Valentin Glushko felt the humiliation of the Soviet lunar programme deeply. According to one witness, he kept a moon map on his wall. Every time a Soviet or American spacecraft hit it, he stuck a flag on his map. After Neil Armstrong had landed, he said bitterly, ‘They should have listened to me.’ In 1974, he had his chance. He replaced Mishin and took over as head of Korolev’s former design bureau and immediately suspended Korolev’s cherished N-1 project. Under his management, the Soviet space programme went on to achieve notable successes with the Salyut space stations and a joint venture with the Americans in July 1975 when Apollo docked with a Soyuz craft. The world watched as American astronauts and Soviet cosmonauts shook hands and smiled. Glushko lived long enough to see the development and launch of Soviet’s own space shuttle, Buran, but he was plagued with ill health in his final years. His last request? That his ashes be preserved so that one day they could be carried to Venus.
Sergei Korolev never lived to see the moon landing for which he had devoted so much of his life – and a Soviet-manned ship never reached the moon. But Korolev’s legacy is at last visible. While ironically von Braun’s glamorous image from the fifties and sixties began to tarnish, for his Soviet rival the reverse occurred as Korolev grew in stature after his death, attaining near-legendary status, his life in the shadows revealed, his name a source of pride. In 1975, Korolev’s home was turned into a museum, preserved exactly as he had always had it: his coat and shoes by the door, his desk covered in his favourite books. His design bureau in Podlipki has mushroomed into a huge enterprise – RSC Energia, the largest space company in Russia, responsible for the launch of the Russian space station Mir in 1986 and other successes. Podlipki itself has been suitably renamed ‘Korolev’. At its heart a large statue of Korolev now presides over the central square. His posthumous fame would have astonished him, casting its admiring light on a life he considered already rich, lived as it was, so close to his dream.
ACKNOWLEDGEMENTS
In writing this book I am indebted to many specialists for their generous assistance with my research. I would particularly like to thank the following consultants who made Space Race possible. Historian of science Dr Asif Siddiqi at the Fordham University in New York provided invaluable guidance on Russian history and technology. I also appreciated numerous discussions with Dr Simon Prince, City University, London, whose understanding and enthusiasm for the technology was an inspiration. For her knowledge of Soviet history and her insights into the characters and the period, I am indebted to Svetlana Palmer, who also acted as Associate Producer on the BBC series. Space historian and author Piers Bizony gave up valued time to read and comment on the manuscript, as did Dr Gary Sheffield at King’s College London who advised on several historical chapters.
During compilation of material for the book and BBC TV series, many veterans of the space programme in Russia and America made a wealth of information available to us and it would not be possible to thank them all. Specialist interviews and archives are cited in the references and I am grateful to assistant producers Miriam Jones and John O’Mahony without whose detailed investigation into many primary sources and manuscripts this research could not have been completed. The BBC team received excellent support from a large number of specialist archives in Britain, America and Russia and these are credited in the bibliography. At the BBC, I would also like to thank executive producer Jill Fullerton Smith and creative director John Lynch, who made it possible for me to write this book.
At Fourth Estate, I am indebted to Mitzi Angel for her advice and skilled editorial judgement at each stage in the production of the manuscript. It was a pleasure, as always, to work with Nicholas Pearson and Courtney Hodell. Many thanks, too, to Lizzie Dipple and Rachel Smyth; and to Catherine Heaney and Juliet Davis for all their help organizing the pictures. At Curtis Brown, Peter Robinson’s advice and encouragement on the project over many months proved invaluable.
Finally, I would particularly like to thank Martin Surr and Julia Lilley for sharing many conversations with me about the characters and the history and whose generous support and great faith in the project made this book possible.
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PART TWO
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PART THREE
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PART FIVE
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