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For those not in the know, the Sunderland was a converted airliner -- a seaplane used for long distance and long duration patrols over the Bay of Biscay. While no where near as fast (or sexy) as the fighters and bombers that poulate most period literature, it gained a formidable reputation among German aircrew as "the flying porcupine". The pilots and crew of this beast (one of the largest aircraft of it's era) were a unique and highly skilled breed.
"Fly West" is a collection of anecdotes about 416 Squadron (Costal Command) during WWII. Sometimes Southall is part of these missions, more often he is merely recording the stories. Either way "Fly West" (the slang for running away) is an exceptional book, suitable for everyone 12 and up (I was 12 when I read it the first time, 38 the second). While Southall spares us the graphic and more visceral horrors, he doesn't let up on the terror and tension of long (twelve hours or more) operational flights. This is a page turner, with plenty of white knuckled moments.
In short, a must read for any fan of WWII litterature, or flying.
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The ninth installment in Ivan Arguelles' long and surreal poem Pantograph is the eighty-eight-page Hapax Legomenon, a book it took Arguelles only ten days to complete. Eighty-eight pages of poetry in ten days leads to one of two conclusions: either the stuff blows goat, or the poet is of a singular construction, the kind of person who can spin out, well, eighty-eight pages of at least salable writing in ten days. Arguelles is very much the latter, and I don't think I've ever read a single piece of his work that is only 'salable.'
Arguelles is one of the few American authors extant who is capable of capturing the essence of Surrealist writing and translating it to American culture. Arguelles' obsessions are spilled out onto the page in stream-of-consciousness format, and we are left to interpret them as we will. It's not quite as hard as figuring out tea leaves, but it's close.
As with most surreal poetry, however, meaning takes a distant backseat to the single question every pot should ask upon completing every poem: does it sound good? In Arguelles' case, the answer to that question is always 'yes,' be the poem a few scant lines or an eighty-eight page piece of a much larger epic. When picking up a book by Ivan Arguelles, the one thing of which a reader can be sure is that everything contained therein will sound good; this is no exception. Get out of it what you will, but allow the syllables to flow over you like the waterfall they are, and you will have extracted the true essence of the work.