The actual moon landings. Photo: NASA/AFP/Getty Images
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This is how we walk on the moon: Benjamin Johncock's The Last Pilot

Despite the decades that have gone by, the early days of space exploration hold an enduring fascination.

The Last Pilot
Benjamin Johncock
Myriad, 320pp, £8.99

In four years, half a century will have passed since human beings first set foot on the moon; it’s been more than 40 years since Gene Cernan became the last man to step off the lunar surface. And yet, despite the decades that have gone by, those early days of space exploration hold an enduring fascination. In part, it’s the cold war drama, a race between the “reds” and the “free world” to establish dominion not only over the earth but across the universe, too; in part, it’s the thrill of technology pushed to its absolute limit, often at the cost of human life. And it’s also the simple wonder of what it meant for men to leave not only the surface of the earth, as the Wright brothers had done in 1903, but to leave its atmosphere, to look back at our only home from the blackness of space.

And – at least in the US – they were all men: men with “the right stuff”, as the novelist Tom Wolfe put it. It is among these men that Benjamin Johncock inserts his fictional pilot Jim Harrison, flying with the US air force out in the Mojave Desert. These are the early years of the space programme, not long after the Russians had put the first Sputnik satellite in orbit and when John F Kennedy announced, in 1961, that the United States would put a man on the moon by 1970. A reader could reasonably ask what any novelist could add to what has already been written about this time. There is plenty out there and a lot of it is awfully good.

On the surface, Johncock’s novel might look clichéd. Jim Harrison drives a sports car, smokes like Mad Men’s Don Draper, enjoys a drink and says things such as: “This is flight surgeon horseshit, Deke!” (Some may recall that line from Ron Howard’s 1995 film Apollo 13; it’s one of the works to which Johncock gives credit in his acknowledgements.) His wife, Grace, holds the fort at home, her life limited by the demands of his job. But sometimes clichés are just, well, true – and the lives that Johncock builds for Jim and Grace transcend their setting. Often his descriptive writing has a clean grace that recalls Cormac McCarthy. When Grace and Jim finally have a longed-for daughter, Florence, who they thought would never come, the novel works a good balance between life in the sky and life at home – and when Florence gets sick, there are hard choices to be made.

Johncock works a couple of neat tricks here: he makes the struggles that Jim and Grace must face at home just as tense as what’s going on in the Mercury and Gemini missions and he uses the real men of the space programme to fine effect. Names such as Schirra, Lovell, Aldrin and Slayton (Wally, Jim, Buzz and Deke) recur but this never feels like a pantomime show of heroes. And one real character who is often forgotten in this cavalcade has a wonderful role to play: Pancho Barnes, a remarkable woman who was an aviation pioneer in her own right – she was the grand-daughter of Thaddeus Lowe, who in essence founded the US air force when he pioneered the flights of manned observation balloons for the Union army during the American civil war. As the proprietor of the Happy Bottom Riding Club, a bar and restaurant out in the Mojave, she catered to those early test pilots and knew them well; her wisdom and courage drive the book forward, as does her foul-mouthed charm.

Harrison is one of the pilots to fly the X-15, a hypersonic jet that reached the edge of outer space.

He thought about what he’d seen up there, across the top, above the dome. Black space, blue earth; the globe curling away beneath him. He’d looked down on everything he’d known, for a brief window, a few minutes. He’d flown weightless, on reaction control, hand on the stick squirting hydrogen peroxide from the thrusters. He felt free. Then he dropped back down into the atmosphere and the earth pulled him down.

It’s that pull back down to earth that’s the real challenge for Harrison in this novel and perhaps that’s not too surprising. But Benjamin Johncock’s story and characters take flight: this is a very promising debut. 

Erica Wagner is a New Statesman contributing writer and a judge of the 2014 Man Booker Prize. A former literary editor of the Times, her books include Ariel's Gift: Ted Hughes, Sylvia Plath and the Story of “Birthday Letters” and Seizure.

This article first appeared in the 09 July 2015 issue of the New Statesman, The austerity war

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Only Drake could wow the O2 by pointing out random audience members' clothing

It takes charisma to pull off abandoning hits halfway through.

On the last London night of his Boy Meets World tour (20 March), Drake doesn’t come on stage until 10pm, which is enough to kill off most gigs at the O2 Arena (hello, Bieber), as people are worried about getting the Tube home. The amount of rum and Coke in the room – a steaming, unrecognisable space with a false ceiling of globular lights and a stampeding crowd split in half by a fence – certainly helps keep the buzz. But who’d have thought that a man standing onstage diligently pointing at audience members and saying what they’re wearing (“You in the blue dress shirt with the ­lager!”) would constitute one of the most exciting nights the O2 has seen in a while?

“Tonight is not a show, not a concert, not about me,” says Drake, who runs an annual “Drake Night” in Toronto and once visited Drake University in Iowa.

So far, the world’s favourite rapper – his latest album, More Life, recently got 90 million streams on its first day of release on Apple Music alone – has had a shifting identity. His songs capture a new strain of emotionally literate but solipsistic hip-hop, which can feel intense or whiny depending on how you look at it. His offstage behaviour is Type-A rapper – he has been accused of throwing beer bottles at Chris Brown, he has been punched by Diddy and he has had altercations with Jay Z, Kendrick Lamar, Pusha T and Ludacris.

But Aubrey Drake Graham, the son of a white, Jewish mother and an African-American father who once played drums alongside Jerry Lee Lewis, does skits about his petulance on Saturday Night Live (see “Drake’s Beef”). Emotionally demonstrative, openly dysfunctional, a bit of a bruiser, with an ability to flit between a dozen styles of music while expressing a desire for crowd participation that borders on the needy . . . Could this man be the ­Michael Bublé of hip-hop?

Drake’s sprawling two-hour roadshow is held back from chaos by the force of his physical presence. Blunt-headed with muscular, sloping shoulders and mesmerising, nimble feet, he prowls the edge of the stage. He has had so many hits (and has so many guest stars tonight) that he is not interested in playing them all the way through. Instead, recalling Prince in the same venue ten years ago, the show becomes a series of medleys. With just a drummer and a synth player at the back of the stage, he demonstrates an invisible, physical control over the music, operating it like a string puppet, stopping or starting songs with the drop of a foot or the shrug of a shoulder, so they collapse in the middle and are gone.

It takes charisma to pull off abandoning hits halfway through. Pointing at people in the audience, real or imaginary, is a music hall thing. Bruce Dickinson and Metallica’s James Hetfield do it too. Amid a hokey message to follow your dreams, he recalls his time spent singing for $200 a night as a John Legend tribute act. Cue a perfect demonstration of Legend-style singing – before he suddenly sloughs off “all this bathrobe-and-candle-sexy acoustic Ed Sheeran shit”, while huge columns of flame engulf the stage.

Drake is still at his best with blue, slinky songs of alienation – “9”, “Over”, “Feel No Ways” and “Hotline Bling”, which doubles up as make-out music for the couples in the crowd. One pair of lovers, Drake establishes during one of his crowd surveys, have been together for ten years. “I can’t even make a relationship last ten days,” he laments. In 2012, he told the Guardian, “I’ve had too many girls to ever feel uncomfortable about the man that I am.” An old-school boast from a modern man.

The guest stars serve to highlight Drake’s variety, rather than shine on their own. Their songs, too, are started, suspended, chopped and screwed. Drake is more macho when there’s another guy onstage with him – doing “Successful”, with the literally named Trey Songz, or dueling with thefrenetic Skepta, who sounds so much tougher (maybe because he’s a Londoner). The two whirl around the stage like helicopter seeds.

Nicki Minaj, apparently Drake’s one-time lover, rises fembotishly from a hole in the stage and says in a London accent, “I want some fucking crumpets and tea.”

She adds, of her host, “This nigga single-handedly changed the game.” Minaj sings her song “Moment 4 Life”: “I call the shots, I am the umpire . . .” But she doesn’t really. Even her presence flares up quickly and is gone.

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution