In the crowd are other teachers, too. Look there, the shining silver Luscombe that first took me away from the jealous ground. A big round-engined T-28 that itself called the crash trucks by trailing a stream of black smoke from its damaged engine, at a time when I was too new to flying to know even that there was something wrong. A Lockheed T-33, the first jet airplane I ever flew, that taught me that an airplane can be flown by holding the control stick in thumb and forefinger and thinking climbs and dives and turns. There’s a beauty-queen F-86F to show me how strongly a pilot can become enchanted and in love with his airplane. A little dragonfly of a helicopter, to point the fun of standing still in the air. An ice-blue Schweizer 1-26 sailplane, telling of the invisible things that can keep a pilot drifting on the wind for hours without need of an engine. The good old rocksolid F-84F, covering my mistakes and telling me many things during a night flight over France. A Cessna 310, saying that an airplane can get so luxurious that the pilot is hardly aware it has a personality at all. A Republic Seabee, saying there’s no fun quite like turning from a speedboat into an airplane and back, feeling clear water splash and sparkle along the hull. A 1928 Brunner-Winkle Bird biplane, asking me to taste the fun of flying with a pilot who has found a forgotten airplane, spent years rebuilding it and who at last turns it free once again in the air. A Fairchild 24, that in several hundred hours of exploring the sky brought me the sudden revelation that the sky is a real, true, tangible, touchable place. A C-119 troop carrier, much maligned, that taught me not to believe what I hear about “bad airplanes” until I have a chance to see for myself, and that there can be a good feeling in throwing the green-light Jump signal and dropping a stick of paratroopers where they want to go. And today, an old biplane, trying to cross the country.
Fast or slow, quiet or deafening, pulling contrails at forty thousand feet or whishing wheels through the grasstops, in barest simplicity or most opulent luxury, they are all there, teaching and having taught. They all are a part of the pilot and he is a part of them. The chipped paint of a control console, the rudder pedals worn smooth during twenty years of turns, the control stick grips from which the little knurl diamonds have been rubbed away: these are the marks of a man upon his airplane. The marks of an airplane upon the man are seen only in his thought, and in the things that he has learned and come to believe.
Most pilots I have known are not what they have seemed. They are two very separate people within the same body. Pick out a name. and here’s Keith Ulshafer, the perfect example. Here’s a man you’d never expect to see in a fighter squadron. When Keith Ulshafer said a word, it was a major occasion. Keith had no need to impress anybody; if you were to step in front of him and say, “You’re a crummy pilot, Keith,” he’d smile and he’d say, “Probably am.” It was impossible to make him angry. He couldn’t be hurried. He approached flying as though it were a problem in integral calculus. Although he had calculated his takeoff roll hundreds of times, and when any other pilot would look outside and feel the wind and temperature and guess the takeoff distance within fifty feet, Keith would figure it out with the planning charts before every flight and write it in carefully-penciled figures at the bottom of a form that was rarely read. Neat, precise, meticulous. For Keith to hurry or to guess an airspeed or a fuel-consumption figure would have been for a chief accountant to step into the ring with the Masked Phantom. It was almost a joke to sit in a preflight briefing with him and listen to the flight leader outline the details of an air combat mission. Not a word from Keith as the wild vocabulary of the mission to come flew about his ears, as if he were a correspondent for a technical journal that happened to be sitting in the wrong chair when the briefing began. You’d never know that he was listening at all until the end of the briefing, when he might softly say, “You mean two-fifty- six point four megacycles for channel twelve, don’t you?” and the flight leader would stand corrected. More often Keith wouldn’t say a word when the briefing was done. He’d amble to his locker, zip his G-suit slowly about his legs, shrug into his flight jacket, emblazoned by regulation with lightnings and swords and fierce words that are supposed to typify fighter pilots. Then, carrying his parachute as something a little bit distasteful, he’d stroll to his airplane.
Even the boom of his starter firing wasn’t as sudden as those of other airplanes, and his engine wasn’t as loud.
Keith flew by the book. In formation, his airplane did not bounce or rock from side to side. It was as solid as if it had been bolted to the wing of the lead airplane. Then the mission, the air combat, would begin. And then, of course, look out.
Flying straight up, flying straight down, rolling streaking twisting flashing through the sky whirled the airplane that you would have sworn had Keith Ulshafer aboard when it left the ground. It was as though Keith had hopped quickly out before takeoff and some wild stranger had gotten in. You felt like pressing the microphone button and asking, “You all right, Keith?”
Keith was all right, and with luck and with attention and with very great skill you might be able to dodge the incredible monster at the controls of his airplane. On other missions of combat, it was always there. Here comes Keith, blazing down on the strafing target, the ground disintegrating in front of him; here he is closing on the Dart, towed for target practice, and blowing the silver thing out of the sky; down he drops on the rocket target and puts four rockets in a fifteen-foot circle. On close air support missions in the war games, Keith comes blasting in just high enough to clear the tanks’ whip antenna, pulling up after the last pass in a flawless set of matched aileron rolls, disappearing into the sun. In the landing pattern he flies close and tight to the runway, touching his wheels precisely on the line painted as a touchdown target. Then, while the armorers de-arm the guns, the wildman jumps down from the cockpit, runs into the woods, and the other Keith Ulshafer, the technical-journal correspondent, strolls back in and he takes off his jacket and he unzips his G-suit.
There is, I am learning, sleeping within us all, a person who lives only for times of instant decision and quick-blurring action. I saw him a year ago in Keith’s wildman, I met him yesterday as a gambler in my biplane. In all of us this person sleeps, in the most unlikely person that logic could pick.
* * *
Over Texas, the pine trees are falling back and the plains begin to open ahead. The sun at last is warm in the air and the tailwind holds good; even the fastest automobiles are whisking backward beneath the wings.
I can see the tailwind, when I close my eyes, and I can see the biplane, a tiny dot borne along in it. The tailwind is only one eddy in a huge whirlpool of moving air, a whirlpool turning clockwise about a great center of high pressure somewhere to the north. An airplane flying at this moment in precisely the same direction as I, but north of that center, would be struggling through headwinds. My tailwind cannot hold, of course. I am flying away from the center, and even though I move only a little over one hundred miles per hour I will be able to see the winds begin to change about me before too long. Already, in two hours of flying, the wind has changed from a direct tailwind to a tailwind quartering slightly from the south. In another few hours it will be a crosswind from the south, drifting me to the right of course, and I shall have to fly as low as possible to avoid its ill effects.