Border Crossing Conundrums for Travelers

October 23, 2024

Port au Prince, Haiti, 1999

The forklift driver sticks in his hand and gives the ugly congealment a churn. “For sausage,” he answers. What we’re looking at, it turns out, is a barrel full of intestines — casings bound for some horrible Haitian factory to be stuffed with meat. Why the casings need to be imported while the meat itself is apparently on hand, I can’t say, but somebody found it necessary to pay the shipping costs and customs duties to fly a hundred gallons of intestines from Miami to Port-au-Prince.

THE SEGMENT ABOVE is from a book I’ve been pretending to write. It describes an afternoon several years ago, when I was a cargo pilot for DHL. The setting is the Port au Prince airport in Haiti — a country I’ve never been to.

Oh sure, I’ve flown into to the Port au Prince airport once or twice. But just the same, so far as I’m concerned, seeing that I never set foot outside the terminal, I have not been to Haiti.

The issue here is what, exactly, constitutes a visit to another country. Making that determination can be tricky, and those who travel a lot will sometimes wrestle with this quandary. When your plane stops for refueling or you spend the evening at an airport hotel… does that count?

Where to draw the line is ultimately up to the traveler; it’s more about “feel” than any technical definition of a border crossing. But there should be a certain, if ineffable standard — something along the lines of that you-know-it-when-you-see-it definition of pornography.

According to my own criteria, a passport stamp alone doesn’t cut it. At the very least, a person must spend a token amount of time — though not necessarily an overnight — beyond the airport and its environs. On the pin-studded map that hangs in the dining room of my apartment, there is no pin for Haiti.

Other cases, though, are more subjective. For instance, traveling once between Germany and Hungary, I spent several hours riding a train through Austria. We pulled into Vienna in the middle of the night and sat for six hours. At sunrise we headed out again, trundling across the Austrian countryside toward Budapest. Certain people might consider that enough, but as with Haiti there’s no Austria pin on my map. I saw towns, cars, people… but all through the window of a train, never touching soil. Doesn’t count.

On the other hand, I have been to Liberia. I used to fly a regular route there from Accra, Ghana, and our flights would lay over for a few hours at Liberia’s international airport, known as Roberts Field. One time I hired a driver to take us out for a mini-tour of the nearby area. We never spent the night, but I walked through villages, saw people, took pictures. Liberia gets a pin.

As does Qatar, though I spent a mere three hours in Doha, driving around at night, between flights, on a tour provided by Qatar Airways.

Sometimes the country itself is what muddles things up. Consider the world’s various territories, protectorates, self-governing autonomous regions, occupied lands and quasi-independent nations. Yeah, I know, Vatican City is a sovereign state, politically speaking. But in practical terms, is it really? When I tally up the countries I’ve visited, I can’t bring myself to include it.

And let’s not begin to assess the countless atolls, archipelagos, and assorted tiny islands scattered throughout the oceans. If a citizen of Japan visits Guam, has he been to the United States? In one sense, sure. In another, perhaps more accurate sense, he’s simply been to Guam — neither genuine U.S. turf nor a country unto itself. You can make a similar argument with Bermuda, Tahiti, and elsewhere. And let’s not get started with Tibet, or Palestine. Sometimes, maybe, there is no country.

Together these things can make it impossible to provide a wholly accurate answer when asked how many countries you’ve traveled to. It depends. For me the number is ninety-eight. Or thereabouts.

Of course, that’s only important if you’re the sort who keeps track of such things. Travelers are known to hold “passport parties” upon reaching certain milestones – a 50th, 75th, or 100th country. In the eyes of some, country-counting cheapens the act of travel by emphasizing quantity over quality, but maybe that’s sour grapes.

PHOTOS BY THE AUTHOR

A version of this post originally appeared in the magazine Salon.

September 23, 2024

I FOUND THIS LIST, over at The Atlantic, published back in 2015: What Was the Most Significant Airplane Flight in History? A roll call of aviation luminaries, myself not included, was invited to weigh in.

The Enola Gay, bound for Hiroshima, that’s a heavy one. And from my fellow blogger Christine Negroni: “In 1914, Abram Pheil became the very first passenger on the very first passenger flight, a 23-minute trip from St. Petersburg, Florida to Tampa. Like the 12-second flight of the Wright Brothers eleven years earlier, his brief time in the air has had an enormous impact on the world.”

It’s hard to argue with her. But some of the other entries, I don’t know. D.B. Cooper, come on. Lindbergh’s solo crossing? Nah. Of course, there’s no right or wrong answer. The idea of lists like these is to draw from different perspectives.

Had I been asked, my entry for history’s most significant flight would be Pan Am’s inaugural of the Boeing 747 in 1970.

Pan Am’s Clipper Victor kicked things off between New York and London on January 21st, about six months after the success of Apollo 11. Why this flight? Well, if we broaden this conversation to planes generally, rather than specific flights, we have to rank the Boeing 747 as the most influential aircraft of all time. The industry’s first-ever widebody, it ushered in the concept of affordable long-haul flying, changing global travel as we knew it — and know it still — perhaps more than any other invention.

Plus, it was a gorgeous design. In a production run lasting more than fifty years, Boeing would sell more than a thousand of them.

(Ironically the Victor was the very same 747 destroyed at Tenerife in 1977, in history’s worst aviation disaster. Remarkably, this single aircraft was involved in two of the most historic flights of all time, one celebratory and the other catastrophic.)

Runner up, for influence if not aesthetics, would be the Douglas DC-3.

Rolled out in 1935, the DC-3 wasn’t really the first of anything, but it perfected the evolution of the all-metal passenger transport to become the first truly profitable and mass-produced airliner. So many thousands of DC-3s were built, in civilian and military versions, both in the U.S. and under license abroad, that nobody knows for sure the actual count.

As late as the 1960s more than a thousand DC-3s were still in airline service. Today every passenger plane, from a ten-seater to the 787, bears a debt to this antique piston twin.

Much the same way, Boeing’s four-engined 707 revolutionized air travel forever.

The 707 was third in jetliner chronology — the star-crossed de Havilland Comet and the Soviet Union’s Tu-104 copycat came before it — but it was faster, with greater range and more seats, taking the Comet’s ill fortune and turning it into gold, safely crossing oceans and continents at twice the speed of mainstay propliners.

When, in 1958, Pan Am launched the 707 between New York and Paris (just like Lindbergh), the jet age truly was born. A year later American Airlines inaugurated transcon 707 nonstops between New York and Los Angeles. The poet Carl Sandburg was aboard.

Yes, well, sorry to some of you who’d lobby for something flashier. The Concorde, I know, makes a prettier icon than the 707 or a DC-3. But while sexy and famous, it proved little beyond the non-viability of the SST concept. Perhaps when hydrogen replaces kerosene this category will be reborn.

Photo Credits:

Lufthansa 747 by the author.
Pan Am 747 courtesy of Pan Am Historical Foundation.
DC-3 courtesy of Unsplash.
707 by Boeing, public domain.
707 thumbnail from the author’s postcard collection.

September 11, 2024

MY MOST VIVID MEMORY of September 11th, 2001, is my memory of a cockroach.

It was one of the biggest roaches I’ve ever seen — copper-colored and bullet-shaped, the length of my little finger — and it came crawling across the platform of the Government Center subway station at 7:00 a.m., as I stood there waiting for the train that would take me to Logan Airport. It scampered, stopped, then zigged and zagged, in that deliberate yet utterly directionless way of insects, its footsteps so heavy I swear that I could hear them, click-click-click on the greasy concrete.

It portended everything, this giant subway cockroach. Or it portended nothing. And as it came closer I drew my foot back — my right foot, I remember with absolute clarity — and nudged it, gently, off the platform and down into the dark and filthy space alongside the tracks, where it disappeared more or less instantly into the shadows and detritus.

This is how we remember things.

Once on the train, I would chat briefly with a United Airlines flight attendant, whose name I never got, and who maybe, possibly — I’ll never know for certain — was headed to work aboard the doomed United flight 175.

I was on my way to Orlando, where I’d be picking up a work assignment later that afternoon. My airplane would lift off only seconds after American’s flight 11, the first of the two jets to hit the twin towers. I had watched the silver Boeing back away from gate 25 at Logan’s terminal B and begin to taxi. United 175 would launch a few minutes later. My plane was in-between.

In an old briefcase here in this room, I still have my boarding pass from that morning. It shows me assigned to seat 11D, on the aisle, but there were empty seats and I slid over the window.

Elevens were wild that day. On the 11th day of the month, flight 11 would collide with the World Trade Center, two buildings that shaped an enormous “11” in the Manhattan sky. I looked down from row 11.

But there was nothing to see, yet. I recall an almost uncannily clear view of Manhattan, taking note, as I always do, of that graceful little bend that the island makes — the way it turns eastbound just below Midtown. There was no smoke, no fire. I was just a few minutes — a matter of seconds, maybe — too soon.

A short time later, about halfway to Florida, we started descending. Because of a “security issue,” our captain told us, we, along with many other airplanes, would be diverting immediately. Pilots are polished pros when it comes to dishing out euphemisms, and this little gem would be the most laughable understatement I’ve ever heard a comrade utter.

Our new destination was Charleston, South Carolina.

A bomb threat had been called in. That was my hunch. My worry wasn’t of war and smoldering devastation. My worry was being late for work. It wasn’t until I joined a crowd of passengers in Charleston, clustered around a TV in a concourse restaurant, that I learned what was going on.

And there I am. I’m watching the video of the second airplane, shot from the ground in a kind of twenty-first century Zapruder film. The picture swings left and picks up the United 767 moving swiftly. This is flight 175. The plane rocks, lifts its nose, and, like a charging, very angry bull making a run at a fear-frozen matador, drives itself into the very center of the south tower. The airplane vanishes. For a fraction of a second there is no falling debris, no smoke, no fire, no movement. Then, from within, you see the white-hot explosion and spewing expulsion of fire and matter.

And then, a bit later, the collapse. And this is the important part. Because to me, had the airplanes crashed, blown up, and reduced the upper halves of those buildings to burned-out hulks, the whole event would nonetheless have clung to the realm of believability. Had the towers not actually fallen, I suspect our September 11 hangover, which rages to this day, might not have been so prolonged. It was the collapse — the groaning implosions and the pyroclastic tornadoes whipping through the canyons of lower Manhattan — that catapulted the event from ordinary disaster to historical infamy.

As I stand awestruck in this shithole airport restaurant in South Carolina, the television shows the towers of the World Trade Center. They are not just afire, not just shedding debris and pouring out oil-black smoke. They are falling down. The sight of those ugly, magnificent towers, collapsing onto themselves, is the most sublimely terrifying thing I have ever seen.

Then I would go to a motel and spend the night. The next morning I’d rent a car and drive all the way home to Boston.

This is how we remember things.

And pilots, like fire fighters, police officers, and everyone else whose professions had been implicated, had no choice but to take things, well, personally. Four on-duty airline crews were victims, including eight pilots. John Ogonowski comes to mind, the good-guy captain of American 11. Of the thousands of people victimized that day, Captain Ogonowski was figuratively, if not literally, the first of them. He lived in my home state; his funeral made the front pages, where he was eulogized for his philanthropic work with local Cambodian immigrants.

Maybe it’s melodramatic to say I felt a bond or kinship with these eight men, but it’s something like that. What they went through, these eight colleagues on the very front edge of the attacks, the very men whose airplanes would be stolen and weaponized, is something I can’t fathom yet, at the same time, I can imagine and visualize all too chillingly.

And yes, in the ten-second bursts it took the towers to fall, I knew something about the business of flying planes would be different forever. I just wasn’t sure what it would be.

Fast-forward. It’s hyperbole to speak of the world having been “changed forever” that day. I’m conservative and skeptical when it comes to these things. History is bigger than us. Try to take the long view, even if, all these years on, the dominos haven’t stopped falling. Heck, tens of millions of people died in World War Two — tens of thousands at a time, as the incendiaries rained down over Europe and Japan. A hundred thousand bodies one night in Tokyo alone.

Sure, things are different now. Albeit for reasons we don’t always own up to. I have to say, I’m discouraged — or should that be encouraged? — because more than any “clash of civilizations,” the real and lasting legacy of Mohamed Atta and his henchmen has been something more mundane: tedium.

Think about it. The long lines, the searches and pat-downs, the litany of rules and protocols we’re forced to follow — all this meaningless pomp in the name of security. Of modern life’s many rituals, few are marinated in boredom as much as air travel. “Flying” is what we call it. How misleading. We don’t fly so much as we sit and stand around for interminable amounts of time.

And most distressing of all, we seem to be okay with this. There’s the real legacy of September 11th. The terrorists have won, goes the refrain, and perhaps that’s true. It isn’t quite what they hoped to win, but they’ve won it nevertheless.

The irony that nobody talks about is that the hijackers’ ability to pull off the 2001 attacks so spectacularly had almost nothing to do with airport security in the first damn place. And none of the measures we see on the concourse today would have kept them from succeeding. I’ve made this point many times, but never have I seen or heard it acknowledged elsewhere.

As conventional wisdom has it, the terrorists exploited a weakness in airport security by smuggling boxcutters onto the airplanes. But conventional wisdom is wrong. What the men actually exploited was a weakness in our mindset — a set of presumptions based on the decades-long track record of hijackings and how they were expected to unfold: diversions to Beirut or Havana, with hostage negotiations and standoffs.

The presence of boxcutters was merely incidental — particularly when coupled with the bluff of having a bomb. The men could have used knives fashioned from plastic, broken bottles wrapped with tape, or any of a thousand other improvised tools. The only weapon that mattered was the intangible one: the element of surprise. And so long as they didn’t chicken out, they were all but guaranteed to succeed.

For a number of reasons, just the opposite is true today. The hijack paradigm was changed forever even before the first of the Twin Towers had dropped to the ground, when the passengers of United 93 realized what was happening and fought back. That element of surprise was no longer a useful device. Hijackers today would face not only an armored cockpit, but also a planeload of people convinced they’re about to die. It’s hard to imagine a terrorist, be it with a boxcutter or a bomb, making it two steps up the aisle without being pummeled. It’s equally hard to imagine that organized groups would be willing to expend valuable resources on a scheme with such a high likelihood of failure.

In spite of this reality, we are apparently content spending billions of taxpayer dollars and untold hours of labor in a delusional attempt to thwart an attack that has already happened and cannot happen again. Guards paw through our luggage in a hunt for what are effectively harmless items: hobby knives, scissors, screwdrivers. Meanwhile, even a child knows that a lethal implement can be crafted out of virtually anything, from a ballpoint pen to a shattered first class dinner plate.

And so on.

A September 11th post isn’t anything I’ve looked forward to, and I’m wary of the maudlin sentimentalizing and over-the-top coverage this anniversary brings each year. But something needs to be said, and so here it is. After all, nothing in my lifetime had a more profound effect on air travel than the events of that Tuesday morning twenty-three years ago.

At least until COVID-19 came along.

As the pandemic played out, it was interesting to notice the eerie parallels with September 11th and the ensuing “war on terror.”

Both crises were born of legitimately dangerous circumstances, but quickly became twisted by politics and hysteria. Curiously, this seems to have happened in opposite ways: After the 2001 attacks, it was mostly people on the right who bought into the hype and fear; who saw terrorists around every corner and were willing to sign off on things like the Patriot Act, TSA, the Iraq War, and so forth. Left-leaning people resisted. With COVID, it was left-leaning people who were more fearful and pessimistic, while those on the right advocate for a softer, more laissez-faire approach.

Why the difference? I suspect it’s because people who lean right are more naturally drawn to responses involving power and conflict; going after enemies, seeking revenge, etc. — all the things that came into play after September 11th. The pandemic, on the other hand, centered on concepts like compassion and “saving people.”

Both crises have mostly receded, thankfully. But one of the crucial takeaways, in both instances, was witnessing how, when people are afraid, they’ll quickly adapt to almost anything, including ways of life that are unproductive or harmful.

Just as the virus will stay with us, chronic and endemic, so will terrorism. There may have been, and may still be, a “war on terror,” but there will never be an end of terrorism.

How we live within this reality defines us for the long term. We can do so sensibly, or by waging a ruinously expensive, self-destructive battle with no conceivable end.

About the photos:

The picture at the top was taken by the author from the cockpit of a 19-seater in 1994.

The second picture is a watercolor rendition of the same, painted by Julianna Harhay, the daughter of Michael Harhay, a pilot for United Airlines. That is Michael’s arm in the first photo.

An earlier version of this essay appears in chapter six of COCKPIT CONFIDENTIAL.

Related Stories:

CONSPIRACY NATION
AIRPORT SECURITY IN THE NEW CENTURY
THE HIJACKING OF TWA 847
THE SKIES BELONG TO US

Unexpected Pleasures at a Terminal Near You.

WITH SCATTERED EXCEPTIONS, airports don’t have a whole lot going for them. They’re noisy, dirty, poorly laid out, and just generally hostile to passengers. As my regular readers are well aware, I’ve made this point in numerous prior posts — perhaps too many times.

Now, so that I’m not always harping on the negative, here’s something different. “Hidden Airport” is a semi-regular feature highlighting little-known spots of unexpected pleasantness.

— NEW: Vonnegut at KIND

I wrote about the KIND Gallery in Indianapolis once before (scroll down). It’s time for a revisit, now that they’ve got an installation honoring the city’s favorite literary son, Kurt Vonnegut.

It’s funny how this happened: I was walking along the concourse towards my gate, and I said to myself: They should have something about Vonnegut here at the airport. Twenty seconds later I saw the KIND Gallery and its new exhibit.

There are books, of course, a typewriter (the significance of which is unclear), photos, and some of the author’s sketches.

This is a big one for me. I had long-time infatuation with Vonnegut’s work, beginning in my teens and running into my early 20s. I think I’ve read everything he published. Just a few months ago I re-read “Jailbird,” my favorite of his novels.

— FROM IDLEWILD TO JFK

No sooner did I write about the 100th anniversary presentation at Boston-Logan (see below), when I came across a similar setup at JFK. “From Idlewild to JFK” is a collage of photos following the history of the airport we all love to hate.

Kennedy is a dysfunctional mess half the time, and most of its architectural highlights have been demolished, but it’s nonetheless the most historically significant airport in the nation, if not the world, and this exhibit hits the bullet points: Saarinen’s TWA’s terminal, the Worldport, Pan Am 707s, the Concorde.

The whole thing is a bit half-assed, frankly. The airport deserves more than just a temporary gateside exhibit with a wall’s worth of black-and-white photos, and much is ignored (how is there no mention of I.M Pei’s famous “Sundrome” terminal?).

But it’s better than nothing, and a welcome distraction in the otherwise boring terminal 4. It’s over near the A gates. Have a seat in one of the economy class chairs and relax for a few.

The runway graphics on the floor are cute, I guess. Except there’s no runway 23 at JFK.

— Green Bay Game

I discovered this foosball setup near gate B2 at the pleasant little airport in Green Bay, Wisconsin.

I suppose it could get a little rowdy, but on the morning I was there a couple of kids were quietly knocking the ball back and forth.

Foosball is table soccer, which seems anathema in NFL-obsessed Green Bay (I was taking the Packers to Denver on a charter flight), but what the heck. It’s a welcoming, low-tech, old-school sort of distraction you don’t find much at airports anymore.

— Historical Logan

In terminal E at Boston’s Logan International, near the new security checkpoint, is an exhibit called “Logan 100,” commemorating the airport’s centennial. It’s a collaboration between Massport and the Boston Globe.

We Bostonians take a unusual civic pride in our little airport. More than a mere gateway, Logan is a part of the city. It’s a vibe you can feel as the seven LCD screens sequence through a century’s worth of archival photos, showcasing the people, planes, and events that helped shape Boston over the last century: VIP arrivals (The Beatles, Muhammad Ali), airlines that have come and gone (Northeast, Air New England), and the unforgettable headlines (the Blizzard of ’78, the arrival of Pope John Paul II in 1979).

What’s not here are Logan’s more infamous moments. The Delta and Eastern crashes, for example, or the World Airways incident in 1982. But that’s to be expected, I guess.

If you’re flying out, take a few minutes to stop by. You don’t need to be an airline nerd to appreciate the pictures.

Congrats to Massport and the Globe for having the good sense to come up with this. Now, if you’d please turn off those unbearable promotional PAs that blare in the connector walkway between A and E.

— BANGKOK GREEN

The new concourse at Bangkok’s Suvarnabhumi Airport has opened. A short train ride connects it to the main terminal. The gates are designated with “S,” for satellite.

In one of the more peculiar flourishes I’ve seen at an airport, several of the gateside waiting areas include a wide section laid with artificial grass. I’m not entirely sure what the intent is, but I like it.

Do with it what you will: sprawl out and relax; let your bratty kids run around. If you’ve got your clubs, maybe practice your swing. I laid down for a few minutes and stretched.

You don’t see a lot of green in airports, and the effect is strangely pleasant and refreshing — even if it’s fake. I think they should go one better and install some plants or small trees along the perimeter.

— MSPee BREAK

Yes, it’s a mosaic in the vestibule of an airport men’s room. Minneapolis-St. Paul, concourse F. The artist is Josie Lewis, who presumably is this person. (She may or may not have a similar installation in the nearby women’s bathroom. For obvious reasons I didn’t check. Maybe a reader can report back.)

It feels wasted, maybe, to have such a pretty work of art in such an easy-to-miss space, where the only people who see it are rushing to take a whiz. On the other hand, aesthetic non-sequitirs like this can be charming, popping up where you least expect them. It’s aviation-themed, too, if that’s not too much of a stretch.

— NORFOLK SPECIAL

This one isn’t so hidden. Indeed it’s the entire main terminal of the airport in Norfolk, Virginia.

I’ve always been fond of ORF, and was happy to find myself there on a layover recently, for the first time in at least a dozen years. We love the clean, almost Scandinavian-style architecture, the unencumbered spaciousness, the skylights. I was able to get two great photos; one evening and one daytime, from more or less the same vantage point.

U.S. airports can be dreadful. Sometimes it’s the smaller ones that set themselves apart. Norfolk is a great example.

— CHAIRLESS IN BOSTON

This one is an almost. It’s a squander.

Where we are is Boston, at the south end of the pedestrian bridge connecting terminals A, E, and the central garage, just at the top of the escalator. This tucked-away alcove, right at the end, is a sunny, quiet spot out of range of the loudspeakers, with great views of the tarmac and the skyline beyond. It’s a perfect little spot. Except, there’s nowhere to sit. A hideaway like this needs to be savored. We dig the bottlcap sculpture, don’t get me wrong, but why are there no chairs?

The pedestrian bridge, in place for about twenty years now, was a welcome addition to Logan and architecturally handsome, the floor inlaid fetchingly with sea life mosaics created by Somerville artist Jane Goldman. But if you’re making the walk, the experience is ruined by a constant bombardment of public address announcements. What could be a relaxing six-minute stroll is spoiled by a tape-loop of needless “Welcome to Boston” promotions and parking instructions. This alcove offers a relaxing escape, but without a place to sit it’s easily overlooked.

Note to Massport: Chairs. Get some chairs. And turn off the bloody PAs while you’re at it.

— CINCINNATI READING ROOM

Cincinnati International (CVG) isn’t as as bustling as it once was, with Delta drawing down service after its merger with Northwest. But it’s a fairly busy airport and a pleasant one at that. And over on concourse B you’ll find this little library of sorts.

It’s more of a book swap than a proper library; you’re free to abscond with the title of your choice, or exchange your half-read copy of “Our Country Friends” for something better. Or drop into that funky chair and peruse a few chapters of some shitty crime thriller.

I have to say, the pickings were pretty dismal on the day I dropped by. And it feels a little ad-hoc: we wonder if this isn’t just a place-holder standing in for some unrented retail space, soon to be yet another overlit shop selling magazines and phone chargers. Possibly, but we like the idea, and for the time being it’s a peaceful nook to steal away in.

— BAHAMA CHILL

Nassau’s Lynden Pindling International Airport, in the Bahamas, doesn’t give you much to write home about. It’s an unpleasant complex of noisy kids, dirty fast food joints and hour-long security lines. But just outside, in a space between the domestic and international departure halls, you’ll find this sunny oasis of greenery and water.

We had three hours between flights, and this was the perfect spot to wait things out. No children, no crowds, no racket save for the sound of birds (which, I discovered, is piped in through a speaker). There are shady spots with benches, and the free airport wifi signal is strong enough to stream on.

You can sit inside at a greasy table at KFC, or you can sit here.

— BLEACHER FEATURE

A vast, overcrowded echo chamber of concrete, Mexico City’s terminal two is one of the least enjoyable airport buildings around. Downstairs in the arrivals lobby, however, set back against the rear wall, is one of the most creative and idiosyncratic features I know of: a set of bleachers, seven benches tall and about fifty feet wide, where family and friends can wait for passengers to emerge from the customs hall.

Arrivals lobbies are often a chaotic scrum of jockeying and shoving, people calling out names and craning their necks. From the bleachers, you have a clear view across the crowd, and can easily pick out your mom, your son, or your mistress without having to wade into the mob.

Here’s a low-tech idea that saves space, is eminently helpful, and costs almost nothing. Why have I not seen this anywhere else in the world?

 

— GATESIDE GRAFFITI

Terminal Four at Kennedy Airport isn’t the most passenger-friendly building, but it has its spots, including the famous Calder mobile dangling from the departure hall ceiling (see below). Now, in the B concourse close to gate 25, you can enjoy this interactive wall mural. It was put in place last summer, presumably as a sort of post-pandemic morale booster for travelers.

It looks like most people just scribble their autograph, but some leave the names of whatever far-flung destinations they’re headed to — or wish they were headed to. You might get your clothes dirty, but grab a giant pencil and jump in there. Give us a “Bayonne, New Jersey,” or a “Smolensk.”

 

— INDY KIND

Indianapolis International is the rare gem among U.S. airports. It’s spacious, clean, and splashed with natural light. Best of all, and unlike almost every other airport in the country, it’s remarkably quiet. According to Airports Council International, IND is the Best Airport in North America, and the readers of Conde Nast Traveler have dittoed that sentiment multiple times.

Tucked into the A concourse, between gates 14 and 16, is the KIND Gallery. Created in partnership with the city’s Arts Council, it showcases the works of Hoosier artists. The gallery is neither large nor — depending on your tastes in art — particularly breathtaking. But it’s exactly what it should be: an engaging and relaxing little sneak-away spot. My favorite of the current installation is “Cloud Study 1-4,” a four-frame series of cloudscapes by an artist named Kipp Normand.

What do we do at airports? We kill time. And here’s a way to do it that’s a little more fulfilling than staring at your phone or browsing the magazine kiosk.

And about that name, “KIND.” Chances are you’re familiar with the three-letter identifiers for airports, Indy’s being IND. What you probably didn’t know, however, is that airports also have four-letter identifiers. These are assigned by ICAO and used for navigation and other technical purposes. Airports in the United States simply add the letter “K” to the existing three-letter code. KLAX, for example. Or KBOS or KSFO or KMCO. Or, in this case, KIND.

 

— KENNEDY CALDER

The next time you’re on the check-in level of terminal 4 at Kennedy Airport, look up. Suspended from the ceiling near the western end of the building is a sculpture constructed of balanced aluminum arms and trapezoidal panels. This is “.125,” the famous mobile made by Alexander Calder in 1957, back when JFK was still known as Idlewild Airport.

At 45 feet long, it’s supposedly the fourth-largest mobile in the world. For years it hung in the arrivals hall of the old Terminal 4, better known as the IAB (International Arrivals Building). Later it was moved to the departure level when the terminal was rebuilt. “People think monuments should come out of the ground, never out of the ceiling,” said Calder. “But mobiles can be monumental too.” The name “.125” comes from the gauge of its aluminum elements. What it evokes is, I suppose, in the eye of the beholder. One can detect a certain flight motif, though to me it looks more like a fish.

This wasn’t Calder’s only aviation-related project. In the 1970s he hand-painted two airplanes for Braniff Airways, including a Boeing 727 for the Bicentennial.

 

— UNDERGROUND ATLANTA

The Hartsfield-Jackson International Airport has its negatives, to be sure. The low ceilings, beeping electric carts and endless public address announcements make the place noisy and claustrophobic. Many of the windows are inexplicably covered over, and the airport’s skinny escalators were apparently designed before the invention of luggage. On the other hand, ATL’s simple layout — essentially six rectangular concourses sequenced one after the other — makes for fast and easy connections. It’s one of the most efficient places anywhere to change planes.

The neatest thing about it, though, is the underground connector tunnel. This is where you go to catch the inter-terminal train, but the better choice is to walk it. (If, like me, you purchased a Garmin Vivofit and have become obsessed with step-counting, note that it takes sixteen minutes and 1800 steps to cover the tunnel’s full walkable length.)

Along the way you’ll pass a series of art and photography installations. Between concourses B and C, is an excellent, museum-quality multimedia exhibit on the history Georgia’s capital. You could easily spend a half-hour here. My favorite section, though, is the forest canopy ceiling in the tunnel between concourses A and B. This installation, made of multicolor, laser-cut aluminum panels is the work of artist Steve Waldeck. Described as a “450-foot multisensory walk through a simulated Georgia forest,” it features an audio backdrop of dozens of native birds and insects.

What a welcome change it is, listening to the calls of sandhill cranes and blue herons instead of some idiotic TSA directive. It takes only two or three minutes to pass beneath the length of it, but these are about the most relaxing (if a bit psychedelic) two or three minutes to be found at an airport.

 

— The 9/11 MEMORIAL AT BOSTON-LOGAN

The idea of building a memorial to the 2001 terror attacks, at the very airport from which two of the four hijacked planes departed from, ran a fine line between commemorative and tasteless. It needed to be done just right. What they came up with is superb, and ought to serve as a model for such memorials everywhere.

Reached along an ascending pathway that twists upward amidst grass and trees, the main structure is a sort of open-topped glass chapel, inside of which are two vertical slabs, one for each of the two aircraft that struck the World Trade Center — and mimicking the shapes, one can’t help noticing, of the twin towers themselves — engraved with the names of the passengers and crew. There’s one for American’s flight 11, the Boeing 767 that struck the north tower, and the other for United 175, which hit the south tower a few minutes later. The glass and steelwork allow the entire space to be flooded with silvery light, creating an atmosphere that’s quiet and contemplative without feeling maudlin or sentimentalized.

There are no flags or any of the crudely “patriotic” touches one might expect (and dread). It’s everything it should be: beautifully constructed, understated, and respectful.

Officially it’s called the “Place of Remembrance,” and it was built by the Boston-based firm of Moskow Linn Architects, as part of a public competition. The final design was chosen by airline workers, airport representatives, and family members of the victims. The engraved names are separated into columns of crew and passengers, and the names of off-duty United employees on the flight 175 plate include a small “tulip” logo of United Airlines. This might seem a strange touch, but this memorial was built primarily for the community of people who work at Logan Airport. Among the passengers and crew killed on the two jets were more than a dozen Logan-based employees.

But anyone is welcome, of course, and I only wish the memorial were more easily accessible. If you’re at BOS and have some time, it’s worth seeking out. It sits on a knoll just to the southern side of the central parking garage, at the foot of the walkway tunnel that connects the garage with terminal A. Find the tunnel and follow the signs.

 

— SFO DRAGONFLIES

Airport art installations of one form or another are awfully trendy these days. Paintings, sculptures and mobiles are popping up all over the place. And good for that. Among the best is artist Joyce Hsu’s “Namoo House” sculpture at San Francisco International.

It’s a huge, wall-mounted display of aluminum and stainless steel insects that, in the artist’s words, suggests the way the airport “fuses science, nature, and imagination, to become the transit home for all passengers” — whatever that might mean.

To me, the metalwork moths and six-foot dragonflies represent both natural and human-made flying machines. And they remind me of the erector-set toys that I played with as a kid. Go to gate A3 in SFO’s international terminal, near the Emirates and JetBlue gates.

 

— RALEIGH-DURHAM’S TERMINAL 2

“Ah for the days when aviation was a gentleman’s pursuit, back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham.” That’s from Sideshow Bob, in an old episode of the Simpsons (back when that show was still watchable), and we love the way he gives the words “Raleigh-Durham” an extra nudge of derision.

I guess Bob hasn’t seen RDU’s Terminal 2. Home to Delta, American, jetBlue and United, this is possibly the most attractive airport building in America. Opened in 2008, it was the first major terminal with a wood truss skeleton. The design earned architect Curtis Fentress, whose firm also designed Denver International and Korea’s impeccable Incheon Airport, the American Institute of Architects’ Thomas Jefferson Award. “A blend of the region’s economy, heritage and landscape,” is how Fentress describes it. “Terminal 2’s rolling roofline reflects the Piedmont Hills, while the daylit interior provides the latest in common-use technology. Long-span wood trusses create column-free spaces that offer efficiency and flexibility, from ticketing to security.”

All true. And unlike most airport facilities in this country, it’s quiet. Boarding calls and other public address announcements are kept to a minimum. This, together with the building’s architectural style and flair, almost makes you think you’re in Europe.

 

— THE QUIET AREA AT MINNEAPOLIS-ST. PAUL

On the whole, the Minneapolis airport is about as architecturally unexciting as a parking garage. It’s an older complex with low ceilings and endless corridors that reminds me of the ’60s-era grammar school that I once attended. And like most American airports, it has a noise pollution problem. But unlike most American airports, it has a place to escape the racket: an upper-level “quiet area” overlooking the central atrium of the Lindbergh (Delta Air Lines) Terminal. It’s difficult to find, but worth the effort if you’ve got a lengthy layover and need a place to relax. Look for the signs close to where F concourse meets the central lobby.

The long, rectangular veranda has pairs of vinyl chairs set around tables. There are power outlets at each table and visitors can log in to MSP’s complimentary Wi-Fi. Delta provides pillows and blankets so that stranded passengers can nap. It’s a bland space without much ambiance, lacking the funky chairs, sofas, and other quirky accoutrements that you might find in Europe or Asia (Incheon Airport’s quiet zones are the coolest anywhere). But it does what it’s supposed to do. It’s comfortable, detached and peaceful. It’s a shame that more airports don’t set aside spots like this.

 

— THE La GUARDIA GARDEN

I’ve written at length about the Marine Air Terminal at La Guardia Airport in New York City. This historic art-deco building, in the far southwest corner of LGA, is one of the most special places in all of commercial aviation — the launching point for the Pan Am flying boats that made the first-ever transatlantic and round-the-world flights. Inside the cathedral-like rotunda is the 240-foot “Flight” mural by James Brooks. What few people know about, however, is the cozy garden just outside. Facing the building, it’s to the right of the old Art Deco doorway, set back from the street.

It’s a quiet, tree-shaded hideaway amidst, grass, flowers and shrubs. Grab a sandwich from the Yankee Clipper and enjoy it on one of the wooden benches. To get there, take the A Loop inter-terminal bus to the Marine Air Terminal. The spot is best appreciated in the warmer months, of course. Like the Marine Air rotunda it is outside of the TSA checkpoint, so you’ll need to re-clear security if you’re catching a flight.

 

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PLANE, PRANKS, AND PRAISE: ODE TO AN AIRPORT

July 18, 2024

My custom is to set my alarm an hour or so earlier than our scheduled wake-up. For coffee and Instagram and such.

Having done so this morning, and now with nothing better to mull before the phone rings, it strikes that the name “Half & Half” is both redundant and meaningless.

If a product is half of something, then it’s automatically half of something else, no? A single percentage sum, by itself, should take care of it, obviating any need for a second one. This product should be called “Half.” (Which, admittedly, doesn’t carry much of a ring.)

Further, we ask, “Half & Half” of what, exactly? The name goes out of its way to overstate the obvious, yet fails to inform us what these respective halves consist of. Olive oil? Cranberry juice? Sand? Why the mystery? Indeed, as revealed in the picture above, and despite the kind assurance of ultra-pasteurization, the carton front displays no ingredients whatsoever.

Once again we find ourselves beguiled by the whims and foibles of corporate branding.

Now, in fairness to both mathematics and marketing, the second 50 percent of content could be easily diminished into additional fractions of whatever might compose it. The product could be half of one thing, but smaller amounts of multiple other things. Thus the name “Half & Two Quarters,” or some such.

This makes the whole conversation somewhat semantic (if less fun).

What we also see in the photograph, to our considerable dismay, is one of the more sadly devolved touches of modern carton manufacturing: the plastic screw top.

Those of us of a certain age remember the old-fashioned fold-back carton top. We miss the simplicity once employed to open, then quickly re-seal, a carton of milk or juice or “Half & Half.”

The choreography of the act was more complex than it looked, acquired through habit until performed without thinking, akin to tying one’s shoe: a tear, an unfolding, a bend, a squeeze.

The carton had no separate or moving parts. Rather, it was manipulated through a kind of muscle-memory origami. And when finished pouring, the resultant spout was, even more effortlessly, flipped back and restored to its original shape.

When did the transition to screw-tops begin? I want to say it was the early 1980s.

An inspirational debt is owed here to the author Nicholson Baker. Or vice-versa, perhaps, since this complaint was composed, at least in my head, before I’d read his wonderful book, The Mezzanine — the only other other place, to my knowledge, in which this subject is explored (page 42 in my edition). The book dates to 1986, which gives my timeline credence.

“The radiant idea that you tore apart one of the triangular eaves of the carton,” writes Baker, “using the stiffness of its own glued seam against itself.” The hand-formed, diamond-shaped opening was, “a better pourer than a circular bottle opening, because you could create a very fine stream of milk very simply.”

Indeed. The screw top, barbaric in comparison, with its jagged throw-away pull-ring and propensity to drip and splash, presumably provides more freshness, but at the cost of an almost magically elegant design.

Equal parts curiosity and nostalgia had me attempt the old-style maneuver at home, on the carton shown below. Results were mixed. The basics still work, but the molded circular collar now gets in the way. The adhesive seems different as well. The seams are no longer as tolerant to tearing, neither do they re-fold with as much authority.

May 27, 2024

IT WAS THE FRIDAY of Memorial Day weekend, 1979. I was in seventh grade, and a diehard airplane buff. It was a warm and sunny afternoon, and I was sitting in the dining room of the house I grew up in when the phone rang. It was a friend from school. He told me to turn on the television.

It had been a sunny day in Chicago, too, when just after 3 p.m. American Airlines flight 191, a McDonnell Douglas DC-10 with 271 people on board, roared down runway 32R at O’Hare International Airport, headed for Los Angeles. Just as the plane lifted off, its left engine broke loose. The entire engine, which weighed about eight thousand pounds, together with its connecting pylon and about three feet of the wing’s leading edge, flipped up over the wing and slammed back onto the runway.

As the engine ripped away, it severed hydraulic lines, releasing the hydraulic pressure that held the wing’s leading edge slats, deployed to provide critical lift during takeoff, in place. The slats then retracted, causing the left wing to stall. The plane rolled sharply to the left and plunged to the ground, disintegrating in a trailer park just beyond the airport perimeter.

Everybody aboard was killed, along with two people on the ground. With 273 fatalities, the crash of flight 191 was, and remains, the deadliest air disaster in U.S. history.

Descriptions of the accident are jarring enough. But we can see the horror, too, quite literally. Because a man named Michael Laughlin captured what might be the most haunting aviation photographs ever taken: a sequence of pictures showing the stricken jet literally sideways in the sky, in the throes of that ghastly twist to the left. And then the explosion. I don’t have permission to republish the photos here, but Google will oblige your queries.

When pylon cracks were found in several other DC-10s, the entire U.S. fleet was grounded for five weeks by the FAA. American, United, Northwest, Western and Continental were forced to pull all of their DC-10s from service. Foreign carriers were banned from flying DC-10s into the country.

NTSB investigators would eventually lay most of the blame on faulty maintenance practices and FAA oversight thereof. American — and other airlines, too — had been using a workaround procedure that caused unseen cracks to form in the engine pylon. But design flaws played a role as well. Unlike other planes, the DC-10’s wing slats were held in the extended position by hydraulic pressure, not by a mechanical lock. When the detached engine sheared the hydraulic lines, the slats retracted and the left wing essentially ceased flying.

The stall warning system also lacked a critical redundancy. It was powered only from the left-side electrical system, which had failed when the engine broke away. Thus, the pilots never realized their jet was stalling. Had captain Walter Lux and his crew understood, aerodynamically, what was happening, it’s very possible — likely, even — the catastrophe would’ve been averted.

I’d flown with my family on an American DC-10 on a vacation to Bermuda only two months before O’Hare. In the photo below you can see my mother (in pink), my sister (yellow), and my grandmother (gray), climbing the airstairs on the Bermuda tarmac. It’s possible — who knows — this was the same jet that would plummet to earth on May 25th.

The DC-10 had a checkered past even before O’Hare. In 1974, the horrific crash of Turkish Airlines flight 981 outside Paris was caused by a defectively designed cargo door and a poorly reinforced cabin floor. McDonnell Douglas, in a race wtih rival Lockheed to produce a three-engined widebody jet, had hurriedly built a plane with a door that it knew was unsound; then, in the aftermath, they tried covering the whole thing up. It was reckless, maybe criminal.

The plane’s reputation was such that some people refused to ride on one. This included one passenger booked on AA 191 who, learning that he’d be boarding a DC-10, switched his travel plans at the last minute, effectively saving his life.

After the 191 crash, American began swapping out the “DC-10 Luxury Liner” decals from the plane’s nose, replacing them with a more generic “American Airlines Luxury Liner.”

So where am I going with this? I’m not sure, to be honest. But here on the 45th anniversary of flight 191, on Memorial Day no less, the story feels important.

And it hardly needs saying that what happened to the DC-10 reminds us in no small way of the ongoing drama of Boeing’s 737 MAX. The similarities are uncanny: multiple crashes, a grounding, a manufacturer accused of negligence and shoddy design.

In the case of the DC-10, fines were paid, lawsuits were settled, technical fixes were put in place. (Among the lawsuits was one against McDonnell Douglas filed by the family of Captain Lux.) The plane soldiered on and Douglas regained the public’s trust (mostly; the 1989 United crash at Sioux City was another black eye). Time works wonders that way. The Clash would even shout out to the DC-10 on “Spanish Bombs,” from the London Calling album.

How things will pan out for the MAX, and for Boeing, remains to be seen.

For a thirteen year-old airplane nut in Boston, the most exciting thing about the FAA grounding in ’79 was a temporary influx of exotic airplanes into Logan. For a month carriers would substitute other types. United’s DC-10 to Chicago became a 747 — the only 747 I’d ever seen in that carrier’s livery. Swissair brought in DC-8s, Lufthansa sent 707s. And so on. New planes, new colors. I couldn’t get to the airport fast enough.

You can always count on a kid, I guess, to find a silver lining in something so awful as a plane crash.

The DC-10 wasn’t the prettiest plane of its day, lacking the grace of its main competitor, the Lockheed L-1011 TriStar. Both were three-engine widebody jetliners with room for around 250 people, and both were built with a center engine mounted in the tail. But the TriStar was the sleeker by far, with that center engine integrated into the rear fuselage through a sexy, S-shaped intake duct. Douglas just jammed the engine through the base of the fin, like they didn’t know what else to do with it. For the same reason, there was no mistaking it. Few planes had a more distinctive profile.

 
DC-10 PHOTO BY THE AUTHOR

When Culture and Air Travel Intersect

Crossovers. That’s my name for those moments when history, culture, art or politics intersect unexpectedly with commercial aviation. They underscore the many ways, not always recognized, that air travel touches our lives.

This will be an ongoing series. I’ll add to it as opportunities come up.

— NEW: AEROPOLITICS

This one speaks for itself. A 767 of El Al, the Israeli carrier, buddy-buddy with an Iran Air 747 at Bangkok’s Suvarnabhumi Airport. I took this photo a decade ago, but the theme couldn’t be more timely.

Was this by accident, do you think, or were the authorities at BKK pushing for a sort of tarmac detente?

It’s hard to imagine, but in the days before the revolution in Iran, El Al flew scheduled service between Tel Aviv and Tehran. Iran Air had routes from New York to Tehran via London and Paris. Somewhere in a box is a picture of an Iran Air 747 that I took at Kennedy Airport in 1979, using an old Kodak Instamatic, from the rooftop parking lot of terminal 3.

Photo by the author

— HISTORY IN BLUE

This mural is in Portugal, near the city of Aveiro. Put up in the 1960s, during the glory days of Pan Am, it remains mostly intact. What makes it special is that it’s constructed using azulejos — the traditional, blue and white glazed tiles seen all over Portugal.

A similar Pan Am billboard can be found on a hillside above the Portuguese town of Leiria. Whether they’re actual azulejos or just painted to look that way I’m not sure. Either way it’s impressive, and Pan Am’s signature colors lend themselves nicely to the azulejo style. To think that so much effort and style was once put into an airline advertisement.

If you’re ever in Lisbon, be sure to visit the Museu Nacional do Azulejo, also known by its boring English name, the Tile Museum. It’s one of the city’s lesser known attractions, but home to one of the world’s largest ceramics collections, full of beautiful murals and mosaics.

Photo by Rui Vaz, courtesy of the Pan Am Historical Foundation.

— TAIL TALE

If you’ve followed the MH370 saga, you’ve no doubt grown familiar with the Malaysia Airlines logo. It’s seen all the time in news posts and articles. What you might assume is a meaningless abstract branding tool is in fact a cultural emblem: the logo uses the shape of an indigenous Malaysian kite known as the wau bulan, or moon kite.

True story: In 1993 I was in the city of Kota Bahru, a conservative Islamic town in northern Malaysia close to the Thai border, when we saw a group of little kids flying wau kites. At the time I didn’t realize where the airline’s logo had come from, but I recognized the pattern immediately. It was one of those crossover moments we aerophiles really savor.

Malaysia Airlines was formed in the early 1970s after its predecessor, Malaysia-Singapore Airlines (MSA), split to become Singapore Airlines and Malaysia Airlines. Both carriers are renowned for their service, and cabin crews of both airlines wear the iconic, floral-pattern Sarong Kabaya batik — an adaptation of the traditional Malay kebaya blouse.

April 11, 2024

THE PHOTO ABOVE was taken in Boston, a week or so ago in the newly expanded section of terminal E.

The plane is an Airbus A340. But what’s important is that yellow box. See it, along the right edge of the main boarding door? Any guesses what it’s for?

Turns out it’s a sort of dry-erase board — an empty placard onto which crewmembers can write greetings to the passengers. “Welcome aboard,” and that kind of thing. Maybe everyone signs their names, or someone draws a whimsical sketch of mountains or a palm tree, depending where you’re off to. On the interwebs you can see reels and photos of flight crews getting creative.

Things like this restore my faith in commercial aviation. It’s one of those personal, friendly little touches that customers remember. And it costs virtually nothing. (It’s bloggable too, and good for publicity.) Airlines need to think like this more often.

So good on Lufthansa.

And good on me. Because I thought of it first.

I once concocted my own version, from a template I’d made on my computer. I’d print out a sheet of paper, with my airline’s logo and the standard “Welcome Aboard” at the top. I’d write in the pilots’ names, the flight number, and the expected flight time. Then at the bottom I’d sketch a small pictorial of the arrival weather: a sun, for instance, or a raincloud, and next to it the temperature in both Celsius and Fahrenheit (these were usually international flights). Using masking tape, I’d affix the piece of paper to the same spot where Lufthansa’s yellow rectangle is.

It was a pleasant way of saying hello, I thought, and gave customers something to look at while bottlenecked at the end of the jetway.

Not everyone agreed, however, which is why I gave the practice up. More than once I was chewed out by flight attendants, who claimed that people were pausing to read the sign, which meant it took longer to board. Other times, pilots I was flying with took issue with their names being shared.

Whether or not these objections were justified, I stopped doing it. Which made me feel nostalgic, and a bit resentful, when I learned about Lufthansa.

But, I don’t know, maybe it’s best that I stopped. The geek factor was, I admit, a little heavy. Walking past that Lufthansa jet, I pointed out the yellow block to one of my colleagues, and told him how I’d once improvised the same idea using paper and tape. He shot me a puzzled look. “You did what?”

Try to forgive me. I was back from a five-year furlough and excited to be flying again.

Litter. Litter would have been a valid gripe. I didn’t always remember to take down the sheets before the door was closed. And, no, they were never still attached when we landed. More than a few of my homemade greetings have long ago disintegrated into Jamaica Bay, no doubt, or found their way into airport storm drains.

PHOTOS BY THE AUTHOR

March 28, 2024

I’M A SUCKER for a good wallopping view. And who isn’t? A view stirs the soul. It hits those hard-to-reach visceral notes in the way a simulation — a painting, say — can’t.

I’ve seen some spectacular ones: Machu Picchu on a clear day; Hong Kong from Victoria Peak; an unforgettable rainforest panorama from a canopy walk in Brunei; the fantastical mountains of Torres del Paine in Chile; and so on.

Sometimes, though, you want something easy, and that’s where hotel rooms come in. Here, the magic is presented to you, no effort required, to be savored from the comfort of your bed or balcony. It’s thrill and chill at the same time, both exciting and relaxing. I’ll take a three-star room with a view over a five-star room without one, any day.

I spend over a quarter of my life in hotels, at work or on vacation, so I’ve had my share. They tend to be cityscapes, mostly. My favorite of which, thus far, was a nighttime vista of Dubai from floor 60-something of the J.W. Marriott.

But urban panoramas get redundant after a while. It’s the greener settings I prefer. Mountains, oceans, forests. For instance, watching the sun come up over the Serengeti, from a tent at the Ole Serai safari lodge in Tanzania.

And I remember a place in Ecuador, overlooking a valley. It was a hacienda-style hotel perched at the top of a mountain. A floor-to-ceiling window looked out over the town, more than a thousand feet below. And it wasn’t a gradual or tapered descent; this was straight down, a sheer vertical drop. Was it Otavalo, maybe? Or Baños? It was twenty-five years ago and memory fails me. A dig through an old Lonely Planet guide is no help either.

Which is too bad, because the room was incredible. You could sit and watch the clouds sweeping past, below you. Standing outside, the atmosphere made a hissing noise. It was, best I could tell, the sound of the clouds condensing. I have no idea of this is even possible, but I swear those clouds made a noise as they billowed by.

Nothing would ever beat that view, I thought.

And nothing did, until just a few weeks ago, when I stayed at the Ladera Resort on the Caribbean island of Saint Lucia. I’d broken the bank for a winter vacation, and while I expected the view to be special, judging from the online pics, I didn’t expect it to be this special. Stepping into the room, I actually laughed out loud.

It was one of those open-plan rooms with only three sides. The fourth side was a huge, unscreened balcony facing directly toward St. Lucia’s famous Pitons — a pair of party hat peaks, nearly three-thousand feet tall, that are part of an ancient caldera. The private pool was special enough, but it was the view — a sort of West Indies Machu Picchu — that stole the show.

That’s a custom of mine, by the way: immortalizing this or that gorgeous view with my ridiculous feet in the shot. Visit my Instagram stream and you’ll see others. Here’s a more pure version, sans toes.

Imagine feasting your eyes on that, dawn to dusk. I didn’t feel much like leaving the room.

So that’s the new number one. It was also the most expensive hotel room I’ve ever paid for, and to help assuage the guilt of having blown so much money, I think of it as compensation — a reward for all of the shitty and underwhelming views I’ve been stuck with over the years: all those times I’ve pulled back the curtain to behold a parking lot, an HVAC unit, an expanses of urban decay or, as Jonathan Richman put it, suburban bleakness. Heck, in Amsterdam one time I had a hotel room with no windows.

Meditating on the Pitons helps make up for what happened to me last summer at the Pullman hotel in Dakar, Senegal. I’d stayed in the Pullman many times, and my favorite thing about it was the view from the upper floors of the harbor and, in the distance, the famous (or infamous) Goree Island.

It had been several years since my last visit, and I was excited. But when I got to my room, a surprise was waiting. The top photo shows the view from my room in 2009. The lower photo shows almost the identical view in 2023. Speaks for itself. Progress or something.

The curved building with the triangular top is an old property that I once nicknamed “the Graham Greene Hotel,” because it reminds me of the sort of place where the famous novelist would have stayed, making journal entries in a sitting room with potted palms and a ceiling fan.

I was pleased to see it’s still there, and looks like it’s been renovated. The sight of that monolith, however, was devastating.

That’s nothing, though, compared to some other places. Allow me revisit a few…

I’ll add to this list as the misfortune presents itself.

(I need to confess, however, that the last photo isn’t mine. It was submitted by another pilot with whom I was commiserating on this topic.)

And don’t put too much stock in which particular hotels these are. Views can vary significantly room to room. A 40-th floor view from one side of a building might be a lot prettier than a third-floor view from another.

Maybe it’s ironic, meanwhile, to hear an airline pilot going on about views from the ground rather than those from aloft. So it goes, though. As regular flyers know, airplane scenery tends to be muted and indistinct. Altitude sucks away much of the grandeur. I’ve seen some amazing things — the glaciers of Greenland, the Sahara at dusk — but it’s mainly terra firma where the beauty is.

ALL PHOTOS BY THE AUTHOR, except for “Newark Afternoon,” courtesy of Dave English.

March 19, 2024

TEN YEARS AGO this month, Malaysia Airlines flight 370 disappeared during a routine flight between Kuala Lumpur and Beijing. The wreckage was never found.

There’s a solid chance the wreckage will never be found. That’s unfortunate, but there are clues to work with. And those clues have, over time, led me to believe that the plane was intentionally brought down by one of the pilots, most likely the captain, in an act of murder-suicide. It was ditched somewhere in the Indian Ocean — landed, if you will, on the surface of the sea — where it sank to to the bottom and rests today, undetected but mostly intact.

Early on, I was open to a number of theories popular at the time: fire, depressurization, and so on. Accidents. I’ve come around since then. My opinion is based on the evidence, both as it exists and, just as importantly, doesn’t exist.

If we assume an accident, we must also assume the plane crashed into the ocean. We know from electronic satellite “pings” that the jet continued on for some time after its last appearance on radar. Having suffered some catastrophic malfunction that rendered the crew dead or unconscious, the thinking goes, the plane continued on autopilot until running out of fuel, at which point the engines failed. Without pilots to control the glide, it plunged into the sea.

The problem with this idea is the absence of pieces. There is no way for a jetliner to crash “gently” into the ocean. A Boeing 777 in an out-of-control impact would have effectively disintegrated, producing tens of thousands of fragments: aircraft parts, human remains, luggage, and so on. Much of this debris would have sunk, but much would not have. Eventually, borne by currents, it would’ve washed up.

So why didn’t it?

A small number of pieces did come ashore, but that’s the thing: of the few parts recovered, almost all of them are consistent not with an out-of-control crash, but with a controlled and deliberate ditching. (Even the most textbook ditching at sea is going to cause serious damage and the likely shedding of parts.) The flaperon discovered in 2015 on Reunion Island, for example, and the trailing edge flap that washed up on Mauritius, both from the same wing.

The parts themselves are evidence enough; a thorough post-mortem on them reveals even more. The forensics are complicated, but they’re solid. Use your Google and check out the analysis by former Canadian crash investigator Larry Vance. These pieces tell a story.

For these particular parts to have been found, together with a complete absence of the myriad flotsam a full-on crash would have produced, is to me a smoking gun.

And thus, the biggest reason the submerged wreckage hasn’t been found is because the location of the search area has been based almost entirely on the fuel exhaustion theory. The search-zone calculations, extrapolating from the satellite pings, are based on when and where, approximately, the 777’s tanks would’ve run dry.

Except maybe the tanks didn’t run dry, and the plane went — was taken — somewhere else. What if that was the intent all along — to vanish?

Those pings are still important, and give us hints. Chances are the actual location of the wreckage isn’t far away. But it’s far enough away to have missed it.

I’ve been saying from the start that we should prepare for the possibility of the plane not being found. It happens this way sometimes. If it helps you feel better, the air crash annals contain numerous unsolved accidents. What makes this one different, maybe, is how we’ve come to expect easy and fast solutions to pretty much everything these days, with a fetishized belief that “technology,” whatever that means anymore, can answer any question and fix any problem.

Oh sure, radios, transponders, emergency locator transmitters, GPS, real-time position streaming, satellite tracking. But all of that is fallible, one way or another.

Sometimes nature wins. And that’s what this is about, ultimately: nature. The immensity of the ocean versus the comparative speck of a 777. It’s out there somewhere, in the ink-black darkness beneath thousands of feet of seawater. We’ll probably never find it.

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Photos courtesy of Unsplash.