With the outbreak of World War I in August 1914, Kiffin Yates Rockwell, from Asheville, North Carolina, volunteered to fight for France. Initially serving with the French Foreign Legion as a soldier in the trenches, he soon became a founding member of the Lafayette Escadrille, a squadron made up mostly of American volunteer pilots who served under the French flag before the United States entered the war. On May 19, 1916, Rockwell became the first American pilot of the war to shoot down a German plane. He was killed during aerial combat on September 23, 1916, at age 24. This book covers Rockwell's early life and military service with the Lafayette Escadrille, the first ever American air combat unit and the precursor to the United States Air Force.

The most complete account of America's first volunteer participants in the Great War yet written, lavishly illustrated with both period photos and color then-and-now shots for a new generation of readers . .

The vivid account of the young Americans who fought and died in the aerial battles of World War I, told in their own words. The Unsubstantial Air is the gripping story of the Americans who fought and died in the aerial battles of World War I. Much more than a traditional military history, it is an account of the excitement of becoming a pilot and flying in combat over the Western Front, told through the voices and words of the aviators themselves. A World War II pilot himself, the memoirist and critic Samuel Hynes revives the adventurous young men who inspired his own generation to take to the sky. By drawing on the letters sent home, diaries kept, and memoirs published in the years that followed, he brings to life their emotions, anxieties, and triumphs. They gasp in wonder at the world seen from a plane, struggle to keep their hands from freezing in open-air cockpits, party with actresses and aristocrats, rest of Voltaire’s castle, and search for their friends’ bodies on the battlefield. The young pilots’ romantic war becomes more than that—a harsh but often thrilling reality. Weaving together their testimonies, The Unsubstantial Air is a moving portrait of a generation coming of age under new and extreme circumstances. Praise for The Unsubstantial Air “Samuel Hynes is simultaneously a great gift to his complicated country and to our English language. He vividly brings to life our earliest air warriors and does so with a seemingly effortless but exhilarating prose that soars in much the same way his aviators do. Masterful.” —Ken Burns “A beautifully written evocation of the Ivy Leaguers, farm boys, and wild men who flew avions de chasse from (mainly) French airfields, based on their letters, flight diaries and memories.” —Roy Foster, The Times Literary Supplement Books of the Year (2014)

The extraordinary life—the first—of the legendary, undercelebrated Hollywood director known in his day as “Wild Bill” (and he was!) Wellman, whose eighty-two movies (six of them uncredited), many of them iconic; many of them sharp, cold, brutal; others poetic, moving; all of them a lesson in close-up art, ranged from adventure and gangster pictures to comedies, aviation, romances, westerns, and searing social dramas. Among his iconic pictures: the pioneering World War I epic Wings (winner of the first Academy Award for best picture), Public Enemy (the toughest gangster picture of them all), Nothing Sacred, the original A Star Is Born, Beggars of Life, The Call of the Wild, The Ox-Bow Incident, Battleground, The High and the Mighty... David O. Selznick called him “one of the motion pictures’ greatest craftsmen.” Robert Redford described him as “feisty, independent, self-taught, and self-made. He stood his ground and fought his battles for artistic integrity, never wavering, always clear in his film sense.” Wellman directed Hollywood’s biggest stars for three decades, including Clark Gable, Gary Cooper, Barbara Stanwyck, John Wayne, Lauren Bacall, and Clint Eastwood. It was said he directed “like a general trying to break out of a beachhead.” He made pictures with such noted producers as Darryl F. Zanuck, Nunnally Johnson, Jesse Lasky, and David O. Selznick. Here is a revealing, boisterous portrait of the handsome, tough-talking, hard-drinking, uncompromising maverick (he called himself a “crazy bastard”)—juvenile delinquent; professional ice-hockey player as a kid; World War I flying ace at twenty-one in the Lafayette Flying Corps (the Lafayette Escadrille), crashing more than six planes (“We only had four instruments, none of which worked. And no parachutes . . . Greatest goddamn acrobatics you ever saw in your life”)—whose own life story was more adventurous and more unpredictable than anything in the movies. Wellman was a wing-walking stunt pilot in barnstorming air shows, recipient of the Croix de Guerre with two Gold Palm Leaves and five United States citations; a bad actor but good studio messenger at Goldwyn Pictures who worked his way up from assistant cutter; married to five women, among them Marjorie Crawford, aviatrix and polo player; silent picture star Helene Chadwick; and Dorothy Coonan, Busby Berkeley dancer, actress, and mother of his seven children. Irene Mayer Selznick, daughter of Louis B. Mayer, called Wellman “a terror, a shoot-up-the-town fellow, trying to be a great big masculine I-don’t-know-what. David had a real weakness for him. I didn’t share it.” Yet she believed enough in Wellman’s vision and cowritten script about Hollywood to persuade her husband to produce A Star Is Born, which Wellman directed. After he took over directing Tarzan Escapes at MGM, Wellman went to Louis B. Mayer and asked to make another Tarzan picture on his own. “What are you talking about? It’s beneath your dignity,” said Mayer. “To hell with that,” said Wellman, “I haven’t got any dignity.” Now William Wellman, Jr., drawing on his father’s unpublished letters, diaries, and unfinished memoir, gives us the first full portrait of the man—boy, flyer, husband, father, director, artist. Here is a portrait of a profoundly American spirit and visionary, a man’s man who was able to put into cinematic storytelling the most subtle and fulsome of feeling, a man feared, respected, and loved.

Describes the formation of the L.F.C. following the successes of the Escadrille Lafayette. Includes biographical sketches of L.F.C. members who served in various French escadrilles until after the U.S. entered the war in 1917.

“The compelling story of the squadron of adventurous young American pilots who were among the first to engage in air combat.” —Tampa Bay Times In First to Fly, lauded historian Charles Bracelen Flood draws on rarely seen primary sources to tell the story of the daredevil Americans of the Lafayette Escadrille, who flew in French planes, wore French uniforms, and showed the world an American brand of heroism before the United States entered the Great War. As citizens of a neutral nation from 1914 to early 1917, Americans were prohibited from serving in a foreign army, but many brave young souls soon made their way into European battle zones. It was partly from the ranks of the French Foreign Legion, and with the sponsorship of an expat American surgeon and a Vanderbilt, that the Lafayette Escadrille was formed in 1916 as the first and only all-American squadron in the French Air Service. Flying rudimentary planes, against one-in-three odds of being killed, these fearless young men gathered reconnaissance and shot down enemy aircraft, participated in the Battle of Verdun and faced off with the Red Baron, dueling across the war-torn skies like modern knights on horseback. “First to Fly shows us that there was something noble and honorable about the Escadrille, men who did not turn against their own country but put their lives up to fight for a cause, not because they had to but because it was the right thing to do.” —The Wall Street Journal

The impact of the unsung heroes of WWI—“a must for any aviation enthusiast to further complement work on aerial reconnaissance in modern warfare” (Roads to the Great War), Beyond the heroic deeds of the fighter pilots and bombers of World War I, the real value of military aviation lay elsewhere; aerial reconnaissance, observation, and photography impacted the fighting in many ways, but little has been written about it. Balloons and airplanes regulated artillery fire, infantry liaison aircraft followed attacking troops and the retreats of defenders, aerial photographers aided operational planners and provided the data for perpetually updated maps, and naval airplanes, airships, and balloons acted as aerial sentinels in a complex anti-submarine warfare organization. Reconnaissance crews at the Battles of the Marne and Tannenberg averted disaster. Eyes All Over the Sky fully explores all the aspects of aerial reconnaissance and its previously under-appreciated significance. Also included are the individual experiences of British, American, and German airmen—true pioneers of aviation warfare. “With an interesting selection of photos, the book is not only an excellent reference—it is historically important.” —Classic Wings “This well-researched history belongs on the shelf of anyone with a serious interest in the air war or the ground war of 1914-1918.” —Steve Suddaby, former president of the World War One Historical Association