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"[Science fiction is] an integration of the mood and attitude of science (the objective universe) with the fears and hopes that spring from the unconscious."
- Gregory Benford
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| Space Transfer Station | ||
| An orbiting space station primarily used as a stepping-off point from Earth. |
In the novel, Circum-Terra was a great hodgepodge of efforts made at different times.
| Circum-Terra was a great confused mass in the sky. It had been built, rebuilt, added to, and modified over the course of years for a dozen different purposes - weather observation station, astronomical observatory, meteor count station, television relay, guided missile control station, high-vacuum strain-free physics laboratory, strain-free germ-free biological experiment station, and many other uses.
But most importantly it was a freight and passenger transfer station in space, the place where short-range winged rockets from Earth met the space liners that plied between the planets. For this purpose, it had fueling tanks, machine shops, repair cages that could receive the largest liners and the smallest rockets, and a spinning, pressurized drum - "Goddard House" - which provided artificial gravity and Earth atmosphere for passengers and for the permanent staff of Circum-Terra. |
| Technovelgy from Between Planets,
by Robert Heinlein. Published by Charles Scribner's Sons in 1951 Additional resources -
|
As a space station, compare to the brick moon from The Brick Moon (1869) by Edward Everett Hale, the city of space from The Prince of Space (1931) by Jack Williamson, the New Moon Casino from One Against the Legion (1939) by Jack Williamson, the asteroid space station from Misfit (1939) by Robert Heinlein, the Venus Equilateral Relay Station from QRM - Interplanetary (1942) by George O. Smith, Wheelchair from Waldo (1942) by Robert Heinlein, the Sargasso Asteroid from The Stars My Destination (1956) by Alfred Bester, the tether space station from Tank Farm Dynamo (1983) by David Brin and the high orbit archipelago from Mona Lisa Overdrive (1988) by William Gibson.
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