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At first Dillard seems to be somewhat indifferent to the pilots, watching them work on their machines and noting the age of some of them, but then she is struck by Rahm in particular as she begins to pay close attention, again at first almost reluctantly, to the work he is doing in the air.
She compares the swooping and twirling of his plane to a Saul Steinberg fantasy, that the line he followed was like the swooping and diving line Steinberg's pen follows.
She is not the only one struck by the power and beauty of his work as the announcer himself grows quiet and the crowds watch in hushed awe as Rahm wields his plane in swoops and curves across the sky. She even suggests at certain points that the way he works the machine must in fact be impossible.
Her attitude is similar to that in which she approaches other work as art. She writes in an almost reverent tone of the way that Rahm is doing things that are stunning and so powerful in the sky. She goes on to try and place herself in the place of the pilot to feel what he feels and to indicate the inspiring nature of his work.
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