I remember being at church one Sunday when I was maybe ten years old. The service ended and my family joined the other parishioners in the banquet hall for donuts. While others contentedly chewed their jelly glazes, I kept fidgeting and asking when we could leave. I almost made a scene; in fact, I might have made a scene. The reason? I wanted to get home to watch the movie Midway on TBS.
(This was in the days when TBS showed an odd mishmash of Atlanta Braves games and John Wayne movies; this was also in the days before DVR. And while we had a VCR, there was never a day when we could figure out how to set the timer to record).
If you've never seen Midway, there's no reason to now. It's a curiosity piece. The cast is like a who's who of 70s Hollywood: Henry Fonda, Charlton Heston, Robert Mitchum, James Coburn, Glenn Ford, Hal Holbrook, Cliff Robertson, Robert Wagner, Dabney Coleman, Tom Selleck (!), and Erick Estrada (!!). And yes, since you asked, that is a pre-Karate Kid Pat Morita as Admiral Ryunosuke Kusaka. I don't know for certain, but apparently this all-star cast ate up much of the budget, because the battle scenes are a choppily-edited pastiche of crappy model work, documentary film footage from John Ford, newsreel footage of other naval battles, and clips from other, better movies such as Tora Tora Tora and Thirty Seconds Over Tokyo.
Back then, though, I loved it. That's what it means to be a kid: to love things that have no artistic merit. That's why I have no respect for children. Their aesthetic development is pathetic.
It's taken all these long years for me to get around to actually reading a book dedicated to the Battle of Midway. Fought on June 4, 1942, six months after Pearl Harbor, Midway is now considered to be the turning point in the Pacific War. The Japanese navy, after years of running untrammeled, got pummeled by the Americans and lost four aircraft carriers. Things didn't get any easier, of course, since Guadalcanal, Saipan, Pelelieu, Iwo Jima, and Okinawa still lay ahead, but the Japanese never seriously threatened American interests again.
Miracle at Midway is the "sequel" to Gordon Prange's classic telling of Pearl Harbor, At Dawn We Slept. I say "sequel" because Prange was dead long before this book came out, and for that matter, before At Dawn We Slept was published. I'm okay with the latter work, because it seems to have been formed from a nearly-finished manuscript, and was probably close in form and substance to what Prange himself would have produced, had he lived.
That is not the case with Miracle at Midway. Everything about it seems truncated, unfinished, half-assed, and semi-complete. Whereas At Dawn We Slept spent a great deal of time fleshing out all the participants, Miracle at Midway doesn't even try. We get one-sentence introductions for most of the personages. There is a dramatis personae in the front, which was sorely missing in At Dawn We Slept, but that only tells you the rank of each person, not why they're important. As a result, unfamiliar Japanese names tend to meld. (You also have to stay sharp lest you confuse your Yamamoto with your Yamaguchi, or your Nagano with your Nagumo).
At Dawn We Slept spent hundreds of pages detailing the gestational process of the Pearl Harbor attack plans. Miracle at Midway dispenses with these formalities in just a handful of pages. Partially, this is a historical reality. Having achieved unprecedented success, the Japanese weren't really sure what to do next. They kind of pulled Midway out of their...Well, they didn't think it through. However, Prange kind of glosses over the rift between Yamamoto's Combined Fleet and the Naval General Staff. Consequently, Yamamoto comes off far better than he deserves, when in reality, he was the driving force behind attacking the Americans at Pearl Harbor, and then used that cachet to force the Midway operation, instead of following Admiral Kusaka's advice to create a defense cordon.
The treatment of the American side is just as rushed. Only a couple pages are utilized to discuss America's code-breaking abilities in general, and Col. Joseph Rochefort's "AF" hunch in particular. (In short, America cracked about one word in five; Rochefort noticed that the Japanese kept making mention of an objective "AF". Believing AF to be Midway, Rochefort directed Midway to send a message, in the clear, that its fresh water condenser was broken. The Americans then caught and broke a Japanese message that said AF was running low on fresh water. Very clever).
This is a relatively slim volume, and before you know it, the battle is at hand.
Now, Midway is quite complex. For instance, it's opening stages were decided by scout planes and what they did and did not see. That means you read a lot about certain planes flying certain vectors and whatnot. Now, unless you have committed the latitudes and longitudes of the north Pacific to memory, this is a little hard to visualize. That's where maps come in. Maps that lay out search parameters. Maps that show the relative positions of the fleets. Maps that show the flights of each of carrier groups. Unfortunately, maps are few and far between, and the ones that exist are not very clear or helpful.
Once the battle itself gets started, you learn one thing very quickly: Prange (and his collaborators) is not Walter Lord. His use of anecdotes and oral history doesn't rise to a dramatic pitch because we've never been introduced to these people. They're just names in a book. This is not to say that there is a dearth of drama, just that it never reaches out of the page, grabs you by the collar, and commands you to keep reading. On the plus side, Prange's treatment of the Japanese is especially fascinating (often morbidly so; it was quite interesting to read stories of Japanese junior officers trying to prevent their commanding officers from committing suicide when the outcome of battle was made clear).
One of my chief criticisms in the confused presentation of the battle. As noted above, this was a complex fight spread across thousands of square miles. A certain amount of confusion is to be expected, and perhaps adds to the verisimilitude. I mean, you got American land-based bombers attacking the Japanese fleet; Japanese bombers attacking Midway; American land-based fighters defending Midway; American carrier bombers and torpedo planes attacking the Japanese carriers; and Japanese carrier-based bombers and torpedo planes attacking American carriers. There's a ton of overlap, with simultaneous action in three or more locations. If you overlaid all the flight plans on a map, I suspect you would have a latticework that blots out the ocean.
Prange, though, doesn't do a great job of clarifying things. He avoids the simplest solution, which would be datelined chapter headings (a chronology is produced in the appendix). Things are made murkier because Prange is constantly relating fallacious Japanese and American reports about the damage they caused. However, he never takes the time to clarify what actually happened. Thus, you are left to find out on your own that the various high-level horizontal bombers - B-26s and B-17s - did exactly no damage whatsoever to any ships, even though the respective airmen claimed to have sunk everything but Hirohito's private yacht.
Miracle at Midway's worth comes from its scholarship. Prange certainly did his homework, reviewed the proper files, and interviewed all the important living participants. He gives a very objective account of the battle, and avoids the simple mythologizing that mark so many accounts of this battle. For example, Prange doesn't fall victim to the legend of USS Hornet's famed Torpedo Squadron 8. The Torpedo 8 of legend dove on the Japanese carriers without fighter cover and were completely wiped out; however, their sacrifice was not in vain, because it pulled the Japanese fighter cover down to sea level, allowing American dive bombers to come in uncontested. The reality, as Prange writes (it is also the "miracle" of the title), is that three dive-bombing groups coincidentally converged on the Japanese carriers at the same time, and in a matter of moments, had knocked three of them out of the battle.
The book ends with two helpful sections analyzing the battle from both the Japanese and American perspectives. These short sections actually clarified a lot that had confused me earlier. I found that being retroactively un-confused actually added to my enjoyment. So go figure.
Midway is one of the most important battles ever fought. Sure, we would've eventually won World War II even had we lost, but it would've been a much darker story for all sides. If you want to learn about it, there are a couple places to do so. First, is with Gordon Prange's Miracle at Midway, which despite its faults, is the benchmark English-language study.
The other place you can go is the movie Midway, in which Erick Estrada plays a cocky torpedo-bomber and Charlton Heston single-handedly sinks the Japanese carrier Hiru.
Take your pick.