Manuel Betancourt A man arrives at an airport. Situated in a remote place, surrounded by vast desolate landscapes, this modern building feels like a mirage, not so much out of place as out of time.
The airport, he knows, is empty though not abandoned. There may be no planes but there are employees ambling about, traffic controllers busying themselves up in the tower and cleaning ladies complaining about their Sisyphean tasks.
The man is expected, after all. It is he who will assess whether this “cathedral of an airport,” as it’s described to him, with its showy architectural flourishes that stand in stark contrast to its dusty surroundings, will finally be vetted and approved for operation.The premise for Nora Martirosyan’s “Should the.
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