King of the Air; Or, To Morocco on an Aeroplane — Themes and Context
Edition facts
King of the Air; Or, To Morocco on an Aeroplane — Themes and Context can be approached with a clearer sense of reading commitment from its source measurements: 59,268 words, 4 hr 18 min estimated reading time, and 7 detected text sections.
The text analysis averages about 16.0 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Air travel -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
ing you want?” he asked again.
But the boy made no reply; only the sound of knocking and screwing continued.
Mr. Greatorex laughed aloud.
“Come,” he said, getting up and standing with legs astraddle a foot or two from the car, “you mustn’t make _too_ long a _job_ of it, you know.” Then he chuckled.
Five minutes afterwards the boy crawled out. Mr. Greatorex laughed again as he surveyed the grimy little fellow. A great patch of black surrounded one eye, where he had rubbed his knuckles.
“All right now, measter,” said the boy.
“What! Come, my lad, you’ve _had your_ turn; now run along and fetch the smith.”
“Bean’t no need. She’ll go now.”
Mr. Greatorex looked impressed, stepped to the front of the car, and turned the handle; to his amazement the engines started. He sprang into the car, threw the engines into gear, and was still more amazed when, releasing the clutch pedal, he found that the car moved.
“Better take off the brake, measter,” said the boy.
“Why, yes, certainly,” said Mr. Greatorex, with a preoccupied air, and the car mounted the incline, spun across the bridge, and ran easily down the road. Then Mr. Greatorex stopped it and turned round.
“Hi, boy!” he shouted. The boy picked up his hat, stuck it on his head, and approached.
“Look here, youngster,” said Mr. Greatorex, “the car is all _right_!”
“Told ’ee so, measter.”
Mr. Greatorex roared.
“You’re a wonderful little chap. Bless my soul, how did you _do_ it?”
“I’ll show ’ee if you’ll get out.”
“No thank ’ee. I’ve already had half an hour at it, and I’m as black as a nigger. What was wrong?”
“A bit of grit was stuck in the petrol spray nozzle, so you couldn’t get no petrol into the carburetter.”
“Oh!” said Mr. Greatorex blankly. “What’s your name?”
“You don’t happen to be manager of a motor-works, I suppose?”
“No,” said the boy, unconscious of the genial sarcasm.
“In the village yonder,” said Tom, pointing ahead.
“Oh! Ah! Look _here_, my lad, why aren’t you at school?”
“Why, ‘cos ’tis holidays,” he replied with a grin. “Feyther didn’t want me, so I came out to fish.”
“Oh, indeed. And who’s your father?”
“He be the smith you wanted me to fetch; but there warn’t no need.”
“So it appears! I say, my lad, how _old_ are you?”
“Twelve, and I’m in the sixth standard.”
“You are, are you? And how long have you been mending motor-cars?”
“Not so very long. I help feyther now and again; motor-cars are always breaking down, and he has mended a rare lot of ’em.”
“Ah! And how much would he have charged for mending this one?”
“About two shillings, I reckon; it wasn’t a very hard job.”
“Oh! Well, here’s two shillings for you. Don’t spend it _all_ on sweets.”
“Not me,” said the boy with a grin. “I’m saving up, I am.”
“Why, for heaps of things. I want a model of a four-coupled bogie tank engine, and a model of a turbine steamer, and a motor bicycle——”
“Steady, youngster. That’s rather a _large_ order, isn’t it? You’ve got a fancy for mechanics, eh!”
“Mechanics! Not me! That’s what they teach in the seventh standard. I like engines, I do—machines that’ll go. I’m going to be an engineer some day—if I can; feyther says it costs a mint of money, and he hasn’t got much, and he says he don’t hold with flying too high, and I’d much better be a smith. But there’s nothing new in smith’s work: you just go on shoeing horses, and sticking fellies on wheels, and mending prams and motor-cars now and then. I want to do something new, I do.”
“Ah! What’s your father’s name?”
“Dorrell, same as mine.”
“Naturally. And what do you call your village?”
“Well, Tom, here’s your two shillings. You’ve got a bank-book, I suppose.”
“Rather. I’ve got three pounds fourteen and ninepence; this makes sixteen and ninepence. I shall have another sixpence on Saturday for cleaning pa’son’s bicycle; that’ll make seventeen and threepence. Pa’son gives me sixpence a week.”
“You’re getting quite rich, you know. Well, Tom, thanks to you I _shall_ get home in time for dinner.”
“I’m pretty hungry,” said Tom. “I guess it’s past my tea-time.”
“No doubt it is. _Strawberry_ jam, eh?”
“No. Mother says that’s too dear. We have rhubarb and marrow, growed in the garden.”
The opening chapter introduces Mr. John Greatorex as “very wealthy, and very obstinate,” a man who disclaims chemistry yet made a fortune in chemicals, and who insists on driving his new motor-car alone. This character sketch, with its wry tone and emphasis on stubborn self-reliance, sets a pattern for the young protagonists who follow. The catalog subjects—air travel and Morocco—are accurate but incomplete: the excerpts show that the airship is a means, not the focus, and that Morocco is a setting for encounters with a Jewish merchant named Salathiel ben Ezra and a sheikh, rather than a landscape described in detail.
Stubbornness as a Narrative Engine
The novel opens with a wealthy man who “saw no necessity to take a chauffeur” and a wife who hands him goggles with a worried question. This dynamic—confident independence versus cautious concern—recurs in the main plot. Tom and Oliphant, the boy aviators, repeatedly make decisions based on limited information and a refusal to wait for help. When they capture Salathiel, Tom decides to imprison him in a cave rather than use fuel to take him far away, saying “a day’s fasting won’t hurt him.” The reasoning is practical but also reveals a casual confidence in their own judgment. The text does not show them consulting maps, authorities, or local knowledge beyond Abdul’s brief comments. The narrative voice treats this self-reliance as admirable, not reckless.
Captivity and Negotiation, Not Flight
Despite the title, the excerpts focus on captivity and bargaining. Tom and Oliphant spend Chapter X discussing how to “dispose of Salathiel” and later plan to “release Ingleton” from the sheikh. The airship is used for transport—lifting Salathiel into a cave, returning to a hilltop—but the drama comes from verbal exchanges: Salathiel protests, tries bribery, and is overruled. Tom tells him “ours is a prior engagement,” a line that could belong to a diplomatic mission. The catalog subject “Air travel” is thus a vehicle for a story about hostage-taking, negotiation, and the ethics of using force. The excerpts do not show any aerial combat, races, or technical descriptions of flight; the airship is a tool, like a horse or a boat.
The Jew and the Moor: Character Types in the Excerpts
Salathiel ben Ezra is introduced as a “fat friend” and a “peaceable merchant” who claims to be on his way to “treat with the sheikh of Ain Afroo for a supply of carpets.” Tom suspects he has “appropriated” Abdul’s property. The characterization relies on period stereotypes: the Jew as cunning, mercantile, and physically soft. The Moorish characters are less developed—Abdul is a helper who knows the caves, the sheikh is an offstage antagonist. The excerpts do not give interiority to either group; they are obstacles or aids. Readers should note that the novel’s portrayal of non-English characters is functional rather than nuanced, and that the catalog subject “Morocco” is a backdrop for English resourcefulness, not a setting explored on its own terms.
The excerpts suggest a story driven by quick decisions and physical action rather than by character development or setting. Readers interested in early airship fiction will find the technology taken for granted; those seeking a detailed portrait of Morocco will be disappointed. The novel’s value may lie in its period assumptions about nationality, commerce, and problem-solving. Approach it as a boys’ adventure of its time, where the airship is a plot device and the foreign setting is a stage for English ingenuity.
Reading about those boys negotiating with the sheikh reminded me of afternoons spent in my uncle's shed, haggling over broken radios. There's a similar quiet stubbornness in Cupid in Africa — Themes and Context, where the real journey isn't the landscape, but the slow, wary dance between people who must rely on each other. That feeling of improvised trust stayed with me long after I closed that book.
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