The Right Stuff

• Foreword
  
• The Angels
  
• The Right Stuff
  
• Yeager
  
• The Lab Rat
  
• In Single Combat
  
• On the Balcony
  
• The Cape
  
• The Thrones
  
• The Vote
  
• Righteous Prayer
  
• The Unscrewable Pooch
  
• The Tears
  
• The Operational Stuff
  
• The Club
  
• The High Desert
  
• Epilogue
  
• Author's Note
  

This book originated with some ordinary, curiosity. What is it, I wondered, that makes a man willing to sit up on top of an enormous Roman candle, such as a Redstone, Atlas, Titan, or Saturn rocket, and wait for someone to light the fuse? I decided on the simplest approach possible. I would ask a few astronauts and find out. So I asked a few in December of 1972 when they gathered at Cape Canaveral to watch the last mission to the moon, Apollo 17. I discovered quickly enough that none of them, no matter how talkative otherwise, was about to answer the question or even linger for more than a few seconds on the subject at the heart of it, which is to say, courage.

But I did sense that the answer was not to be found in any set of traits specific to the task of flying into space. The great majority of the astronauts who had flown the rockets had come from the ranks of test pilots. All but a few had been military test pilots, and even those few, such as Neil Armstrong, had been trained in the military. And it was this that led me to a rich and fabulous terrain that, in a literary sense, had remained as dark as the far side of the moon for more than half a century: military flying and the modern American officer corps.

Immediately following the First World War a certain fashion set in among writers in Europe and soon spread to their obedient colonial counterparts in the United States. War was looked upon as inherently monstrous, and those who waged it—namely, military officers—were looked upon as brutes and philistines. The tone was set by some brilliant novels; among them,
All Quiet on the Western Front, The Journey to the End of the Night
and
The Good Soldier Schweik
. The only proper protagonist for a tale of war was an enlisted man, and he was to be presented not as a hero but as Everyman, as much a victim of war as any civilian. Any officer above the rank of second lieutenant was to be presented as a martinet or a fool, if not an outright villain, no matter whom he fought for. The old-fashioned tale of prowess and heroism was relegated to second- and third-rate forms of literature, ghost-written autobiographies and stories in pulp magazines in the order of
Argosy
and
Bluebook
.

Even as late as the 1930s the favorite war stories in the pulps concerned World War I pilots. One of the few scientific treatises ever written on the subject of bravery is
The Anatomy of Courage
by Charles Moran, who served as a doctor in the trenches for the British in World War I (and who was better known later as Lord Moran, personal physician to Winston Churchill). Writing in the 1920s, Moran predicted that in the wars of the future adventurous young men who sought glory in war would tend to seek it as pilots. In the twentieth century, he said, they would regard the military pilot as the quintessence of manly daring that the cavalryman had been in the nineteenth.

Serious treatment of the drama and psychology of this new pursuit, flying high-performance aircraft in battle, was left to the occasional pilot who could write, the most notable of them being Antoine de Saint-Exupéry. The literary world remained oblivious. Nevertheless, young men did exactly what Moran predicted. They became military officers so that they could fly, and then flew against astonishingly deadly odds. As late as 1970,I was to discover in an article by a military doctor in a medical journal a career Navy pilot faced a 23 percent likelihood of dying in an accident. This did not even include deaths in combat, which at that time, with the war in Vietnam in progress, were catastrophically high for Navy pilots.
The Right Stuff
became the story of why men were willing—willing?—
delighted
!—to take on such odds in this, an era literary people had long since characterized as the age of the anti-hero. Such was the psychological mystery that animated me in the writing of this book. And if there were those readers who were not interested in the exploration of space per se but who were interested in
The Right Stuff
nonetheless, perhaps it might have been because the mystery caught their imagination, too.

Since this book was first published in 1979 I have enjoyed corresponding with many pilots and many widows of pilots. Not all have written to pat me on the back, but almost all seemed grateful that someone had tried—and it had to be an outsider—to put into words matters that the very code of the pilot rules off-limits in conversation. These matters… add up to one of the most extraordinary and most secret dramas of the twentieth century.

T.W.

August 1983

Within five minutes, or ten minutes, no more than that, three of the others had called her on the telephone to ask her if she had heard that something had happened out there.

"Jane, this is Alice. Listen, I just got a call from Betty, and she said she heard something's happened out there. Have you heard anything?" That was the way they phrased it, call after call. She picked up the telephone and began relaying this same message to some of the others.

"Connie, this is Jane Conrad. Alice just called me, and she says something's happened…"

Something
was part of the official Wife Lingo for tiptoeing blindfolded around the subject. Being barely twenty-one years old and new around here, Jane Conrad knew very little about this particular subject, since nobody ever talked about it. But the day was young! And what a setting she had for her imminent enlightenment! And what a picture she herself presented! Jane was tall and slender and had rich brown hair and high cheekbones and wide brown eyes. She looked a little like the actress Jean Simmons. Her father was a rancher in southwestern Texas. She had gone East to college, to Bryn Mawr, and had met her husband, Pete, at a debutante's party at the Gulph Mills Club in Philadelphia, when he was a senior at Princeton. Pete was a short, wiry, blond boy who joked around a lot. At any moment his face was likely to break into a wild grin revealing the gap between his front teeth. The Hickory Kid sort, he was; a Hickory Kid on the deb circuit, however. He had an air of energy, self-confidence, ambition,
joie de vivre
. Jane and Pete were married two days after he graduated from Princeton. Last year Jane gave birth to their first child, Peter. And today, here in Florida, in Jacksonville, in the peaceful year 1955, the sun shines through the pines outside, and the very air takes on the sparkle of the ocean. The ocean and a great mica-white beach are less than a mile away. Anyone driving by will see Jane's little house gleaming like a dream house in the pines. It is a brick house, but Jane and Pete painted the bricks white, so that it gleams in the sun against a great green screen of pine trees with a thousand little places where the sun peeks through. They painted the shutters black, which makes the white walls look even more brilliant. The house has only eleven hundred square feet of floor space, but Jane and Pete designed it themselves and that more than makes up for the size. A friend of theirs was the builder and gave them every possible break, so that it cost only eleven thousand dollars. Outside, the sun shines, and inside, the fever rises by the minute as five, ten, fifteen, and, finally, nearly all twenty of the wives join the circuit, trying to find out what has happened, which, in fact, means: to whose husband.

After thirty minutes on such a circuit—this is not an unusual morning around here—a wife begins to feel that the telephone is no longer located on a table or on the kitchen wall. It is exploding in her solar plexus. Yet it would be far worse right now to hear the front doorbell. The protocol is strict on that point, although written down nowhere. No woman is supposed to deliver the final news, and certainly not on the telephone. The matter mustn't be bungled!—that's the idea. No, a man should bring the news when the time comes, a man with some official or moral authority, a clergyman or a comrade of the newly deceased. Furthermore, he should bring the bad news in person. He should turn up at the front door and ring the bell and be standing there like a pillar of coolness and competence, bearing the bad news on ice, like a fish. Therefore, all the telephone calls from the wives were the frantic and portentous beating of the wings of the death angels, as it were. When the final news came, there would be a ring at the front door—a wife in this situation finds herself staring at the front door as if she no longer owns it or controls it—and outside the door would be a man… come to inform her that unfortunately something has happened out there, and her husband's body now lies incinerated in the swamps or the pines or the palmetto grass, "burned beyond recognition," which anyone who had been around an air base for very long (fortunately Jane had not) realized was quite an artful euphemism to describe a human body that now looked like an enormous fowl that has burned up in a stove, burned a blackish brown all over, greasy and blistered, fried, in a word, with not only the entire face and all the hair and the ears burned off, not to mention all the clothing, but also the
hands
and
feet
, with what remains of the arms and legs bent at the knees and elbows and burned into absolutely rigid angles, burned a greasy blackish brown like the bursting body itself, so that this husband, father, officer, gentleman, this
ornamentum
of some mother's eye, His Majesty the Baby of just twenty-odd years back, has been reduced to a charred hulk with wings and shanks sticking out of it.

My own husband
—how could this be what they were talking about? Jane had heard the young men, Pete among them, talk about other young men who had "bought it" or "augered in" or "crunched," but it had never been anyone they knew, no one in the squadron. And in any event, the way they talked about it, with such breezy, slangy terminology, was the same way they talked about sports. It was as if they were saying, "He was thrown out stealing second base." And that was all! Not one word, not in print, not in conversation—not in this amputated language!—about an incinerated corpse from which a young man's spirit has vanished in an instant, from which all smiles, gestures, moods, worries, laughter, wiles, shrugs, tenderness, and loving looks—
you, my love
!—have disappeared like a sigh, while the terror consumes a cottage in the woods, and a young woman, sizzling with the fever, awaits her confirmation as the new widow of the day.

The next series of calls greatly increased the possibility that it was Pete to whom something had happened. There were only twenty men in the squadron, and soon nine or ten had been accounted for… by the fluttering reports of the death angels. Knowing that the word was out that an accident had occurred, husbands who could get to a telephone were calling home to say
it didn't happen to me
. This news, of course, was immediately fed to the fever. Jane's telephone would ring once more, and one of the wives would be saying:

"Nancy just got a call from Jack. He's at the squadron and he says something's happened, but he doesn't know what. He said he saw Frank D— take off about ten minutes ago with Greg in back, so they're all right. What have you heard?"

But Jane has heard nothing except that other husbands, and not hers, are safe and accounted for. And thus, on a sunny day in Florida, outside of the Jacksonville Naval Air Station, in a little white cottage, a veritable dream house, another beautiful young woman was about to be apprised of the
quid pro quo
of her husband's line of work, of the trade-off, as one might say, the subparagraphs of a contract written in no visible form. Just as surely as if she had the entire roster in front of her, Jane now realized that only two men in the squadron were unaccounted for. One was a pilot named Bud Jennings; the other was Pete. She picked up the telephone and did something that was much frowned on in a time of emergency. She called the squadron office. The duty officer answered.

"I want to speak to Lieutenant Conrad," said Jane. "This is Mrs. Conrad."

"I'm sorry," the duty officer said—and then his voice cracked. "I'm sorry… I…" He couldn't find the words! He was about to cry! "I'm—that's—I mean… he can't come to the phone!"

He can't come to the phone!

"It's very important!" said Jane.

"I'm sorry—it's impossible—" The duty officer could hardly get the words out because he was so busy gulping back sobs.
Sobs
! "He can't come to the phone."

"Why not? Where is he?"

"I'm sorry—" More sighs, wheezes, snuffling gasps. "I can't tell you that. I—I have to hang up now!"

And the duty officer's voice disappeared in a great surf of emotion and he hung up.