternative was sobering, but he appears to have been philosophical: “It would set the bomb off. And in that case, I’d never know about it! So I read my book.”
At a 2am conference, Groves threatened hard-pressed project meteorologist, Jack Hubbard, insisting he sign his forecast predicting conditions would clear by dawn and promising to “hang” him if they didn’t. Groves then roused New Mexico’s governor by phone, warning him he might have to declare martial law if things went wrong. By 4am the skies were clearing.
As 5.30 approached, people readied themselves with welder’s glass to view the test. At Compañia Hill, the physicist, Edward Teller, passed around sun cream. At S-10000, the main control bunker, an exhausted Oppenheimer leaned against a post to steady himself as the final seconds ticked away, and was heard to mutter: “Lord, these affairs are hard on the heart.”
The story of the Manhattan Project often ends with the controversial use of the bomb on Japan, or goes on to tell about the leaking of atomic secrets by Klaus Fuchs and the first Soviet atomic test in 1949. It might add that Oppenheimer, frequently portrayed as a tragic figure, had his security clearance revoked amid the anti-communist hysteria of the early 1950s.
A new world
Now, 75 years on, it’s worth isolating Trinity from this complex history to ask what that early morning moment in the remote desert meant. It was here, after all, that humans first encountered phenomena that were to haunt the cold war imagination, and still shape how many imagine potential nuclear futures: the atomic flash, the mushroom cloud and radioactive fallout.
Although this was a new human experience (Norris Bradbury, who succeeded Oppenheimer as director of the Los Alamos National Laboratory, noted that “the atom bomb did not fit into any preconceptions possessed by anybody”), it was processed through cultural traditions with long histories. It’s become an origin story in nuclear mythologies.
Writers return repeatedly to Trinity as a moment pregnant with meaning. In the 21st century alone, it’s featured in novels by, among others, Lydia Millet, Ellen Klages, Nora Gallagher, TaraShea Nesbit, Elizabeth J Church and Louisa Hall, and there are notable earlier examples, including those by Pearl Buck, Leslie Marmon Silko and Joseph Kanon. It’s been depicted by poets from William E Stafford to John Canaday and Hannah Cooper-Smithson, and on stage by Tom Morton-Smith. It features in music in genres ranging from rock to opera.
This fascination with Trinity shows how it’s not only an important historical moment, but a critical cultural one too. As the old sun crept above the horizon a few minutes after the test, many present were in little doubt it was rising on a new world.
The brightest light
In both eyewitness accounts and in fiction, Trinity is described as a moment of rupture and rapture: rupture because it marks the transition from a pre-nuclear to a nuclear age; rapture because the encounter with dazzling light and a power overwhelming the senses has the quality of religious experience.
Of course, there can be distortion in such accounts. The popular tendency to see the atomic bomb as the definitive nuclear technology marginalises fields like nuclear medicine and ignores the intellectual richness of the nuclear sciences.
And there are other candidates for the beginning of the nuclear age: Hiroshima, for sure, but also perhaps the creation of the first self-sustaining chain reaction by Enrico Fermi’s team in Chicago in 1942, Lise Meitner and Otto Frisch’s description of fission in 1939, James Chadwick’s discovery of the neutron in 1932, and Ernest Rutherford’s “splitting” (depending how one defines this) of the atom in 1917. The very notion of a singular beginning to the nuclear age is a fiction: each moment exists only in the context of others.
Yet, Trinity was experienced as a new dawn. This is particularly apparent in the recurring metaphor of the explosion as a sun. For William Laurence of the New York Times, observing the test from 20 miles away at Compañia Hill, it was:
Sunrise such as the world has never seen, a great green super-sun climbing in a fraction of a second to a height of more than 8,000 feet, rising ever higher until it touched the clouds, lighting up earth and sky all around with a dazzling intensity.
Ernest Lawrence, inventor of the cyclotron, a type of particle accelerator, noted the transition “from darkness to brilliant sunshine, in an instant”.
Perhaps the description by Isidor Rabi, discoverer of nuclear magnetic resonance (used in MRI scans), is the most compelling:
The brightest light I have ever seen or that I think anyone has ever seen. It blasted; it pounced; it bored its way right through you. It was a vision that was seen with more than the eye.
The experience is corporeal here: the light has heft and is felt by the body. Its revelatory characteristics are picked up in literature of the Trinity Test. In Lydia Millet’s novel, Oh Pure and Radiant Heart, the flash is a “sear of lightness”. In Joseph Kanon’s thriller, Los Alamos, the protagonist “closed his eyes for a second, but it was there anyway, this amazing light, as if it didn’t need sight to exist”. In John Canaday’s poem, Victor Weisskopf, “a sun erupted”.
Laurence, whose reporting on the bomb won a Pulitzer, saw Trinity as crystallising a new relation with the universe. There, he wrote, “an elemental force [was] freed from its bonds after being chained for billions of years” as, for the first time, humans used an energy source that “does not have its origin in the sun”. “All seemed to feel”, wrote Brigadier General Thomas Farrell, General Groves’s deputy, “that they had been present at the birth of a new age – the Age of Atomic Energy”.
Fire from the gods
Stories of human acquisition of knowledge and power have deep roots in western culture. In Greek myth, Prometheus steals fire from the gods and is punished by being chained to a rock, his liver torn out daily by an eagle, only to grow back that he might be tormented again. One of the most substantial biographies of Oppenheimer names him, in its title, The American Prometheus.
In 1946, reflecting on the moment of the Trinity Test, Oppenheimer himself saw the analogy: “We thought of the legend of Prometheus, of that deep sense of guilt in man’s new powers, that reflects his recognition of evil, and his long knowledge of it.”
The most famous of Oppenheimer’s words to describe Trinity, the lines from the Hindu scripture, the Bhagavad Gita, “Now I am become Death, the Destroyer of Worlds” – first appearing in print in 1948 but frequently repeated subsequently – reinforce this sense of an encounter with divine forces. They are, for instance, the final words in Tom Morton-Smith’s play, Oppenheimer. They are invoked, too, though not actually spoken or sung, when the chorus sings lines from the Gita in John Adams’ opera, Doctor Atomic.
So much part of the mythology are these words, that it’s sometimes erroneously assumed Oppenheimer actually said them at Trinity. His brother Frank’s recollection was that he simply said: “It worked”. It’s important, too, to be wary of where the mythmaking might take us. As the nuclear historian Alex Wellerstein points out, the words from the Gita are unlikely to be the hubristic statement of Oppenheimer’s triumph they might seem. They are often contrasted with the rather blunter assessment of Kenneth Bainbridge, in charge of the test, who commented to Oppenheimer, “Now we are all sons of bitches”.
The phrase’s attraction is, I think, its ambiguity. It’s portentous, but open to interpretation, gesturing toward something important in humanity’s encounter with greater powers (perhaps a Faustian bargain struck between the purity of physics and the real-world horror of military technology) without quite stating it. A similar suggestiveness surely accounts, too, for the proliferation of the famous (but possibly erroneous) story that Trinity was named by Oppenheimer for a metaphysical poem by John Donne:
Batter my heart, three-person’d God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise and stand, o’erthrow me, and bend
Your force to break, blow, burn, and make me new.
It opens up interesting creative possibilities. In her novel Trinity, Louisa Hall imagines Donne’s poem to be one admired by Jean Tatlock, with whom Oppenheimer had an intense relationship, but who died in 1944. In Doctor Atomic, the poem’s words comprise the lyrics of the moving aria closing the first act.
Unsurprisingly, Christian traditions of the acquisition of knowledge, and of the relation with God, are also invoked at Trinity. Oppenheimer famously stated in a lecture in 1947 that “the physicists have known sin”, a statement controversial among his colleagues.
There is, then, a furious mythmaking around both Trinity and Oppenheimer. It transforms Oppenheimer from an actual person into a compelling tragic figure. It transforms the atomic bomb into a technology that symbolises broader anxieties about the relations between ourselves, our technologies and the Earth.
Beauty and terror
Stories about the atomic explosion also conjure up the aesthetic tradition of the sublime, perhaps the dominant means through which encounters with nature have been processed in western societies since the Romantic period. In the art of the sublime, extremity of experience – the wildness and grandeur of nature one might encounter in a storm at sea, for instance – is emphasised.
The sublime evokes both beauty and terror. For Farrell, Groves’s deputy, the explosion was “magnificent, beautiful” and “terrifying”. In Ellen Klages’ young adult novel, The Green Glass Sea, a witness describes Trinity, saying “It was beautiful. It was terrifying”. These are experiences of awe in the sense defined by the Oxford English Dictionary: “a feeling of fear or dread, mixed with profound reverence, typically as inspired by God or the divine”.
Indeed, Edwin McMillan, one of the physicists, described “the immediate reaction of the watchers as one of awe” and Frisch, Farrell, Bainbridge and Robert Wilson all use the word “awesome” to describe their own responses.
Farrell said of the test that it appeared as “that beauty that great poets dream about but describe most poorly and inadequately”. He is, in fact, remarkably eloquent, as this description of the desert landscape, lit by Trinity, shows:
The whole country was lighted by a searing light with the intensity many times that of the midday sun. It was golden, violet, grey and blue. It lighted every peak, crevasse and ridge of the nearby mountain range with clarity and beauty that cannot be described but must be seen to be imagined.
Pearl Buck’s novel about the Manhattan Project, Command the Morning (1959), seems to draw on this description. Stephen Coast, a (fictional) project scientist, sees:
The sky burst into blinding light. Miles away the mountains were black and then glittered into brilliant relief in the searing light. Colour splashed over the landscape, yellow, purple, crimson, grey. Every fold in the mountain sprang into bold lines, every valley was revealed, every peak stood stark.
The proliferation of adjectives chase after the experience as if they can’t keep up with the boiling profusion of colours. Characteristically, here, the sublime exceeds language’s capacity to capture it.
Trinitite and transmutation
Of course, what’s important about eyewitness and literary descriptions is not merely that they fit Trinity into established aesthetic traditions, but that the fit is uncomfortable. There are religious connotations to the dazzling light and overwhelming power of the explosion, but the forces encountered aren’t divine. Feelings aroused by the sublime are displaced uncannily when the source is technology, not nature.
In an essay on the atomic sublime, the scholar, Peter Hales, shows how the threat of the mushroom cloud was eventually somewhat tamed by being mediated through the aesthetics of the sublime. Trinity, though, provides a compelling origin story in nuclear mythologies precisely because in 1945 it was too new to be contained by that tradition. Even the familiar term, “mushroom cloud”, wasn’t yet readily available to name what rose into the sky (Frisch thought it both “a bit like a strawberry … slowly rising into the sky from the ground, with which it remained connected by a lengthening stem of whirling dust”, and “a red-hot elephant standing balanced on its trunk”).
Trinity is unsettling. The experience evoked intimations of the world’s end that were later frequently associated with nuclear weapons. George Kistiakowsky, who led the group building explosive lenses for the gadget, said Trinity was “the nearest thing to doomsday that one could possibly imagine”.
As the mushroom cloud boiled upwards, one military official, perhaps spooked by Enrico Fermi’s mischievous taking of bets on whether the explosion would ignite the atmosphere and, if so, whether it would destroy the whole world or just New Mexico (a possibility actually discussed, but ruled out well in advance of the test), apparently lost faith in the “long-hairs”, as the scientists were sometimes referred to by the soldiers at Los Alamos. “My God,” he’s said to have exclaimed, “the long-hairs have lost control!”.
Frequently, then, Trinity is a story about entering an unsettling new era. The Green Glass Sea captures this beautifully. The desert sand was melted by the test into a glassy substance, dubbed trinitite or Alamogordo glass. The novel’s young protagonist traverses this beautiful, alien world, that came into being 75 years ago:
The ground sloped gently downward into a huge green sea. Dewey took a few more steps and saw that it wasn’t water. It was glass. Translucent jade-green glass, everywhere, colouring the bare, empty desert as far ahead as she could see.
For you: more from our Insights series:
To hear about new Insights articles, join the hundreds of thousands of people who value The Conversation’s evidence-based news. Subscribe to our newsletter.
Even the sound of a bayonet could be frightening. The audible whetting of blades in the enemy’s trenches could puncture a night’s rest with premonitions of steely death. The sight of gleaming blades, too, turned the stomach of many a soldier. For all the sheer, witless terror it could produce in those who heard, saw and perhaps felt its cold steel, there was no weapon more visceral than the bayonet.
It might have been a moment of inspired panic that brought the bayonet into existence. The bearer of a musket – maybe a soldier, maybe a hunter – having fired his weapon and missed his target, found himself at the mercy of a fast-approaching assailant.
With no time to reload, he plunged the handle of a dagger into the muzzle, converting it from firearm to elongated knife or pike. Perhaps he had missed his target altogether and expected to be assaulted at any moment, or perhaps his wounded quarry had disappeared into a thicket and needed to be chased at speed.
As time was of the essence, it could not be squandered in the cumbersome act of reloading. Shoved snugly inside the muzzle of a firearm, even a short dagger could deliver a lethal strike.
From its first use somewhere in southwestern France sometime in the first half of the 17th century, the genius of the invention spread far and wide. History has it that the first acknowledged military use of the bayonet was at Ypres in 1647. It also reveals that, for all its genius, the days of the “plug bayonet” were numbered. While the wooden handle was plugged in the musket, the weapon could not be fired. Worse than that, over-vigorous use might damage the barrel, or the blade might break while wedged firmly inside.
Over time, ways were found to attach blades to the outside of barrels, whether running alongside, on top or beneath them. The blades could be short and dagger-like. Or they could be as long as swords, so that when attached to long-barrelled weapons they could deliver their bearer the advantage of reach. In cross-section, they might be broad and thin like a carving knife, round like a stiletto, or star-shaped.
In their countless variations, bayonets appeared on many a battlefield in Europe and other parts of the world, until in the last decades of the 19th century they appeared to have met their match. The American Civil War and the Franco–Prussian War seemed to teach one incontrovertible lesson – that advances in military technology had rendered the humble bayonet obsolete. In the face of machine-gun fire or a bombardment of artillery, the infantryman with a fixed bayonet might never see his killer, let alone plunge the cold steel into him.
Yet while machine-guns, mortars and artillery might serve to mow down the serried ranks of the enemy or blow them apart, ultimately even positions strewn with corpses had to be occupied and claimed. It remained the infantrymen’s vital role to make contested territory their own. If the very sight of fixed bayonets did not persuade any surviving defenders to surrender, then the bayonets might still have work to do.
A 20th century revival
The 20th century proved that declarations of the bayonet’s demise had been premature. It remained standard issue for infantrymen all over the world, even if its shape and use varied.
The Russians clung fanatically to their faith in the socket bayonet. The Japanese reintroduced a sword bayonet in 1897, inspired by a French weapon. Where stealth was of the essence, as it was in night attacks in the Russo–Japanese War, the bayonet delivered silent death. Americans, too, insisted that their infantry carry long bayonet blades – an intimidating 40 centimetres – on their belts, ready to be fixed when the need arose. In time and with experience, though, the Germans opted for shorter knife bayonets of 25 or 30 centimetres.
In Britain, and all her Dominions, the so-called “Pattern 1907” bayonet was preferred. Over the centuries, the fundamentals of the bayonet had barely changed, and the Pattern, too, consisted of a blade, a guard with crosspiece and muzzle ring, and a wooden hilt. Along much of the length of the blade ran a groove, a fuller. It reduced the weight of the weapon and also allowed air to pass into the wound, making it easier to extract the blade.
While most of the standard weapons of the British Empire’s armies were manufactured in Britain, Australia, like India, manufactured its own Pattern 1907 bayonets in both wars.
In the first world war they were made in a factory in Lithgow, while those from the second world war were stamped with 13 (for Orange Arsenal) or 14 (for Munitions Australia). The wooden grips were stamped with “SLAZ”, an abbreviation of their British maker, Slazenger, active in the sporting goods business back to the 1880s.
Kept normally in a scabbard attached to the soldier’s belt, when fixed to the standard-issue Short Magazine Lee Enfield rifle, the Pattern 1907 extended the soldier’s reach by more than 40 centimetres.
Australia’s willing killers
Bayonets were standard equipment in the first world war, even as the accelerated development of military technology enforced the trend to mechanised, industrial killing. Australians earned themselves a reputation for using their bayonets with relish. Well trained and drilled in their use, they plunged, parried and stabbed with great vigour at Gallipoli and on the Western Front. The Australians, as the historian Bill Gammage has put it:
by reputation and probably in fact, were among the most willing to kill. They had an uncomplicated attitude towards the Hun, conditioned largely by propaganda and hardly at all by contact, and they hated him with a loathing paralleled, at least in the British Army, only by some other colonial troops. Accordingly many killed their opponents brutally, savagely, and unnecessarily.
It was not only the Germans who became acquainted with the Pattern 1907. At Gallipoli Albert Jacka won Australia’s first VC of the war by shooting five Turks and bayonetting two others. Another Australian, Nigel Ellsworth, noted that in advance of a night attack on Turkish lines:
one can’t buy a place in the main firing trench, and men are known to have refused for their positions during the fighting. They stand up in the trenches &; yell out ‘Come on, we’ll give you Allah’ & … let some Turks actually get into our Trenches then tickle them up with the bayonet.
‘Steel has an unearthly terror’
Archie Barwick, a farmer from New South Wales, spoke of being transported into a state of “mad intoxication” when he took to the Turks with fixed bayonet.
I can recollect driving the bayonet into the body of one fellow quite clearly, & he fell right at my feet & when I drew the bayonet out, the blood spurted from his body.
A New Zealand officer writing home from Gallipoli claimed that the Turks “redoubled” their fire over the New Zealanders’ positions at night. It was “the one hope of deterring the dreaded bayonets of our men … steel has an unearthly terror for them”.
In a similar vein, another Australian wrote boastfully to his family of the short work he made of Germans:
They get it too right where the chicken gets the axe … I … will fix a few more before I have finished. It’s good sport father, when the bayonet goes in their eyes bulge out like a prawns.
If there was a danger in the over-zealous use of the bayonet, it was that the weapon might be driven so far and firmly into the opponent’s body that it was difficult to extract it. The Queenslander Hugh Knyvett recalled a case where a fellow Australian drove his bayonet through a German and into a hardwood beam, from which it could not be withdrawn. The blade had to be released from the rifle, “leaving the German stuck up there as a souvenir of his visit”.
By the latter stages of the first world war, the Australians’ skill had manifested in the use of a particular lethal movement with the bayonet known as the “throat jab”.
It is well illustrated in William Longstaff ’s iconic painting Night Attack by 13th Brigade at Villers- Bretonneux, which shows an Australian holding aloft his Lee Enfield, bayonet attached, and thrusting it into a German’s exposed throat.
In recalling his own role in that battle in the night from 24 April to Anzac Day, Walter Downing wrote:
Bayonets passed with ease through grey-clad bodies, and were withdrawn with a sucking noise … Many had tallies of twenty and thirty and more, all killed with the bayonet, or bullet, or bomb. Some found chances in the slaughter to light cigarettes, then continued the killing.
Still, in reality the bayonet’s role in the first world war was more prominent in the telling than on the battlefield. Sober analysis showed that the vast majority of deaths and casualties were put down to machine-guns and artillery. As for the Australians themselves, more than half of those admitted to field hospitals in France suffered injuries from shells and shell-shock, and more than a third from bullets. The combined tally from bombs, grenades and bayonets was just over 2%.
The fear of cold steel
After the war, even former combatants voiced their awareness of the bayonet’s shortcomings. It might have been helpful for certain mundane tasks like opening tins, chopping firewood or perhaps roasting meat over a fire, but in a charge across open land in the sights of German machine-gunners, it was at best an unwelcome burden.
In close quarters, too, it had its drawbacks. Fixed in readiness to the end of a Lee Enfield and lugged along a trench, its most likely victim was a comrade in arms, who might receive a prod to the buttocks or a poke in the eye.
Nonetheless, by 1939, the bayonet still had its place in every army. The true value of the bayonet was in the soldier’s mind, not at the end of his rifle.
That was true in two ways. While the greatest threat to the 20th century soldier was the bomb or the bullet delivered anonymously from afar, the most animating of fears was that of “cold steel” inserted into his body in a mortal duel, the most intimate form of combat death.
The most feared weapons in war are not necessarily the most dangerous. One reason why field hospitals counted relatively few casualties caused by bayonet wounds may well have been that many a soldier turned and ran before taking his chances against a surging line of men, bayonets glistening, and in all likelihood adorning their advance with the kinds of cries or yells designed to curdle blood.
In those circumstances, only in the rarest cases would bayonet steel clash with steel. Unlike the arrival of the bullet or the shell, the bayonet’s advent was seen, possibly heard, and with judicious retreat was probably avoidable. As one soldier of the second world war put it, “If I was that close to a Jerry, where we could use bayonets, one of us would have already surrendered!”
More crucial, though, than the psychological effect of the bayonet on the enemy was its impact on the men who wielded it. To take the lives of fellow human beings required not just weapons, but a mentality that tolerated the act of killing and even facilitated it.
In this war, as in the last, at military training schools across the world, instructor sergeants taught their charges to lunge, thrust and parry. Bayonets in hand, recruits were exhorted to plunge their weapons into swinging sacks of sawdust or bags of straw, aiming for those parts marked as weak and vulnerable.
To ramp up the level of realism, some British recruits practised “in abattoirs, with warm animal blood thrown in their faces as they plunged home their bayonets”.
Confidence in the use of the bayonet, it was believed, would give infantry the courage to advance from their positions and confront the enemy directly. They developed was what some called “the spirit of the bayonet”, l’esprit de la baïonnette. More crudely, it was a “lust for blood”. Although the statistics insisted it was unlikely that the bayonet would be the cause of death, it was crucial because it engendered in its bearer the desire to advance and to kill.
A mental reflex
Ideally the effect of such training, then, was not just to acquire the strength and skills akin to those of a fencer or swordsman. It was to develop a mental reflex perhaps best understood as the form of associative learning that psychologists term “classical conditioning”.
Just as Pavlov’s dog was conditioned to salivate on the appearance of a metronome – an artefact the dog had been trained to associate with the presentation of food – so in the mind of the infantryman the command to fix bayonets would trigger a hyper-aggressive state.
At that point it might even have seemed to the soldier that all agency had shifted to his bayonet, which would tug him into wild acts of violence, as if he had “no choice but to go along with its spirit”. As one infantryman put it, the “shining things leap from the scabbards and flash in the light … They seem alive and joyous; they turn us into fiends, thirsty for slaughter.”
If any soldiers in the second world war were entitled to the view that the march of military technology had rendered the bayonet obsolete, it was the parachutists and mountain troops Hitler sent to invade the island of Crete in May 1941.
Superbly trained and equipped, they had proved to themselves and the world that warfare had entered a new era. Germany’s armed forces, the Wehrmacht, had demonstrated that in the modern age, death could be delivered anonymously and at a distance, above all from the skies. The age of intimate killing was over.
Or so it seemed. In Crete they were to confront Australians and New Zealanders who, like their fathers, were deeply familiar with the spirit of the bayonet. On the upturned brims of their slouch hats, the Australians displayed their allegiance to a powerful tradition in the form of the Rising Sun badge, a semi-circle of glistening bayonets radiating from a crown.
Like the Anzacs of the Great War, the Anzacs of 1941 were well trained in the use of the Pattern 1907 – they could lunge and stab with all the skill and deadliness of their forebears. When the order was given to fix bayonets, these Anzacs of 1941, too, would be expected to spill blood.
NB: Bayonets were used in charges as recently as in the Falklands War, the Second Gulf War and in Afghanistan. In many parts of the world to this day, training for infantrymen introduces them to the “spirit of the bayonet”.
This is an edited extract from Battle on 42nd Street – War in Crete and the Anzacs’ bloody last stand by Peter Monteath (NewSouth Books).
What can we possibly learn from the archaeological study of a World War I battle tank? Quite a lot, it turns out, when the attention is devoted to a rare German-built A7V Sturmpanzerwagen tank known as Mephisto.
The tank was originally collected as a war trophy by a Queensland based battalion in July 1918, brought to Brisbane the following year and now held by Queensland Museum. One hundred years to the month since its recovery, it is the last of its kind in the world.
On close inspection it is clear that this metallic monster is in far from pristine condition and covered in battle damage. Mephisto saw a lot of action during the battle for Villers-Bretonneux in northern France a century ago.
Investigation of war relic
The story of the tank is now told in a new publication, Mephisto: Technology, War and Remembrance, that recounts its history and technological development, and places it in the context of the so-called “War to end all wars”.
Together with our colleagues, we have attempted to reconstruct something of Mephisto’s role in its final battle.
To make sense of various gunshot and shrapnel impacts, the Queensland Police and Ballistic Bomb Blast Unit and the Defence Science & Technology Group (DSTG) provided their technical skills to help explain the damage to the tank.
It became clear that a large amount of small arms fire was thrown at the vehicle in an attempt to halt its advance. There is evidence of very close-quarter fighting, with several attempts to disable the vehicle.
The QP Ballistics team identified a .303 armour piercing round wedged in the armour next to a machine gun port. It seems that a soldier was attempting to disable one of Mephisto’s eight machine guns by shooting its water jacket.
A series of well-aimed, short machine gun bursts were fired at one of the tank’s exhaust ports. Much of the damage occurred on the left side of the tank which from reconnaissance photos taken after the battle show the position of the allied trenches located parallel to the tank.
There is also evidence of a larger-calibre weapon that was brought into use against the tank, perhaps a French 37mm weapon, which simply ricocheted off Mephisto’s thick armour.
Further research is required to clarify the exact meaning of the use of this larger-calibre weapon. Initial work by DSTG has reconstructed the angle the tank rested in when it finally became stuck when it ran into a shell crater.
Close combat with a tank
Very close fighting was associated with the vehicle, and the battle damage reveals something of the terror that the defending English soldiers must have endured on the morning of April 24, 1918.
The destruction of the vehicle was revealed by QP bomb blast experts. Two different explosions were recorded in the twisted armour of the forward compartment of the tank.
Historical evidence has suggested that the German crew set off a charge to disable their vehicle, but the primary impact appears to have burst through the roof, the force bending the heavy steel support beams downward.
This blast created something of a chain reaction, and would have generated a temperature of between 3,000℃ and 4,000℃. It initiated a further explosion by igniting any munitions still within the tank.
The perfect impression of one of Mephisto’s own 57mm shells is blasted through the floor plating next to the main forward gun.
In turn, this projectile hit the ground beneath Mephisto, sending shrapnel back up through the plating on the underside of the tank. This generated several impacts in the metal directed back inside the forward compartment.
The conclusion that can be drawn from this study is that a fusillade of small arms fire was hurled at Mephisto as it trundled, at speeds never more than 6–8mph (9-13kmh), towards the Allied positions at Villers-Bretonneux and Monument Wood.
As much of the damage is recorded on the left side of the tank it is probable that most of the impacts occurred during this final assault and not at its previous action at St Quentin. The tank sat for three months in No Man’s Land and continued to receive small arms and shrapnel damage while it was disabled.
A lasting legacy of war
A study such as this by no means rewrites our understanding of the conflict, but as the sole surviving A7V, this battered artefact does provide unique insights into the events that took place on the battlefields of Europe 100 years ago.
Investigating artefacts in this manner transforms them. They become something more than just a curious object from the past, and indeed can emerge as an important, silent witness to historic events.
A tangible object such as Mephisto, in trying to make sense of the battle damage to the vehicle, transcends the insights revealed in the pages of written history.
It highlights the horror of trench warfare and provides first-hand accounts of how the British infantry tried to stop an enemy tank.
Mephisto is a rare and important example of developing military technology in the early 20th century. As the last surviving German tank from the First World War it will once again be on display at Queensland Museum from November 11, 2018.
Mephisto: Technology, War and Remembrance, written by Greg Czechura and Jeff Hopkins-Weise, published by Queensland Museum. Price A$59.95
Australian scientist Mark Oliphant, who helped push the United States to develop the atomic bombs in World War II, also played a major role during the war in attempting to stop the US dominating the UK in any further development of nuclear weapons.
Details of the Adelaide-born physicist’s efforts are included in new research published today in the CSIRO’s Historical Records of Australian Science, based on documents sourced from the UK Cabinet archives.
These archival documents reveal how Oliphant attempted a British rebellion against scientific collaboration with the US that escalated all the way to the top of Britain’s wartime leadership.
The rise of the physicist
Oliphant (1901-2000) described himself as a “belligerent pacifist” and his humanitarianism and compassion forms an indelible image of the gentle giant of Australian science.
After studying at the University of Adelaide he moved to the Cavendish Laboratory at Cambridge in the UK. Oliphant joined a freewheeling cabal of atomic physicists led by fellow antipodean Ernest Rutherford. He later took up a position at Birmingham University.
But soon the war was to change everything for him.
In late 1938, nuclear fission of uranium was discovered in Berlin and within months the thunderclap of war clattered over Europe. After convincing the Americans of the potential of an atomic bomb in 1941, Oliphant joined the Manhattan Project in 1943 as a leading member of the collaborative British Mission.
At war with secrecy
Oliphant found that wartime secrecy was totally opposite to the usual culture of open science. The US military police opened his mail, and the FBI interrogated him on his casual attitude to rules.
In September 1944 Oliphant complained of his restrictions to the US Army’s no-nonsense military head of the project, General Leslie Groves. Groves was frustrated with progress and gave Oliphant a lecture on war and security.
In doing so, the cabinet documents on Oliphant’s notes show that the normally circumspect Groves also let slip that the US had no intention of honouring an agreement with the British to share atomic technology after the war. Groves stated that even after the war America needed to prepare for an “inevitable war with Russia”.
Oliphant’s notes added:
In this conversation Groves insisted that he spoke for the armed forces and for every thinking man and woman in U.S.A. He said that any effort U.K. might make must be confined to central Canada. He excluded specifically Australia or any other part of the Empire. Every possible source of supply of raw materials would be monopolised and controlled by U.S.A.-U.K.
How to warn the UK?
Oliphant saw weapons development as merely a vehicle on which to carry the potential of almost limitless energy and he was intent on resuming his open research after the war.
He could not risk his mail being opened again. So he headed from Berkeley, California to the British Embassy in Washington to write a secret report to London detailing his conversation with Groves.
Oliphant had a plan. He proposed that, without delay, the entire British Mission leave the Manhattan Project, return to Britain and restart their own programs. In late 1944 he seemingly had traction and the British project, code-named Tube Alloys, was reinvigorated with new plans tabled to construct uranium isotope plants.
Oliphant’s plan escalated up the chain to Lord Cherwell, then Prime Minister Winston Churchill’s scientific advisor, and to Sir John Anderson, the Chancellor of the Exchequer and the authority on atomic matters inside the British War Cabinet.
James Chadwick, the scientific head of the British Mission, was furious at Oliphant’s cavalier approach and wrote to the British polity arguing that the British Mission must stay in America to complete the task at hand.
Oliphant’s bombast, confidence and directness is famous. As he approached the door of 11 Downing Street (the official residence of the Chancellor of the Exchequer) on January 9, 1945, he was likely optimistic that his meeting with Sir John would result in a decision to follow his new plan.
But Sir John was in a pessimistic mood. There was still a war on, and the allies were being pushed back by the Nazis at the Battle of the Bulge. Sir John put a stop to talk of this scientific rebellion, and ordered Oliphant back to America to complete the job.
The atomic bombs fell on Japan in August 1945. World War II soon ended.
After the war
In mid-1946 the newly formed United Nations debated control of atomic technology and Oliphant was in New York as an Australian advisor. He and other scientists pushed a plan to abolish weapons and throw the science open.
The alternative, the scientists argued, would be an escalation of an arms race. Only openness in science could reduce suspicion between nations.
The US and the Soviet Union almost agreed to the plan. But the Americans refused a Soviet request to first destroy their atomic arsenal and the Soviets refused to allow UN inspections.
The US passed their Atomic Energy Act in August 1946 which prevented any collaboration on atomic technology. Oliphant’s prophecy came true. But the scientists had made another prophecy: atomic secrets cannot be contained.
As the critical mass of international scientists that had gathered together for war radiated back out around the world, they carried with them the secrets of the atom.
The British restarted their bomb project in 1947 and tested their first weapon in 1952, and the Soviets tested their first bomb in 1949. The US monopoly on atomic weaponry was a fleeting moment.
So the opportunity was lost in 1946 to abolish weapons, and today more than 14,000 nuclear weapons exist, held by nine countries. Even in a post-Cold War world this sword of annihilation hangs by a thread over the head of all us.
The link below is to an article (with photos) that takes a look at the war weaponry surplus at the conclusion of WWII.
For more visit: