Along the glass-and-steel back of Terminal 3 rest four giants, whose liveries indicate a varied provenance: Canada, Brazil, Pakistan, Korea. For a few hours their wingtips will lie only a few metres apart, until each set begins another journey into the stratospheric winds. As every ship turns into a gate, a choreographed dance begins. Trucks slip to the underbelly, black fuel hoses are fastened to the wings, a gangway bends its rectangular rubber lips over the fuselage. The doors of the holds are opened to disgorge battered aluminium cargo crates, perhaps containing fruit that only a few days ago hung from the branches of tropical trees, or vegetables that had their roots in the soil of high, silent valleys. Two men in overalls set up a small ladder next to one engine and open up its casing to reveal an intricate terrain of wires and small steel pipes. Sheets and pillows are lowered from the front of one cabin. Passengers disembark; for them this ordinary English afternoon will have a supernatural tinge.
Nowhere is the appeal of the airport more concentrated than in the television screens that hang in rows from the terminal ceilings to announce the departure and arrival of flights, whose absence of aesthetic self-consciousness and whose workmanlike casing and pedestrian typefaces do nothing to disguise their emotional charge and imaginative allure. Tokyo, Amsterdam, Istanbul; Warsaw, Seattle, Rio. The screens bear all the poetic resonance of the last line of James Joyce's Ulysses, which is at once a record of where the novel was written and, no less important, a symbol of the cosmopolitan spirit behind its composition: ‘Trieste, Zurich, Paris.' The constant calls of the screens, some accompanied by the impatient pulsing of a cursor, suggest with what ease our seemingly entrenched lives might be altered were we simply to walk down a corridor and onto a craft that in a few hours would land us in a place of which we had no memories and where no one knew our name. How pleasant to hold in mind through the crevasses of our moods, at three in the afternoon, when lassitude and despair threaten, that there is always a plane taking off for somewhere, for Baudelaire's ‘anywhere! anywhere!': Trieste, Zurich, Paris.
4.
Baudelaire admired not only the places of departure and arrival but also the machines of motion, and in particular oceangoing ships. He wrote, for example, of the ‘profound and mysterious charm that arises from looking at a ship'. He went to see the flat-bottomed boats, or caboteurs, in the Port Saint Nicolas in Paris, and larger ships in Rouen and the Normandy ports. He marvelled at the technological achievements behind them, at how objects so heavy and multifarious could be made to move with elegance and cohesion across the seas. A great ship made him think of ‘a vast, immense, complicated but agile creature, an animal full of spirit, suffering and heaving all the sighs and ambitions of humanity'.
We may feel similar sentiments upon looking at some of the larger species of aeroplanes, themselves ‘vast' and ‘complicated' creatures, which defy their size and the chaos of the lower atmosphere to steer serenely across the firmament. On seeing such a thing parked at a gate, dwarfing luggage carts and mechanics, one is induced to feel surprise, overriding any scientific explanation, that it can move even a few metres, let alone fly to Japan. Buildings, among the few man-made structures of comparable size, do not prepare us for the aeroplane's agility or self-possession, for buildings may be cracked by slight movements of the earth, and they leak air and water and can lose parts of themselves to the wind.
Few seconds in life are more releasing than those in which a plane ascends to the sky. Looking out a window from inside a machine standing stationary at the beginning of a runway, we face a vista of familiar proportions: a road, oil cylinders, grass and hotels with copper-tinted windows—the earth as we have always known it, where we make slow progress, even with the help of a car, where calf muscles and engines strain to reach the summit of hills, where, half a mile ahead or less, there is almost always a line of trees or buildings to restrict our view. Then suddenly, accompanied by the controlled rage of the engines (with only a slight tremor from glasses in the galley), we rise fluently into the atmosphere, and an immense horizon opens up across which we can wander without impediment. A journey that on earth would have taken an afternoon can be accomplished with an infinitesimal movement of the eye; we can cross Berkshire, visit Maidenhead, skirt over Bracknell and survey the M4.
There is psychological pleasure in this takeoff, too, for the swiftness of the plane's ascent is an exemplary symbol of transformation. The display of power can inspire us to imagine analogous, decisive shifts in our own lives, to imagine that we, too, might one day surge above much that now looms over us.
The new vantage point lends order and logic to the landscape: roads curve to avoid hills, rivers trace paths to lakes, pylons lead from power stations to towns, streets that from earth seemed laid out without thought emerge as well-planned grids. The eye attempts to match what it can see with what the mind knows should be there, like a reader trying to decipher a familiar book in a new language. Those lights must be Newbury that road the A33 as it leaves the M4. And to think that all along, hidden from our sight, our lives were that smalclass="underline" the world we live in but almost never see, the way we must appear to the hawk and to the gods.
The plane's engines show none of the effort required to take us to this place. They hang there in the inconceivable cold, patiently and invisibly powering the craft, their sole requests, painted on their inner flanks in red letters, being that we do not walk on them and that we feed them ‘Oil only: D50TFI-S4', a message for a forthcoming set of men in overalls, 4,000 miles away and still asleep.
There is not much talk about the clouds that are visible up here. No one seems to think it remarkable that somewhere above an ocean we are flying past a vast white candy-floss island that would have made a perfect seat for an angel or even God himself in a painting by Piero della Francesca. In the cabin, no one stands up to announce with requisite emphasis that if we look out the window, we will see that we are flying over a cloud, a matter that would have detained Leonardo and Poussin, Claude and Constable.
Food that if sampled in a kitchen would have been banal or even offensive acquires a new taste and interest in the presence of the clouds (like a picnic of bread and cheese that delights us when we
eat it on a clifftop above a pounding sea). With the in-flight tray, we make ourselves at home in this unhomely place: we appropriate the extraterrestrial landscape with the help of a chilled bread roll and a plastic dish of potato salad.
When scrutinised, our airborne companions outside the window do not look as we might expect them to. In paintings and from the ground, they appear to be horizontal ovoids, but up here they resemble giant obelisks made of piles of unsteady shaving foam. Their kinship with steam becomes clearer: they seem more volatile, perhaps the product of something that has just exploded and is still mutating. It remains perplexing that it should be impossible to sit on one.
Baudelaire knew how to love the clouds.
THE OUTSIDER
Tell me, whom do you love most, you enigmatic man: your father, your
mother, your sister or your brother?
I have neither father, nor mother, nor sister, nor brother.
Your friends?
You ‘re using a word I've never understood.
Your country?