the 'proverbial good science-fiction movie' (his phrase). Now history and fiction have become
inextricably intertwined.
The Apollo astronauts had already seen the film when they left for the Moon. The crew of
Apollo 8, who at Christmas 1968 became the first men ever to set eyes upon the Lunar Farside, told
me that they had been tempted to radio back the discovery of a large black monolith: alas,
discretion prevailed.
And there were, later, almost uncanny instances of nature imitating art. Strangest of all was
the saga of Apollo 13 in 1970.
As a good opening, the Command Module, which houses the crew, had been christened Odyssey,
Just before the explosion of the oxygen tank that caused the mission to be aborted, the crew had
been playing Richard Strauss's Zarathustra theme, now universally identified with the movie.
Immediately after the loss of power, Jack Swigert radioed back to Mission Control: 'Houston, we've
had a problem.' The words that Hal used to astronaut Frank Poole on a similar occasion were:
'Sorry to interrupt the festivities, but we have a problem.'
When the report of the Apollo 13 mission was later published, NASA Administrator Tom Paine
sent me a copy, and noted under Swigert's words: 'Just as you always said it would be, Arthur.' I
still get a very strange feeling when I contemplate this whole series of events - almost, indeed,
as if I share a certain responsibility.
Another resonance is less serious, but equally striking. One of the most technically brilliant
sequences in the movie was that in which Frank Poole was shown running round and round the
circular trick of the giant centrifuge, held in place by the 'artificial gravity' produced by its
spin.
Almost a decade later, the crew of the superbly successful Skylab realized that its designers
had provided them with a similar geometry; a ring of storage cabinets formed a smooth, circular
hand around the space station's interior. Skylab, however, was not spinning, but this did
not.deter its ingenious occupants. They discovered that they could run around the track, just like
mice in a squirrel cage, to produce a result visually indistinguishable from that shown in 2001.
And they televised the whole exercise back to Earth (need I name the accompanying music?) with the
comment:
'Stanley Kubrick should see this.' As in due course he did, because I sent him the telecine
recording. (I never got it back; Stanley uses a tame Black Hole as a filing system.)
Yet another link between film and reality is the painting by Apollo-Soyuz Commander, Cosmonaut
Alexei Leonov, 'Near the Moon'. I first saw it in 1968, when 2001 was presented at the United
Nations Conference on the Peaceful Uses of Outer Space. Immediately after the screening, Alexei
pointed out to me that his concept (on page 32 of the Leonov-Sokolov book The Stars Are Awaiting
Us, Moscow, 1967) shows exactly the same line-up as the movie's opening: the Earth rising beyond
the Moon, and the Sun rising beyond them both. His autographed sketch of the painting now hangs on
my office wall; for further details see Chapter 12.
Perhaps this is the appropriate point to identify another and less well-known name appearing
in these pages, that of Hsue-shen Tsien. In 1936, with the great Theodore von Karman and Frank J.
Malina, Dr Tsien founded the Guggenheim Aeronautical Laboratory of the California Institute of
Technology (GALCIT) - the direct ancestor of Pasadena's famed Jet Propulsion Laboratory. He was
also the first Goddard Professor at Caltech, and contributed greatly to American rocket research
through the 1940s. Later, in one of the most disgraceful episodes of the McCarthy period, he was
arrested on trumped-up security charges when he wished to return to his native country. For the
last two decades, he has been one of the leaders of the Chinese rocket programme.
Finally, there is the strange case of the 'Eye of Japetus' - Chapter 35 of 2001. Here I
describe astronaut Bowman's discovery on the Saturnian moon of a curious feather 'a brilliant
white oval, about four hundred miles long and two hundred wide... perfectly symmetrical... and so
sharp-edged that it almost looked... painted on the face of the little moon.' As he came closer,
Bowman convinced himself that 'the bright ellipse set against the dark background of the satellite
was a huge empty eye staring at him as he approached...' Later, he noticed 'the tiny black dot at
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