Lonely Satellite

A pioneering space archaeologist explores artifacts left behind in space and on Earth, from moon dust to Elon Musk's red sports car. Alice Gorman is a space archaeologist: she examines the artifacts of human encounters with space. These objects, left behind on Earth and in space, can be massive (dead satellites in eternal orbit) or tiny (discarded zip ties around a defunct space antenna). They can be bold (an American flag on the moon) or hopeful (messages from Earth sent into deep space). They raise interesting questions: Why did Elon Musk feel compelled to send a red Tesla into space? What accounts for the multiple rocket-themed playgrounds constructed after the Russians launched Sputnik? Gorman—affectionately known as “Dr Space Junk” —takes readers on a journey through the solar system and beyond, deploying space artifacts, historical explorations, and even the occasional cocktail recipe in search of the ways that we make space meaningful. Engaging and erudite, Gorman recounts her background as a (nonspace) archaeologist and how she became interested in space artifacts. She shows us her own piece of space junk: a fragment of the fuel tank insulation from Skylab, the NASA spacecraft that crash-landed in Western Australia in 1979. She explains that the conventional view of the space race as “the triumph of the white, male American astronaut” seems inadequate; what really interests her, she says, is how everyday people engage with space. To an archaeologist, objects from the past are significant because they remind us of what we might want to hold on to in the future.

Contributions by Dorian L. Alexander, Chris Bishop, David Budgen, Lewis Call, Lillian Céspedes González, Dominic Davies, Sean Eedy, Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert Hutton, Iain A. MacInnes, Małgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang In Drawing the Past, Volume 2: Comics and the Historical Imagination in the World, contributors seek to examine the many ways in which history worldwide has been explored and (re)represented through comics and how history is a complex construction of imagination, reality, and manipulation. Through a close analysis of such works as V for Vendetta, Maus, and Persepolis, this volume contends that comics are a form of mediation between sources (both primary and secondary) and the reader. Historical comics are not drawn from memory but offer a nonliteral interpretation of an object (re)constructed in the creator’s mind. Indeed, when it comes to history, stretching the limits of the imagination only serves to aid in our understanding of the past and, through that understanding, shape ourselves and our futures. This volume, the second in a two-volume series, is divided into three sections: History and Form, Historical Trauma, and Mythic Histories. The first section considers the relationship between history and the comic book form. The second section engages academic scholarship on comics that has recurring interest in the representation of war and trauma. The final section looks at mythic histories that consciously play with events that did not occur but nonetheless inflect our understanding of history. Contributors to the volume also explore questions of diversity and relationality, addressing differences between nations and the cultural, historical, and economic threads that bind them together, however loosely, and however much those bonds might chafe. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.