The flying spy — Story, Setting & Ideas

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In Category - World Events
De Carlo, Camillo, 1892-1968, Guglielmotti, Emilio [Author of introduction, etc.], Sermolino, Maria [Translator] Project Gutenberg 2014 Not confirmed
World War, 1914-1918 -- Personal narratives, Italian Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 68,796
Reading time 300 min
Text sections 20

This digital edition of The flying spy — Story, Setting & Ideas is described by source-level measurements including 68,796 words, 5 hr estimated reading time, and 20 detected text sections.

The text analysis averages about 24.3 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 “World War, 1914-1918 -- Personal narratives, Italian,” connecting these edition facts with the source record’s subject description.

A World War I memoir by an Italian lieutenant, recounting espionage missions behind Austrian lines near the Piave front, based on documented facts and eyewitness accounts.
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Editorial Edition Score 4.8/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Without a tear I had left the countryside endeared to me by memories of my childhood, the place where I was born, the place where for several centuries my ancestors had lived. On the last night, when I had a clear vision of the inevitable, after I had learnt from a superior officer that our next stand would be on the Piave, and that all the region in which lay my properties, my houses, my villas, all I possessed, was to be ceded to the enemy, I rushed in an automobile borrowed from headquarters to my father’s dwelling that I might persuade him to depart. I was certain that he would not believe me, and it was not without a prolonged struggle that I succeeded in convincing him. Indeed he would have preferred on that day to hear that we, his two boys, had fallen in battle, rather than learn from one of us that we had been unable to stop the enemy. At last becoming resigned to the cruel reality, giving no thought to the salvation of any of our belongings, since even the dearest personal thing lost all significance when the entire country was in danger he decided to leave.

Even now I can see his tall, straight figure on the threshold of the house, as he turned to cast a final look upon the scene of all our memories; a scene which he would never again observe as he left it that night. The women servants in the house, convulsively weeping, threw themselves at his feet that they might express in a last desperate farewell all the strength of their love. I could not shed a tear. I had given all my tears when I had seen our soldiers retreating from the Carso. I had never feared death, yet then I prayed God with all my strength and faith, that I might live; that I might not die with that vision of defeat in my mind. A thousand times I had hurled myself where danger seemed the greatest, where death was reaping a rich harvest, not asking God to spare me. But at the Carso I prayed for life. I could not die defeated.

Every foot of land we ceded to the enemy was a new grief to my Italian heart. For every villa, for every square, for every expression of art we had to cede, for every remembrance profaned by the greedy barbarian, the wound became greater and hurt with a vehemence never heretofore experienced. At the death of my mother alone had I felt anything similar. I felt as though the world were crumbling about me. At dawn and at evening, on the rising of the sun and its setting, I would ask myself, how, with such immense grief in the world, nature could act according to her custom of mathematical regularity, regardless of so much suffering.

With our successful resistance on the Piave the most painful days had passed. A wave of new bold blood, of passion, had permeated our fighters. They had found themselves again, and if anyone among them previously for a moment had felt a streak of cowardice, he now asked to be allowed to sacrifice his life, to place his multiplied energy at the disposal of his country. Often I had asked myself anxiously what would become of our villages; often flying low over the territories which were now held by the enemy but which I knew inch by inch, I had tried to discover what the enemy plans might be. I had tried to steal from the enemy the secret he guarded so jealously.

Once indeed while flying over San Vendemmiano, over the road which passes near my villa, I discovered a long line of cars slowly traveling eastward. Without a moment’s hesitation I ordered the pilot to lower the plane as much as he could. We were a few hundred feet above the enemy when I let loose on them the fury of our machine gun. Gradually I saw a few men turn for cover towards my villa. This assured me that it, too, was occupied by the enemy, and I fired repeatedly at my own house. Small satisfaction though the deed brought me, it yet sufficed to drive away somewhat of the deep dejection which recent events had instilled.

Lieutenant Camillo De Carlo’s The Flying Spy opens with a precise military diary entry: “January 15, 1918.—The command of the Third Army has stationed its headquarters in the village of Mogliano, near Venice.” This factual tone, reinforced by a note that all documents are held by Italian authorities, establishes the work as a documented personal narrative rather than a fictional adventure. The preface by Major-General Emilio Guglielmotti frames the account as both a “historical document” and a “patriotic performance,” highlighting the author’s gold medal for bravery.

Diary Form and Documentary Claims

The narrative is structured as dated entries, beginning with January 15, 1918, and proceeding through specific episodes. This diary format lends immediacy to the account, while the author’s note—stating that “all documents mentioned in this narrative are in the possession of the Italian military authorities” and that “every fact can be attested to by numerous witnesses”—asserts a factual basis. The excerpts show a blend of strategic overview and ground-level detail, such as the description of the front “extending from the bridge of the Priula to the sea.” The preface reinforces this by calling the book “an interesting historical document.”

Close Calls and Civilian Encounters Behind Austrian Lines

The excerpts reveal a recurring pattern of narrow escapes and interactions with local civilians. In one episode, De Carlo and a soldier named Bottecchia nearly run into two Austrian gendarmes while crossing a road; they hide under “thorny bushes” and wait breathlessly. Later, they accept milk from an old woman and a girl, who warn them about increased gendarme patrols and the need for proper papers. These scenes convey the constant risk of detection and the reliance on local goodwill. The girl’s remark—“It is so seldom that one meets able-bodied men now”—underscores the war’s depletion of the male population.

Landscape and Movement as Tactical Elements

De Carlo’s descriptions of terrain are not scenic but functional: paths through chestnut woods, hills that obscure views, and distances that are “very deceiving among the mountains.” Movement is dictated by concealment and speed. The narrative notes that they “needed to be especially cautious when compelled to cross the road” and that they “ran madly, changing direction often to hide tracks.” The landscape itself becomes a character—the flooded coastal region, the old Piave line, the mountain chain around Vittorio Veneto. These details ground the espionage in physical geography, making the reader aware of how the environment both aids and endangers the spy.

Readers should approach The Flying Spy as a primary source that combines the immediacy of a diary with the retrospective framing of a decorated officer. The excerpts show a work that is less about grand strategy than about the texture of survival—hiding, moving, and relying on strangers. The author’s insistence on verifiability invites scrutiny, while the preface’s patriotic lens reminds us that this is a document shaped by its moment.

There’s something about that Italian lieutenant’s quiet, methodical spying that stays with you, the way he notices small things—a boot print, a shifted map—and lets them speak. It makes me think of another kind of document, one where careful evidence piles up differently. I keep returning to Germany, Turkey, and Armenia A Selection of Documentary Evidence Relating to the Armenian Atrocities from German and other Sources — A Closer Reading, and its terrible, patient weight, like a held breath.

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