Nowhere was the airport's charm more concentrated than on the screens placed at intervals across the terminal which announced, in deliberately workmanlike fonts, the itineraries of aircraft about to take to the skies. These screens implied a feeling of infinite and immediate possibility: they suggested the ease with which we might impulsively approach a ticket desk and, within a few hours, embark for a country where the call to prayer rang out over shuttered whitewashed houses, where we understood nothing of the language and where no one knew our identities.
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