Showing posts with label Women in space. Show all posts
Showing posts with label Women in space. Show all posts

Monday, June 13, 2022

Valentina Tereshkova and double standards in human spaceflight history

Every year on June 16, the anniversary of Dr Valentina Tereshkova's spaceflight, where she became the first women ever to leave Earth, I generally do some social media around the event. And there's always a barrage of (mostly) men trying to take her down. Many of them are Russian. All of them spout misogynist clichés as old as time. Sometimes I engage, sometimes I don't. It depends on my mood.

Tereshkova training. Source: unknown

I didn't really want to write this post. A man who has an equal capacity to me to investigate - well more, because he has the advantage of Russian language - asked me to provide an independent assessment of Tereshkova's mission. This is a significant amount of work, but this is how it rolls when you are a feminist: you have to be responsible for all criticisms and have all the data at your fingertips, or your arguments will be dismissed.

The only reason I'm doing this is because it may come in handy for the future, as this issue comes up so often. But I'm annoyed and slightly cranky, and I don't care if [name redacted] knows it.

Specifically, I'm going to address the claims made in a thread by [name redacted]. 


Who really stopped the Soviet women's space programme?

If you think this Twitts will be glorifying first women in space Valentina Tereshkova, I am sorry to disappoint you! Today we should celebrate the anniversary when Tereshkova ended space flights for all women in USSR for almost two decades!

Is this really true? As it happens, the opportunities for women in space were not dependent on whether one woman performed well or not. Neither Soviet nor US culture at the time believed that women could compete in the space arena. One significant reason was that the existence of women space travellers would diminish the manliness of spaceflight.  Even chimps launched into space were perceived by the US male astronauts as a threat to their masculinity.

It took the Americans until 1983 to fly a female astronaut - Sally Ride on the Space Shuttle - and the USSR rushed Svetlana Savitskaya onto the Salyut 7 space station the year before so they wouldn't appear to be lagging behind. To this day there have only been five Russian women in space. In 2017 I chaired a panel at a public event which included a Russian cosmonaut trainer. He said, 'Space is no place for a woman' when a question was asked about Tereshkova. (Let me tell you, not an opinion that resonated well with the Australian women in the audience - I had to shut it down fast). The most recent female cosmonaut, Yulia Peresild, reiterated that this attitude is still prevalent in an interview last year. So is this all down to Valentina Tereshkova, her personal qualities, and the nature of her spaceflight? 

The evidence doesn't stack up. The women's cosmonaut training programme ran from 1962 to 1969 - eight years altogether, and six AFTER Tereshkova's 1963 mission. Clearly any issues around her performance were not enough to stop the programme immediately, although none of the other women got to fly.  However, the programme had been set up as a one-off, to achieve that one goal of beating the US by sending a woman into space first. As cosmonaut Valentina Ponomoreva explains it, there were no career prospects for Soviet women from the beginning:
We had mixed feelings: on the one hand, there was hope, on the other, skepticism. It was clear that women's role in cosmonautics had no prospects for the future. There were no specific tasks for women. The main task - priority - was fulfilled, and men would handle the rest.
However, historians Shayler and Moule (2005:66) note that the success of Tereshkova's flight was such that an all-female cosmonaut crew was proposed. Resistance to this idea came from outside as well: 'Zvezda (the spacesuit manufacturer) was opposed to all female flight and refused to fabricate a special EVA suit' (Shayler and Moule 2005:66).

The narrative of 'Valentina didn't do a good job, therefore other women weren't allowed into space' is clearly too simplistic: it fails to take into account the entrenched misogyny of the time, and ignores the complex factors and events around the Soviet space programme.


Ideology is only ideology when it isn't patriarchal


2. The main reason for the launch of a woman into space in the USSR was ideological. Studies of the physiology and psychology of women in space, the creation of a female spacesuit, and other tests were secondary.

Well, as they say in the biz, no shit Sherlock. The whole Cold War space race between the US and the USSR was ideological. The US Mercury, Gemini, and Apollo astronauts had to represent a certain type of American man, projecting wholesome values about family and state (McComb 2012). The choice of Yuri Gagarin was ideological. Yuri was a working class man - a perfect Soviet cog in the machine - and his peasant roots were emphasised in the Soviet press. The decision to launch a woman was purely to achieve a first and score a victory over the US. So what? This has no bearing on the fact the Valentina Tereshkova went into space for three days on the only solo mission a woman has ever made, and returned successfully. Gagarin is not denigrated for the ideological dimensions of his selection, so there is a double standard here.


The politics of speaking and hearing


3. Tereshkova’s landing was performed at the 49th turn of Vostok-6. She did not confirm the passage of automation commands to turn on engines for braking, separation of compartments, etc. The astronaut’s landing was carried out, as on the other Vostok ships, by ejecting the seat.

One of the ongoing criticisms of Tereshkova's flight was her non-responsiveness to commands.  According to Siddiqi (2009a:22), she did not hear the communications immediately following her orbital insertion - so there was some problem with transmission. Instead of being concerned, ground control got irritated with her. Various accounts I've read of her spaceflight talk as if she was deliberately refusing to listen or follow instructions. She was also blamed for not communicating while she was sleeping! This is frankly bizarre. Ground control were quick to find the worst possible interpretation of her communications instead of working with her. In fact she did confirm the commands for landing preparation, but through telegraph rather than voice (Siddiqi 2009b:65). 

Tereshkova with parachute, Vostok spacecraft and  locals.
Credit: TASS

There is also debate about how sick she was during the flight. This may have had an impact on her ability to communicate. In those days, little was known about space sickness, and both US and USSR crew were reluctant to admit to feeling sick as it could affect their ability to be selected for flight. Gherman Titov, who orbited in 1961, admitted he was sick, but couldn't say it because he might not have been allowed to fly again.

The former head of medicine services for the Soviet Air Force, Major-General Aleksandr Babiychuk, noted that Tereshkova had 'heightened sensitivity of her vestibular system' (1979:225). Contemporary studies suggest that women have different vestibular responses to men in spaceflight and are prone to space sickness (Ray 2000, Reshke et al 2014). 

Interestingly, cosmonaut Valery Bykovsky, who was orbiting in the Vostok 5 at the same time, was meant to sing a duet with Tereshkova. He didn't respond, and she sang a little by herself. I don't see anyone using this as evidence against him.

Tereshkova was not able to make a test orbital insertion manoeuvre on her first attempt, and it was rescheduled. This may have been hampered by a rather unexpected realisation. As we know now, her spacecraft had not been programmed to descend and in fact started moving away from Earth before the problem was rectified. This must have been terrifying. Ponomoreva noted that mission problems were routinely concealed, and this was the case here too - Tereshkova did not reveal this until 30 years later. She was finally able to perform the manoeuvres on her 47th orbit (Siddiqi 2009b:65).

So you see what has happened here. Instead of her sickness, intermittent communications, and a major cock-up being treated as mitigating circumstances, Tereshkova is blamed for a character defect. For being a woman.

Even back on Earth she couldn't catch a break

4. Tereshkova was discovered only after 7 hours - a fighter pilot spotted it. She was caught sitting on a parachute and eating food from locals. Kamanin omits this episode in his notes, however, notes that Valentina handed out her products from the space stock. Korolev was furious.

First of all I would like you to note the language of this tweet. 'Only after seven hours' - as if she was somehow responsible for this time delay. How long was it before Yuri was found? So she had seven hours to kill after three days of feeling horribly sick in space and not eating much. Then we have her 'caught sitting on a parachute and eating food from locals'. 'Caught'? Like a naughty school girl? 

But read between the lines here. She landed safely. She was alive, but didn't know how long it would take her to be found. Friendly locals find her, having observed the descent. They offer the cosmonaut heroine home-cooked food. She must have been starving at this point! She returns the favour with some of her stock (the cosmonauts had back-up food in case there was an emergency and they had to stay in space longer, or it took a long while to find them on the ground). I don't know the rules of Russian hospitality, but such an exchange is a ritual feature of welcome around the world. It sounds like she was doing a great job of PR with the locals. 

Korolev was furious that she had not waited for medical tests before eating, and there was no way to tally up how much of her rations she had eaten. However, one account suggests that there were many rescue staff around when she was giving the extra food away, and no-one seemed concerned to prevent it (Siddiqi 2009b:68). 

A factor to consider here is that none of the women's cosmonaut corps came from a military background. Ponomaryeva notes that 'Military discipline in general was for us an alien and difficult concept'. Unlike the obedient male soldiers of space, Valentina showed a little initiative and got into trouble for it.

The relationship with food is a big deal in this narrative as we'll see in later accusations.

Dude, where's my pencil?

7. Valentina managed to break both pencils during the flight, so she did not keep a diary in orbit. Also in her report, she notes that she was sick, but not from the state of zero gravity, but from food. Korolev after the flight "So I ever deal with women again! Never!"

There's a lot going on in this tweet so I'm going to break it into three parts. Let's start with the broken pencils. I don't know if you have ever tried to literally 'break' a pencil, but let me tell you it's not easy to snap them in half like a twig. So what was the nature of this breakage?

The pencils used in the Soviet space programme were wooden-shafted, rather than retractable or mechanical ones. They were grease or chinagraph pencils - less flammable and less likely for the 'lead' to break than regular graphite pencils. However, they also wrote like crayons and weren't easy to use. Pencils remained an ongoing problem. According to cosmonaut Anatoly Solovyev, who was flying missions in the 1970s and 1980s, 'pencil lead breaks … and is not good in space capsule: very dangerous to have metal lead particles in zero gravity'.

We can see the double standard here as well. Yuri lost his pencil, which stopped his ability to take notes during his flight. This, apparently, wasn't a problem. It wasn't because he was a terrible cosmonaut, but because the pencil had't been attached well enough to the notebook. 

Notice how Tereshokova's broken pencils immediately become her fault - a character failing. What does it mean? She was heavy-handed, careless, clumsy, an automaton without a brain. Clearly there were two pencils because of issues with previous missions (of which there had been five). The two pencils multiplies the magnitude of her pencil crime and means it couldn't possibly be an issue with the pencils themselves. I mean, imagine! Pencils with lead that breaks! It's unheard of .....


Deadly sins: gluttony


7. Valentina managed to break both pencils during the flight, so she did not keep a diary in orbit. Also in her report, she notes that she was sick, but not from the state of zero gravity, but from food. Korolev after the flight "So I ever deal with women again! Never!"

Again note the language of the tweet and how this has been built up. The implication is that she was a guts, she ate too much, just as she did after landing. She was profligate and greedy, like a thoughtless child who gets sick from eating too many sweets. 

It seems that sweets were standard on missions. Yuri had 63 'dragees' on his flight, and Korolev joked with him that he'd become fat. My research suggests that the dragees may have been the popular Soviet Red Lobster sweet. Tereshkova didn't find them very helpful; she said that 'I’m drinking a lot. [I feel] nauseous from the sweets, so the sweets aren’t satisfactory' (Siddiqi 2009b:64). She also stated in her report that she vomited once from the effects of eating lemon and sprat pirozhkis, rather than space sickness (Siddiqi 2009b:66-67). But see how this morphs from an observation of cause and effect - how her body reacted to the food provided - to blame? As if Tereshokova made herself sick.

Red Lobster dragee. Image: Ruski Way Deli

There are worlds of woman-blaming reactions to food embedded in this tweet. Women are supposed to have light, ladylike appetites. We know that the women's food intake was policed and judged. Shayler and Moule (2005:49) note that one of the other cosmonauts, Zhanna Yorkina, was disliked by Nicolai Kamanin, the head of the Soviet cosmonaut corps, as she 'was too fond of chocolate and cakes'. Later, they note that Yorkina did not do a stellar performance on a 3-day simulated test inside the Vostok as she had only eaten a third of her rations and was weak (2005:53). 

Read through a feminist lens, there is no way for the women to get this right. Having an appetite indicates an unladylike physicality; but not eating is also controlled. There is a heavy policing of female consumption, and again you see it is related to character, not circumstance.


The metonymous woman

7. Valentina managed to break both pencils during the flight, so she did not keep a diary in orbit. Also in her report, she notes that she was sick, but not from the state of zero gravity, but from food. Korolev after the flight "So I ever deal with women again! Never!"

Korelev's reaction is pure misogyny, and typical of a situation which women and other marginalised groups across the world face over and over. For any minority or marginalised group, one representative has to stand in for the whole class of people. If that one person is perceived to fail, then the whole class is held to be incapable of the achievement. One woman is meant to demonstrate whether all women as a class are capable of something. I will state as strongly as I can here THAT THIS DOES NOT APPLY TO MEN. A male failure does not mean people shaking their heads and saying, 'well, men are just not cut out for this'. But this is exactly what happened to Tereshkova. 

Let's invert it for a moment. What if Korolev had been unhappy with something that Yuri had done? Would he have said that he'd never work with men again? Of course not; men are not expected to carry this burden in the same way as women. Listen up, men, you might not know about this because it doesn't affect you. But it affects how women are judged all the time.

The odds were stacked against the women from the beginning. According to cosmonaut Ponomareva, who was nearly selected instead of Tereshkova, 

It is well known that Korolev's attitude toward the presence of women at work and especially on the launching pad was very negative. He believed that on a launching pad, like on a ship, a woman brings misfortune.

And it wasn't just Korolev; it was all the male cosmonauts too, and the military units associated with the programme.  

A related phenomenon is that if a problem happens with a man, it will be attributed to events beyond his control. If it happens to a woman, it becomes her fault. There's endless amounts of second chances for men: it's how the mediocre survive. A woman has to be outstanding, and even that isn't always enough.

Time-travelling: later actions invalidate earlier ones

8. Valentina Tereshkova had a very successful political carrier throughout her life. She served under all communist leaders starting from Krushev. Recently she proposed Amendment to the Russian Constitution to reset Putin's terms after his 20 years in power.

Flowers for Tereshkova. 
Image; Bridgeman

What we have here is an expectation that Tereshkova demonstrate a feminine purity that would not be expected of a male cosmonaut. She went from one arena where women are judged by double standards to another - if Russian politics is anything like UK, US, European and Australian. Her support of a dubious regime is somehow meant to invalidate her spaceflight. 

Interestingly, all of the four first female cosmonauts have gone into politics. Svetlana Savitskaya was elected to Duma in 1996 and is still active. She is, apparently, a committed communist who lamented the fall of the Soviet Union. But she's allowed to receive credit for her space achievements. 


The hysterical robot

In these narratives, there's no concern or praise for Tereshkova, only blame. Did she have a perfect spaceflight? Evidently not. Does she deserve to be made personally responsible for this in the way the men were not? No she doesn't. Women can't just be people, with all their hopes, dreams and faults. They have to stand in for 'womankind' and all women are judged, if they are not perfect. 

Let's think about this. Yuri is said to have been very courageous, and he was - at that stage the world had no idea of the mental or physiological effects of being in space. He might have returned having lost his mind. He might have found out that swallowing is impossible in space. There were just so many unknowns. 

By the time Valentina went to space, we knew humans could survive, but we didn't know what the effects on the female body were. So perhaps Valentina knew she wouldn't lose her mind, but she was taking a big risk too. Doesn't this require some courage? 

And don't think, as Ponomoareva's testimony shows, that she wasn't aware of what was at stake. Korolev, the male cosmonauts and the military were waiting for any excuse to disband the women's programme. Knowing all of this, what could she say or not say about her experience? [Name redacted]'s tweets make her out to be a thoughtless oaf with only a veneer of civilisation. But isn't just the opposite equally plausible, that the woman who later became a successful politician was keenly aware of all the nuances, and was playing her own game to ensure that she came out of the system intact? 

In the US, there were people very ready to take up this version of Valentina's flight to justify their own misogyny. They said that the Soviet space philosophy of relying on automation rather than piloting skills meant that she didn't need any particular qualities to do it - anyone could have flown a spacecraft in those circumstances! But didn't this apply to the men too?  According to Connors et al (1985:148),
Cosmonaut Valentina Tereshekova's orbital flight in 1963 has been dismissed as a political stunt, and her contributions to space exploration discounted, ostensibly because unlike the U.S. spacecraft of the era, the Russian craft were almost entirely controlled from the ground (Cunningham and Herskowitz, 1977; Oberg, 1981). The same critique has not been applied with equal force to Yuri Gargarin and other of Tereshekova's male contemporaries.

Siddiqi (2009b:71) sums it up well:

In a highly patriarchal society, the standards by which women were judged (especially when they did activities typically associated with men) were far higher than for men. Cosmonaut German Titov, for example, had suffered from some form of space sickness during his Vostok-2 flight and was unable to be fully alert during his flight, yet he was not made a pariah or penalised for such failings.

Shayler and Moule (2005:90) relate the reactions of NASA Flight Director Chris Kraft, who
expressed the opinion that Tereshkova was 'an absolute basket case when she was in orbit', and that the Russians were 'damn lucky to get her back ... She was nothing but hysterical while she flew.' 

Others in the US took up the mantra of the hysterical woman. If you're not aware of how this epithet, in currency for well over two thousand years, is weaponised against women, well, there's plenty of literature on this so you can go and look it up yourself. It's the oldest trick in the book for diminishing and demonising women across every facet of life. So tedious, so very, very tedious. And there is no evidence that Tereshkova was 'hysterical', at all.

Spaceflight is extremely demanding and requires exceptional courage when Yuri does it. Spaceflight is so easy a pencil-breaking toddler could do it when it's Valentina. You can't have it both ways, my dudes. 

Yeah I'm so over this bullshit

You see my methodology here. 1. Don't take any statement at face value. 2. Look at the broader context. 3. Apply the same standards to the male cosmonauts and Tereshkova.  4. Examine the language closely and identify the underlying values or ideologies. The point is we can't have an accurate assessment of Tereshkova's performance until we have separated the misogyny from the facts. 

Why is this such an embedded narrative in space, nearly 60 years later? In whose interests is it to continue the denigration of Dr Valentina Tereshkova? Is it because there's no other way to justify the deliberate exclusion of women unless you can blame women themselves for it? 


References

Babicychuk, A.N. 1979 Chelovek, nebo, kosmos. Moscow, Voyenizdat,

Connors, Mary M., Albert A. Harrison and Faren A. Akens 1985 Living Aloft. Human Requirements for Extended Spaceflight. NASA SP-483

McComb, E.C., 2012. Why can't a woman fly?: NASA and the cult of masculinity, 1958–1972 (Doctoral dissertation, Mississippi State University).

Ray, C.A., 2000. Effect of gender on vestibular sympathoexcitation. American Journal of Physiology-Regulatory, Integrative and Comparative Physiology 279(4),: R1330-R1333.

Reschke, M.F., Cohen, H.S., Cerisano, J.M., Clayton, J.A., Cromwell, R., Danielson, R.W., Hwang, E.Y., Tingen, C., Allen, J.R. and Tomko, D.L., 2014. Effects of sex and gender on adaptation to space: neurosensory systems. Journal of Women's Health 23(11): 959-962.

Shayler, David and Ian Moule 2005 Women in Space - Following Valentina. Chichester: Praxis/Springer

Siddiqi, Asif 2009a Transcripts give new perspective on Vostok-6 mission. The first woman in Earth orbit. Part 1. Spaceflight 51:18 - 27

Siddiqi, Asif 2009b Transcripts give new perspective on Vostok-6 mission. The first woman in Earth orbit. Part 2. Spaceflight 51:64-71

Tereshkova, V., 1985. Soviet women in the anti-war movement. Social Sciences 16: 202.

Interview with Valentina Ponomareva by Slava Gerovitch, Moscow, May 17, 2002 https://web.mit.edu/slava/space/interview/interview-ponomareva.htm



Wednesday, July 31, 2019

Cat-Women of the Moon: ideas of space travel in the 1950s.

Introduction

No woman has yet set foot on the Moon in reality; but in science fiction there have been plenty of female lunar explorers.

This 1953 black-and-white science fiction classic is credited with introducing the genre of female-only enclaves in space. It starred Marie Windsor as astronaut Helen Salinger, Carol Brewster as Alpha, leader of the cat-women, and Susan Morrow as Lambda.

The remaining cat-women were played by the Hollywood Cover Girls: Betty Arlen, Suzann Alexander, Roxann Delman, Ellye Marshall and Judy Walsh. The Hollywood Cover Girls seem to have been a vaudeville act.

I'm interested in this film for how it represents views of space and space travel in the early 1950s, four years before the launch of the first object into Earth orbit, and fifteen before humans really landed on the Moon. And also, because cat-women.

Why must we wait?

The movie opens with with a thrilling declaration. The Freudian symbols in this passage are not subtle.
The eternal wonders of space and time, the faraway mysteries and dreams of other worlds, other life, the stars, the planets. Man [sic] has been face to face with them for centuries, yet is barely able to penetrate their unknown secrets. Some time, some day, the barrier will be pierced. Why must we wait? Why not now?
The scene then cuts away to a pale rocket ascending vertically - a very visual reinforcement of the symbolism! The rocket appears to have been launched from White Sands Missile Range in New Mexico, and this is certainly where their mission control is. In the early 1950s, White Sands was one of just a few locations in the world where rockets could be launched into space.

Surely it can't be just me who sees the resemblance.

The propulsion method isn't entirely clear, but it has an 'atom chamber' and some kind of acid fuel.  At this time, there was a lot of interest in nuclear-powered rockets. The US Atomic Energy Commission (remember there was no NASA in those days) started developing a Nuclear Thermal Rocket in 1955. While we've gone on to have numerous nuclear-powered spacecraft, this method has not been used for Earth-to-space rocket propulsion, although it seems that there is renewed interest in this technology at the moment.

'White Sands calling Moon Rocket 4 Code 63. Can you hear us?', says mission control. Looking through the window to the outside, the crew see raw space - an inky blackness dotted with stars.

This is not a stunt!

Helen is the navigation officer. Upon waking up from the sleep of launch (they recline on banana lounges), her first action is to take a comb and hand-mirror from a drawer. 'Remember', says the manly blond captain Laird, 'this is a scientific expedition and NOT a stunt!', looking very pointedly at Helen combing her hair. This implies that her presence is regarded by some as gimmicky - that is, she doesn't belong there, and was only included for the sake of publicity.

Helen of Troy?
So much to pick apart here! There's the implication that a woman couldn't have got there for her skills alone; that science and femininity are opposed (so Helen should be 'one of the boys' and pay no attention to her appearance). These were certainly issues later in the rocky road to US women getting access to space. In 1978, when they were finally admitted to NASA's astronaut programme, the lads obligingly made a make-up kit for the girls. Even in space we have to be beautiful! But like, not too much, or you can't be taken seriously as a scientist.....

Public consumption and commercial space

Laird makes their first report to White Sands. 'Over and out', he says. 'Wait a minute, commander', says White Sands. 'There's a world full of people listening in. Are you alright - could we have a few words from the crew?' 'No!' says Laird, but Helen persuades him to let them talk to the people of Earth. This foreshadows an important part of the Apollo missions, and later the International Space Station - engagement with the public. The television broadcast of the Apollo 11 landing has become legendary. However, it wasn't a priority for NASA in the planning, as cameras would add weight, and the filming was a whole work sequence that would take up time. In 'Cat-Women' we see a similar tension between satisfying the public curiosity and getting on with the job.

Each of the crew introduces themselves and speaks a few words for the radio audience. The engineer Walt Walters is exercised by the opportunities for a space side-hustle. When he talks to Earth, he seizes his chance. 'We're humming along folks!' he says. 'That new lubrication by the Delphite Oil Company sure turned the trick. [off air] That plug ought to make a couple of grand, huh?' This stunt establishes Walt's character as a venal money-grubber and also introduces a new theme into the film: the commercial exploitation of space. I think it's very interesting that this aspect of space - making profit from it - is evident even before the launch of the first satellite.

Finally they arrive! As the navigator, Helen chooses the landing site. To the surprise of the other crew, it's on the dark side of the Moon. Unbeknownst to them, the cat-women have telepathically guided her here.

Walters is still on the take: prior to their moonwalk, he pulls out a box. 'What are those?' asks radio operator Doug. 'First letters from the Moon; I've even got my own cancellation stamp. Ought to be worth a couple of hundred bucks apiece'. This amused me no end, as there's a long and slightly bizarre relationship between space and philately. In 1972, the Apollo 15 astronauts took unauthorised postal covers with them for later sale. It turned into a scandal, with much discussion about whether astronauts should seek to personally profit from their profession. You can read more about the incident here. (Also see update at the end of this post).

Where does a city end?

Doug has a sign from the Los Angeles Police Department that he wants to leave on the surface of the Moon. Note that this is a local symbol, not a national one: there is no US flag proposed here. The sign says "Los Angeles City Limits". It's not explained, but the visual reference is clear. The placement of this sign on the Moon extends the limits of the city of Los Angeles into space, making the Moon part of its geography. There's obviously a humorous element to this, but it's also serious: a territorial claim, the extension of a terrestrial jurisdiction. In 1953, you could technically make a territorial claim in space, as there were no international conventions forbidding it. The Outer Space Treaty was not signed into being until 1967.

I thought I had better look into the US concept of city limits, which I have to confess I've only paid attention to before in the context of the Tina Turner dance classic 'Nutbush City Limits'. This is an American local government concept. The area within the city limits is governed by the Mayor of Los Angeles and the City Council, who provide services and collect tax. The city limits, however, can extend over county lines.

Why Los Angeles, though? In the early 1950s, White Sands was a focus of military space activity, but Los Angeles was the centre of aerospace industry, with CalTech in nearby Pasadena. The Jet Propulsion Laboratory was established in 1944 and became a key institution in developing space technology. You can read more about its fascinating history in Escape from Earth, by Fraser MacDonald. We might presume that Doug came from one of these organisations.

Spiders and dust

The astronauts suit up and venture outside. Here's the first step on the Moon, 1953-style:



Prompted by the telepathic cat-women, Helen encourages them to enter a cave. Inside they are attacked by GIANT MOON SPIDERS. It's not the first time the Moon has been inhabited by giant insects - Dr Dolittle in the Moon (one of my all-time favourites) has giant moths and grasshoppers. The reduced gravity allows them to grow far larger than on Earth.

No you can't have a picture, just watch the movie for yourself.

Of course the GIANT MOON SPIDERS go after Helen and then get slaughtered by the men.  Despite this setback, Helen wants to keep going. 'We don't know what's ahead', says one of the crew. 'Well I'll tell you then', says Helen. 'Adventure, discovery, knowledge! Isn't that why we came?' I like that that a woman gets to own these qualities.

They find, to their surprise, that the cave has breathable air, and take off their spacesuits. The enterprising Walters immediately leaps to a new idea for lunar industry: 'Maybe we can bottle this stuff for sale: Moon Mist for chronic coughs and asthma'. Moon mist would be pure and uncontaminated by terrestrial toxins!

It's not as far-fetched as it sounds. Of course there is no atmosphere to provide mist, but there is plenty of dust to be had. Not great for human lungs; but I could imagine a time in the future where people are making remedies out of lunar dust. What claims will be made for its healing properties? At the moment, you can buy basalt dust at plant nurseries to put on your garden. The dust comes from quarries, but it's similar to the lunar dust in its chemical and mechanical properties. Perhaps people will salt their garden beds with lunar dust instead and grow moon gardens!

I have seen advertisements for lunar mineral make-up (Note: not containing actual lunar minerals). Perhaps the very wealthy will drink champagne with lunar dust in it, just as they once did with gold. Lunar mineral waters will be a thing! Indeed conceptual philosopher and artist Jonathon Keats has already done this. By extension, you may be able to go to a spa and have an exfoliating skin treatment in which the abrasive qualities of lunar dust are put to good use. If lunar missions become more common in the decades to come, there may be all kinds of terrestrial commercial ventures making use of the one thing the Moon has plenty of. Probably I should get in first with the spa thing before Gwyneth Paltrow does.

Polity and politics among the cat-women

On the other side of the cave, the astronauts find themselves in a sort of bubble with a microclimate, a sky with clouds above them. They enter the city of the cat-women, with its architecture of columns, statues and black-and-white tiles. It's a little bit Aelita Queen of Mars, and also kind of classical culture - indeed, the cat-women have Greek names like Alpha, Beta and Lambda. The women themselves are slinky and sexy, dressed in one-piece catsuits. All have black hair, curled up in a big bun behind their head. They have pale faces with dark eyebrows and a curved hairline - they look a little like the Thermians in Galaxy Quest.

Bit by bit we piece together the story of the cat-women (incidentally a derogatory name applied to them by one of the crew, who is suspicious of them) and a glimpse into how their world came to be. 'We have no use for men' says cat-woman Beta, scornfully. The more diplomatic Alpha explains: 'What Beta means is that we have no contact or control over them as we do among ourselves. It seemed rather difficult to get a crew composed entirely of women.' Huh! Then as now..... this is interesting though. Their telepathic powers work only on other women; men are immune. Perhaps this is an extension of the much-vaunted and mythical quality of feminine intuition, which does not work on men because they lack it. Pure speculation on my part, and of course there is no need to explain all these plot devices, which do not need to be logical.

So how did the cat-women get on the Moon? Their ancestors, men and women both, travelled there two million years ago, when the Moon still had an atmosphere. I'm wondering here if the classical Greek complexion of their culture is meant to be a reference to Atlantis.

At a certain point the atmosphere started thinning, and they had to do something to conserve oxygen. It was not pleasant. Planned genocide was one of the strategies they employed. The other was to wait for a spaceship to arrive.

We find out more about the genocide when the gentle Doug falls in love with cat-woman Lambda. 'Incidentally', Doug asks her, 'where are your menfolk?'. 'Ours died off when I was still a child' replies Lambda. The implication here is that they were the subject of the genocide - a gender-cide, in fact.

Alpha has a plan to steal the spaceship to travel to Earth. There, she says, 'We will get their women under our power, and soon we will rule the whole world'. Before you might be tempted to think this could be a good thing for the future of Earth, Alpha disabuses Lambda of the idea that she can make a life with Doug. 'There is no room in your life for love. We will choose your man eugenically'.

I interpret this as an indictment on the cat-women's culture. By the 1950s, eugenics, which had a long history in the US, was becoming unacceptable.

The moral of the story

The Moon has other resources that would be valuable on Earth, as Walt discovers. Over a meal, he converses with Beta. 'Say, you wouldn't have any small works of art that I could take home with me as a souvenir, would you?', he asks her. Beta gives him her silver arm band. Walt says that on Earth such jewellery would often be made of gold, and Beta says 'but it's so common'! Walt's greed is aroused. Beta reveals the existence of a cave of gold, 'with more gold than you could carry away in your rocket ship in 100 years'. Naturally, he wants to see it, so they sneak off without the others. In the cave of gold, Beta kills him.

Perhaps there is a moral here: that looking to profit from the Moon will end badly.

This film, as cheesy as it is, covers a number of themes that become important in the later reality of space travel, such as lunar mining and profiteering in space; territorial claims; gender relations; and public engagement. It's remarkable prescient in this regard. 

Update, June 2020: City limits and stamps

I was reading Robert A. Heinlein's classic novella The Man Who Sold the Moon, written in 1949 and published in 1950, when this caught my attention.
'How are things going in Florida, Monty?' 
'I thought we were going to have to buy the whole damn legislature until we got the rumour spread around that Los Angeles had contracted to have a City-of-Los-Angeles sign planted on the Moon for publicity pix. Then they came around'.
This, as it turned out, wasn't the only similarity with Cat-Women of the Moon. Delos Harriman, star of Heinlein's story, also sends first day covers to the Moon. As already mentioned, there is a bizarre space-philately thing, and it seems this emerged very early on.

Coincidence? The Los Angeles City Limits does seem very specific. If there is a connection here, then Cat-Women was cleverly playing with science fiction references and it does make one wonder what else is hidden in there.

Heinlein was not involved in Cat-Women, but he was kicking around the film industry in the early 1950s. Probably there is some deeper story here if anyone had the time to pursue it.


You can watch the whole movie here:





Friday, February 22, 2019

Here now the Sun: a poem for Valentina Tereshkova, the first woman in space



I. Ready for launch

The suit is working well.
The inflow stream is working well.
I’m ready for launch.
I feel excellent.
Everything is normal.
I’m not a delicate lady.
Everything is normal on board.
I’m ready for launch.
I’m taking up the initial position.
Feeling excellent.



II. Launch

The vehicle’s moving smoothly,
vehicle’s moving smoothly.
I feel excellent.
Vehicle’s moving well.
I feel good.
I feel good.
I see the Earth on the porthole.
I feel excellent.
The Earth is very beautiful.
The vehicle is moving smoothly.
I see the Earth in the porthole,
slightly obscured by clouds.


III. Orbit

I’ll do everything that I need to do.
I don’t understand.
I didn’t see anything.
I feel excellent.
The clock is moving.
I see the horizon through the observation port.
I see the Earth in the observation port.
I feel excellent.
All systems on the vehicle are working perfectly.
Everything is excellent,
I hear you perfectly.


IV. The other cosmonaut

I hear you perfectly,
I feel excellent.
I feel excellent, excellent.
I’m approaching Cape Horn. At the outer ring …
The little star disappeared, wasn’t that you?
Don’t go far from me, my friend.
I can’t see the Moon.
The stars are passing further up.
I am seeing such a bright star.



V. The ships are on their way

The vehicle is responding perfectly, perfectly.
Roger
Roger
From the southern point I called him,
he’s silent,
from the north,
the same.
At our harbour the ships are silently smoking… 

Can you hear?
For the real boys, the harbour is the native home,
comrade to comrade,
they’ll always stand together.
And far far away, 
the ships are on their way,
and all who are young at heart,
stand shoulder to shoulder.


VI. Fourth orbit

19 hours 25 minutes
I sang songs for him
In the centre,
such a blue spot.
Here now the Sun
so orange, not red,
not light red, but
orange.
I’m also feeling excellent.
Here now the Sun
visible and lit up.
In the outer ring
the horizon is visible.
It’s a very beautiful sight.
at first it’s light blue,
then lighter,
then dark…


VII. Greetings to all the women of the world

Soviet women!
Greetings to all Soviet women.
I wish you personal good luck
and great success
Women of the world!
Greetings to you from space.
I wish you good luck
and success...


VIII. The flight is normal

Cabin pressure 1.15
Humidity 61 percent
Temperature 23 degrees
Carbon dioxide 0.1
Oxygen 250
Pulse 84-90-100
Breathing 22
I feel excellent.
See you soon in the homeland!
I hear you perfectly, perfectly.
The flight is proceeding normally.
All systems of the ship are working perfectly.
I feel excellent.
I hear you.
I’m waiting.
Everything is excellent.
The spaceship is working perfectly.
I’m in good spirits.
I feel excellent.
I hear everything well.
The flight is normal.
All systems on the ship are working perfectly.
Pressure in the suit 1 atmosphere
Humidity 40 percent
Temperature 28 degrees
Carbon dioxide 0.2 percent
Oxygen 200
All systems on the ships are working excellently.
I feel excellent.


IX. Dear Nikita Sergeyevich

Dear Nikita Sergeyevich!
I will use all my strength and knowledge to fully complete the flight
‘Till we meet again soon on our Soviet land.
Moscow, Kremlin.
I am reporting.
Dear Nikita Sergeyevich Khrushchev.
The flight is proceeding normally.
All systems on the ship are working perfectly.
I feel excellent. 
Thanks to all the Soviet people
See you soon in the homeland!
Dear Nikita Sergeyevich,
deeply touched by your attention.
With all my heart
Dear Nikita Sergeyevich!
I will use all my strength and knowledge to fully complete the flight,
‘Till we meet again soon on our Soviet land.


X. Shadows

There aren’t enough fingers to block the Sun.
It’s very sunny, difficult to see
at the present a very bright sun,
illuminating the very high clouds...
the horizon above the bright clouds
transitions into shadows.
The dark sky is visible in the survey viewport.
The flight is proceeding normally.
I feel excellent.


XI. This is Chayka

This is Chayka. Over.
This is Chayka. Over.
This is Chayka. Over.
This is Chayka. Over.
This is Chayka. Over.
This is Chayka. Over.
This is Chayka. Over.
This is Chayka. Over.
This is Chayka. Over.




Notes

This is a poem made using a technique called erasure, removing words from an existing text to create a new one. The words are from an edited transcript of Valentina Tereshkova's spaceflight. In 1963, she was the first woman to enter space and remains the only on to have performed a solo mission. 

I took the transcript from a paper by space historian Asif Siddiqi. This was not a complete transcript, so poem is only constructed from what Siddiqi reproduced, and of course it is important to remember that the transcript is translated from Russian to English. The transcript lent itself to short, repetitive sentences. My influences in taking this form were Gertrude Stein and HD, particularly her poem Eurydice. Another influence is Christine Rueter (@tychogirl), who first made me aware that poems existed within other texts, waiting to be brought out.

I used only Valentina's words; I wanted to maker her voice front and central, give her a narrative that was purely from her perspective without the judgement of others. She was in conversation with many people during the flight, including Yuri Gagarin, the first man in space, and Soviet leader Nikita Khrushchev. I erased anyone who wasn't Valentina, and then removed paragraphs, sentences or parts of sentences to arrive at the poems you read here.

The other cosmonaut referred to was Valery Bykovsky, who was orbiting at the same time. They were supposed to sing a duet together from their separate spacecraft, but in the end Valentina sang by herself. In 'The ships are on their way', the latter part of the poem is from two different Russian songs, ‘Textile Town’, a 1960s hit by Mikhail Tanich, and ‘Friendship Song’, according to Siddiqi. This was Valentina's own mash-up within the text.

Valentina's flight was heavily criticised and constantly dissected. She was, in fact, not feeling excellent, but in the circumstances unable to admit this - a common problem for astronauts in the USSR and US. Space sickness was poorly understood, and admission of anything less than perfection could risk future flights. In addition, an engineer had made a mistake - the Vostok capsule was programmed to ascend, but not to descent. Valentina discovered this a few hours into her flight, which must have been a shock. The error was rectified, fortunately.

The sequence, with one exception when I moved text about the Sun to the same poem, is in the order in which it was spoken, so represents the chronological unfolding of her mission.

The final verse is made up of a phrase which was used repeatedly throughout the transcript. Tereshkova's callsign was Chayka (seagull). At the end of every segment of speech, she says 'This is Chakya. Over'; so I made this the end of the poem sequence. She repeats 'Over', but the poem does not include return to Earth. I wanted to create the impression that this was a moment in time, that she might still be out there, suspended, her state of existence ambiguous. Like she's flying into the sun, and the brightness of the sun prevents us from following her trajectory any further, fading her out like the radio signal.


References
Siddiqi, Asif  2009 Transcripts give new perspective on Vostok-6 mission. The first woman in Earth orbit. Spaceflight 51: 18-57