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Winged Victory
Winged Victory is a novel written by Moss Hart, first published in 1944. The story follows the experiences of a group of American pilots during World War I. The protagonist is a young pilot named David Halloran, who is stationed in France and falls in love with a nurse named Veronica. As the war progresses, David and his fellow pilots face numerous challenges and dangers, including dogfights with German planes and the constant threat of death. The novel explores themes of love, sacrifice, and the human cost of war. Hart's vivid descriptions of aerial combat and the harsh realities of life in the trenches make for a gripping and emotional read. Winged Victory is considered a classic of wartime literature and a powerful testament to the courage and resilience of the men and women who fought in the Great War.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
212 pages, Paperback
First published January 1, 1944
8 people want to read
About the author
Moss Hart
56 books24 followersMoss Hart was an American playwright and director of plays and musical theater. Hart recalled his youth, early career and rise to fame in his autobiography, Act One, adapted to film in 1963, with George Hamilton portraying Hart.
Hart grew up at 74 East 105th Street in Manhattan, "a neighborhood not of carriages and hansom cabs, but of dray wagons, pushcarts, and immigrants" (Bach 1). Early on he had a strong relationship with his Aunt Kate, whom he later lost contact with because of a falling out between her and his parents, and her weakening mental state. She got him interested in the theater and took him to see performances often. Hart even went so far as to create an "alternate ending" to her life in his book Act One. He writes that she died while he was working on out-of-town tryouts for The Beloved Bandit. Later, Kate became quite eccentric, vandalizing Hart's home, writing threatening letters and setting fires backstage during rehearsals for Jubilee. But his relationship with Kate was life-forming. He understood that the theater made possible "the art of being somebody else… not a scrawny boy with bad teeth, a funny name… and a mother who was a distant drudge." (Bach 13).
After working several years as a director of amateur theatrical groups and an entertainment director at summer resorts, he scored his first Broadway hit with Once In A Lifetime (1930), a farce about the arrival of the sound era in Hollywood. The play was written in collaboration with Broadway veteran George S. Kaufman, who regularly wrote with others, notably Marc Connelly and Edna Ferber. (Kaufman also performed in the play's original Broadway cast in the role of a frustrated playwright hired by Hollywood.) During the next decade, Kaufman and Hart teamed on a string of successes, including You Can't Take It With You (1936) and The Man Who Came to Dinner (1939). Though Kaufman had hits with others, Hart is generally conceded to be his most important collaborator.
You Can't Take It With You, the story of an eccentric family and how they live during the Depression, won the 1937 Pulitzer Prize for drama. It is Hart's most-revived play. When director Frank Capra and writer Robert Riskin adapted it for the screen in 1938, the film won the Best Picture Oscar and Capra won for Best Director.
The Man Who Came To Dinner is about the caustic Sheridan Whiteside who, after injuring himself slipping on ice, must stay in a Midwestern family's house. The character was based on Kaufman and Hart's friend, critic Alexander Woollcott. Other characters in the play are based on Noel Coward, Harpo Marx and Gertrude Lawrence.
After George Washington Slept Here (1940), Kaufman and Hart called it quits. Hart had decided it was time to move on. Throughout the 1930s, Hart also worked, with and without Kaufman, on several musicals and revues, including Face the Music (1932), As Thousands Cheer (1933), with songs by Irving Berlin, Jubilee (musical) (1935), with songs by Cole Porter and I'd Rather Be Right (1937), with songs by Richard Rodgers and Lorenz Hart. (Lorenz Hart and Moss Hart were not related.)
Hart continued to write plays after parting with Kaufman, such as Christopher Blake (1946) and Light Up The Sky (1948), as well as the book for the musical Lady In The Dark (1941), with songs by Kurt Weill and Ira Gershwin. However, he became best known during this period as a director.
Among the Broadway hits he staged were Junior Miss (1941), Dear Ruth (1944) and Anniversary Waltz (1954). By far his biggest hit was the musical My Fair Lady (1956), adapted from George Bernard Shaw's Pygmalion, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The show ran over seven years and won a Tony Award for Best Musical. Hart picked up the Tony for Best Director.
Occasionally, Hart wrote scree
Hart grew up at 74 East 105th Street in Manhattan, "a neighborhood not of carriages and hansom cabs, but of dray wagons, pushcarts, and immigrants" (Bach 1). Early on he had a strong relationship with his Aunt Kate, whom he later lost contact with because of a falling out between her and his parents, and her weakening mental state. She got him interested in the theater and took him to see performances often. Hart even went so far as to create an "alternate ending" to her life in his book Act One. He writes that she died while he was working on out-of-town tryouts for The Beloved Bandit. Later, Kate became quite eccentric, vandalizing Hart's home, writing threatening letters and setting fires backstage during rehearsals for Jubilee. But his relationship with Kate was life-forming. He understood that the theater made possible "the art of being somebody else… not a scrawny boy with bad teeth, a funny name… and a mother who was a distant drudge." (Bach 13).
After working several years as a director of amateur theatrical groups and an entertainment director at summer resorts, he scored his first Broadway hit with Once In A Lifetime (1930), a farce about the arrival of the sound era in Hollywood. The play was written in collaboration with Broadway veteran George S. Kaufman, who regularly wrote with others, notably Marc Connelly and Edna Ferber. (Kaufman also performed in the play's original Broadway cast in the role of a frustrated playwright hired by Hollywood.) During the next decade, Kaufman and Hart teamed on a string of successes, including You Can't Take It With You (1936) and The Man Who Came to Dinner (1939). Though Kaufman had hits with others, Hart is generally conceded to be his most important collaborator.
You Can't Take It With You, the story of an eccentric family and how they live during the Depression, won the 1937 Pulitzer Prize for drama. It is Hart's most-revived play. When director Frank Capra and writer Robert Riskin adapted it for the screen in 1938, the film won the Best Picture Oscar and Capra won for Best Director.
The Man Who Came To Dinner is about the caustic Sheridan Whiteside who, after injuring himself slipping on ice, must stay in a Midwestern family's house. The character was based on Kaufman and Hart's friend, critic Alexander Woollcott. Other characters in the play are based on Noel Coward, Harpo Marx and Gertrude Lawrence.
After George Washington Slept Here (1940), Kaufman and Hart called it quits. Hart had decided it was time to move on. Throughout the 1930s, Hart also worked, with and without Kaufman, on several musicals and revues, including Face the Music (1932), As Thousands Cheer (1933), with songs by Irving Berlin, Jubilee (musical) (1935), with songs by Cole Porter and I'd Rather Be Right (1937), with songs by Richard Rodgers and Lorenz Hart. (Lorenz Hart and Moss Hart were not related.)
Hart continued to write plays after parting with Kaufman, such as Christopher Blake (1946) and Light Up The Sky (1948), as well as the book for the musical Lady In The Dark (1941), with songs by Kurt Weill and Ira Gershwin. However, he became best known during this period as a director.
Among the Broadway hits he staged were Junior Miss (1941), Dear Ruth (1944) and Anniversary Waltz (1954). By far his biggest hit was the musical My Fair Lady (1956), adapted from George Bernard Shaw's Pygmalion, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The show ran over seven years and won a Tony Award for Best Musical. Hart picked up the Tony for Best Director.
Occasionally, Hart wrote scree
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Displaying 1 of 1 review
January 1, 2019
Moss Hart manages to successfully portray life of men entering and making their way through training in this book of his play. The dialogue is solid, especially that of the various men in authority. This story is also well paced. Thought there's some very extended dialogue that could've been better broken up into more palatable pieces. All instances of that involve C.O.s, who are also written a bit too friendly. A few might be, but Hart has them all with heart.
Overall this is a wonderful depiction of life in the military.
Today,some might find this trite, but have to realize this was written before (and likely a basis) the over written military life this illustrates.
Bottom line: I recommend this book. 9 out of ten points.
Overall this is a wonderful depiction of life in the military.
Today,some might find this trite, but have to realize this was written before (and likely a basis) the over written military life this illustrates.
Bottom line: I recommend this book. 9 out of ten points.
Displaying 1 of 1 review