East to the Dawn (60 page)

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Authors: Susan Butler

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George went so far in his quest to spend time with Amelia as to accompany her on lecture tours. Even after the summer and fall of 1933, when he had endured Gene at Locust Avenue for what must have seemed like an eternity of weekends, he was available in November when Amelia needed him. She was going, not too enthusiastically, to speak in New England and eastern Canada. At her request, he was going with her. “George is going with me to the most northern points as I do not like the territory very well and need moral support,” she wrote Amy.
Gene and Amelia were undoubtedly lovers. Only two people knew the situation well enough to have an opinion, and they were very discreet. One, Katharine (Kit) Vidal thought so from the way he talked about her. The other was a child—and he thought so too: the child was Gore.
To touch your hand or see your face, today,
Is joy. Your casual presence in a room
Recalls the stars that watched us as we lay.
I mark you in the moving crowd
And see again those stars
A warm night lent us long ago.
We loved so then—we love so now.
George found this poem, one of the few Amelia wrote that was not destroyed by a smoke fire that destroyed much in their Rye house in the fall of 1934. If she had written the poem for him, George would have known about it. Of her passion there can be no doubt: Could the subject be other than Gene?
On the surface Gene and George continued to be friends.
Try as he might, George was sometimes only on the fringe of Amelia's business interests, where Gene was central. Amelia was also a good friend of Paul Collins, a superb pilot, one of the few who flew the U.S. mail in the early years and lived to tell about it, who was also a close friend of Gene's from the Ludington line days. Ernie Pyle described him as tall, well set up, with coal black hair, light skin, “great” eyes. Six years older than Amelia, like Amelia looking years younger than his age, and like her intelligent, he had made the transition into the business world and was perfectly at home behind a desk. He was a fine organizer, had been general superintendent of TAT and helped Gene set up the Ludington line. When Pan American Airways pulled out of New England, where they had been managing Boston-Maine Airways for the Boston and Maine Railroad and the Maine Central Railroads, railroad officials approached Paul to provide the management, equipment, and service in their place. Paul came to Rye to visit Amelia, Gene Vidal, and Sam Solomon, a very astute businessman involved with aviation who, among his other enterprises, managed Washington, D.C.'s, Hoover airport. The four of them sat on the floor (because, as Sam remembered, Amelia liked sitting on the floor) tossing around various business plans and finally decided that they would go into the airline business as equal investment partners. Each invested $2,500; that was sufficient financial muscle to form National Airways, Inc., their new corporate name for what was still called the Boston-Maine Airways, whose route was from Boston northward; it would eventually become Northeast Airlines. Paul was president, Amelia first vice-president, and Sam Solomon second vice-president. (Gene, already director of aeronautics, was a director but had no title.)
The first meeting with the railroad officials to hammer out details of the route and other organizational matters was held on Monday morning, July 24, 1933, Amelia's thirty-sixth birthday. Paul and Amelia left Rye at four thirty A.M., and in a marathon meeting they settled on the general schedule: the railroad wanted to have plane service to Portland, Rockland, Bangor, and either Waterville or Augusta, Maine. With the meeting concluded, it remained for Paul and Amelia to physically survey the route, for as the railroad officials pointed out, “How do you know that you can fly from the towns we designate as stops on the line with safety?” Paul asked
for a car and driver and twenty-four hours. Then he and Amelia took the train to Portland, where the driver picked them up, and drove the 80 miles to Rockland; they checked out the field, then drove the 63 miles to Bangor, checked its field, drove 55 miles to Waterville, then 20 miles to Augusta (which they found had too small a field), then 60 miles to the Scarborough field south of Portland, took the train back to Boston, and sat down with the railroad people as promised at two P.M. and settled the last detail: it would be Waterville. Then Paul raided Eastern for personnel—former Ludington workers unhappy at Eastern—Clarence Belinn, whom he put in charge of maintenance, and three pilots. On August 7 Paul took delivery from Eastern on two ten-passenger Stinson trimotors, which he had gotten for a very good price.
Amelia went to Boston periodically to work with Paul and tend to public relations and sales, her special responsibilities. She also helped him peg mileage tariffs, for which she had a good feel. By August 9, a sunny, cloudless day in Boston, everything was ready to roll. Sam Solomon and his wife Alma, Paul Collins, Amelia, the chief executive officer of the railroad, the general traffic manager, and three reporters stepped into the Stinson and flew to Portland, Rockland, Bangor, and Waterville. Advance notice had been given that Amelia was on the plane, and gratifyingly large crowds turned out at each airfield to see her and to hear her speak on the wonders of flight.
Two days later was the formal opening of the airline. One Stinson was at Logan airport in Boston, the other at Portland. Amelia, Gene, and eight first-time passengers flew the ninety miles to Portland and then went on to Bangor. The following weekend Paul and Gene were both with Amelia in Rye.
By October the line had added a feeder service through Burlington, Vermont, and by March 1934 the Burlington route was extended to Montreal. But it was hard for the airline—the first to continue service in that part of the world in winter. All the hangars, including the one the line used at Logan airport, were unheated. Every night the temperature dropped below 32 degrees, newspapers had to be stuffed into the engine exhaust stacks to block moisture and prevent freezing; the oil had to be drained out and stored in a heated office; and each engine had to be wrapped up. Each morning the procedure had to be reversed. The public was apprehensive, therefore business was slow. With public relations executive Herbert Baldwin, Amelia visited the cities, talked up air travel, and contacted civic groups. On Saturdays when only one plane flew (because of lack of business), the other was used to visit cities along the route and offer free ten-minute flights. But there were few takers—until Amelia began focusing
on women's groups, in the hope that if she could convince the wives that flying was safe the husbands would follow. It worked: the demonstrations became more popular. When the Bangor Chamber of Commerce held a Women's Day, ten thousand women turned out; two hundred went up in the air. Nothing could quite beat having her, all dressed up in mink coat, chic boots, and hat, standing on the tarmac prior to one of the line's pioneering flights. With Amelia standing next to the Stinson on a bitter cold icy day at the Portland airport, apprehensive fliers never even thought to question why there were automobile tire chains on the wheels—something of a necessity when plowing wasn't possible and the runway was slick with ice. Because of her, Burlington, Vermont's, number-one citizen, William Appleyard, sold $10,000 worth of tickets before the airline made its first flight there, on February 7, 1934.
Still later, intent on expanding, Paul and Amelia formulated a plan for Boston-Maine Airways to fly from LaGuardia airport, then called North Beach airport, to a racetrack eight miles from Boston that they knew they could easily convert into a field. That one the company didn't buy.
Amelia's business interests were prospering, but her home life was giving her a bit of trouble as 1934 drew to a close. That Christmas the card George and Amelia sent out had a somber note. Their ship was the “George and Amelia” and the text ran, “Although no models ourselves, at least we're still afloat.”
16
Role Model
• • • • When Amelia started flying at the beginning of the air age, she and all the other women fliers wore modified semimilitary (U.S. Infantry version) riding clothes. Then in the late 1920s, as women pilots tried to show a timid world that flying was easy, effortless, and safe, they took to wearing normal street clothes to drive home the point. For that reason, when Amelia was the aviation editor of
Cosmopolitan
vagabonding west in 1928, she was often photographed in a light tan suit with conventional skirt and low-heeled two-tone oxfords. Then women's flying clothes caught the eye of the fashion industry. The great Paris couturiers began including one or two flying suits in their collections, although usually tarting them up so badly, they were unwearable. English and American fliers looking for something to wear began designing their own. Louise Thaden, winner of the 1929 Women's Air Derby and vice-president of the Ninety-Nines under Amelia, designed a clever dress with a zippered jacket and front and back panels concealing a divided skirt; it was so attractive that golfers began snapping it up. Another pilot, Edith Folz, also veteran of the derby, designed a combination pilot and street outfit with a removable zippered skirt, the “Folz-up suit,” which won fourth place in the inventors' meet at the Century of Progress the summer
of 1933. By the 1930s flying outfits were available or could be special-ordered at many department stores. One-piece coveralls called monkey suits, usually made of gabardine, often trimmed with flannel, were also available.
Amelia's interest in designing clothes began with flying clothes for the Ninety-Nines. She had become the first president in 1932, at which time she was promoting the adoption of a members' coverall that was both good-looking and rugged. She sent a sample suit around the country to be voted upon by the regional governors. She hoped that when adopted, it would be a consciousness-raising tool for the members as well as a moneymaker for the organization, for Flying Field, the trademarked material of which it was made—
Vogue
obligingly described it as “sturdy and gabardine-like” —would, if it sold well, give the Ninety-Nines a nice revenue stream. But the Ninety-Nines were a democratic, decentralized organization, and there was endless debate instead of decision making; the goal of adopting one version began to fade.
Vogue
did a two-page photo spread on the “First Lady of the Sky” in January 1933 showing, on one page, Amelia posing in the original flying suit. It sported loose trousers, a zipper top, and big pockets, with the material nipped in at the wrists and ankles, but since it hadn't been adopted by the Ninety-Nines, it wasn't identified as “theirs,” much to Amelia's frustration. The facing page shows Amelia in a brown jersey sports suit, suitable, according to the text, for traveling in a closed-cockpit plane (as opposed to a sporty open-cockpit model or other mode of “conventional” transportation).
Nothing came of the Ninety-Nine coverall, but Amelia decided to pick up the ball and design her own line of clothes “for the woman who lives actively.” Contrary to what many thought, Amelia was very interested in style and fashion. When she was a little girl, according to Amy, she used to pester her grandmother to give her scraps of material to sew into new dresses for her dolls—indeed, Amy hadn't been sure whether Amelia enjoyed playing with dolls as much as making them new clothes. In St. Paul as a teenager, when her family was short of money, she had taken some drapes down from the attic and created hobble skirts, the fashion of the day, so that she and Muriel would have new clothes to wear for Easter.
She had bought her first fur coat in her Denison House days on her social worker's salary, and she now owned a becoming mink coat and a beaver coat as well. She had learned from Ray Long and
Cosmopolitan
how to dress, and how important it was. People accustomed to seeing her in flying clothes were continually surprised at how elegant she looked in “normal” clothes. Mary Welch, the Time magazine reporter who later married Ernest Hemingway, would remember seeing Amelia sweeping elegantly
through the Chicago airport wearing a beige suit with a matching fox fur thrown about her shoulders. Well-cut silk lounging pajamas, of which she had a closetful, were her clothes of choice for the evening.
Christian Science Monitor
reporter Janet Mabie was struck by her fashionable ice-blue-satin evening pajamas. A Purdue student at a graduation banquet thought unforgettable Amelia's sleeveless midnight blue evening dress “covered with silver stars as if the gods had sprinkled them on her,” set off by “a cloudlike collar” of white mink.
She worked at her image. Just as her hair seemed artless, so her clothes, her look, presented a consistent image of understatement and casualness that was deliberate. She often wore colorless nail polish. She liked facials and found them soothing; she liked “health afternoons”—spending time in a steam room, followed by a cold hosing down, followed by a massage, particularly when Lucy Challiss would do it with her. She was very conscious of the image she projected. Even when she had been stuck in Trepassey, Newfoundland—anxiously, fretfully waiting to take off in the
Friendship
—even then she had taken the trouble to painstakingly heat up a curling iron and curl her hair.

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