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At the start of The Last Cuentista, we learn a comet is about to crash into Earth (ahhhhhh!). Learn a bit more about comets here!

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Some background on Cuentos, or folktales, that will be important in our novel!

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People have been dreaming about space for a long time, but these dreams of space required navigating discrimination here on earth.

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Our main character has a specific type of vision loss. Learn more about it here. Don't worry if you don't understand everything, but pay attention to what this might mean for Petra.

What can she see?

What challenges might she face in space because of her vision?

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In this article:

People with RP lose their vision slowly over time. Usually, though, they will not become totally blind.

What Causes Retinitis Pigmentosa?

RP is a genetic condition, meaning it can be passed down in families. The type and speed of vision loss from RP varies from person to person. It depends on their form of the condition.

Video: How the Eye Works

Retinitis Pigmentosa Symptoms

With RP, you may have vision loss in the following ways:

Loss of night vision. Night blindness is when you cannot see anything in the dark. Your vision may be normal during the day. As you start losing night vision, it takes longer to adjust to darkness. You may stumble over objects or have trouble driving at dusk and at night. You might also find it hard to see in movie theaters or other dim rooms.

Gradual loss of peripheral (side) vision. This is known as "tunnel vision." You may find you bump into things as you move around. This is because you are not able to see objects below and around you.

Loss of central vision. Some people also have problems with central vision. This can make it hard to do detailed tasks such as reading or threading a needle.

Problems with color vision. Some people may also have trouble seeing different colors.

How Is Retinitis Pigmentosa Diagnosed?

RP can be diagnosed and measured by:

Genetic testing. This test looks at a sample of your blood or other tissues to see if you have certain genes that are associated with a disease. It can also help determine the likely course or severity of a disease and whether gene therapy to replace the faulty gene may be helpful.

Electroretinography. This test measures the electrical activity in the retina, or how well the retina responds to light. It works much like the EKG, which measures the activity and health of the heart.

Visual field testing. RP can affect your peripheral (side) vision. Visual field testing helps measure your side vision and find any blind spots that may be developing.

Optical coherence tomography. Also known as OCT, this imaging test takes special, highly detailed pictures of your retina. It can help diagnose RP and find out how it is affecting your retina.

Can Retinitis Pigmentosa Be Treated?

There is no single treatment for RP because there are over 100 genes that cause it. Scientists are studying why and how RP happens within families. They hope to develop treatments based on this information.

Some research has shown that vitamin A may slow the progression of certain forms of RP, but there is concern that high intake of these supplements may lead to worsening of other eye conditions. Your ophthalmologist can advise you about the risks and benefits of vitamin A and how much you can safely take. Taking too much vitamin A can be harmful, and evidence of its effect on RP progression is not substantial. So vitamin A supplements are not currently recommended.

Some patients develop swelling of the retina and may be helped by a certain type of eye drop or medication taken by mouth. Cataracts or clouding of the eye's lens may also develop and surgery to treat this might be helpful for some patients. There is also an "artificial retina" called the ARGUS II implant, which may be helpful for some patients with severe vision loss due to RP.

One form of RP caused by a defect in the RPE65 gene can now be treated with medication (voretigene neparvovec-rzyl). This medicine is injected under the retina during eye surgery called vitrectomy. Scientists are working hard to develop genetic therapies for other forms of RP, so it is very important to know what specific genetic defect causes your RP.

People with low vision can learn to make the most of their remaining sight. There are many devices and ways to do things differently that can help with tasks. Vision specialists can teach you to use these tools and techniques.

If you have RP and plan to have children, speak with a genetic counselor to learn about your chance of passing this eye condition on to your children.

Clinical Trials and Future Treatments for Retinitis Pigmentosa

Researchers are testing possible new RP treatments. This includes clinical trials for a type of RP called X-linked retinitis pigmentosa. To learn more about clinical trials and if you might be able to participate, talk with your ophthalmologist.

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Retinitis pigmentosa is a group of genetic disorders that affect the retina's ability to respond to light, causing a slow loss of vision.

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More information about the Voyager Mission

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We ponder our insignificant place in the universe, and boldly go after stories of romance & cynicism in Outer Space.

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I organized this list in track order. Musics in Voyager's Golden Record are total 27 songs. But as you noticed, this list made of 28 songs, because of 'The w...

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Since the beginning of the space program, we've always expected astronauts to be fully abled athletic overachievers who are one-part science-geek, two-parts triathlete—a mix the writer Tom Wolfe famously called “the right stuff.”

But what if, this whole time, we’ve had it all wrong?

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DOWNLOAD BRAILLE READY FILE HERE
[RADIOLAB INTRO]

LATIF NASSER: Hey, I'm Latif Nasser.

LULU MILLER: I'm Lulu Miller. This is Radiolab.

[Scratchy zipper]

LULU MILLER: And today we're gonna start ...

[background rumble, propeller noise]

ANDREW LELAND: All right, here we go

LULU: With reporter Andrew Leland.

ANDREW LELAND: I'm just gonna hold my mic like I'm doing karaoke.

LATIF: Where are you on planet Earth? Where are you doing karaoke from?

ANDREW LELAND: I'm in Long Beach, California.

[Helicopter flies by]

ANDREW LELAND: At a place that they call the FBO, which is like a tiny, private airport. Just one building sitting on a giant tarmac.

[background voices and clanking]

ANDREW LELAND: And so I walk into this little building through these sliding glass doors, and it's this big, bright room with a giant fish tank in it and these fancy chairs. And it's full ...

ANDREW LELAND: ... of people.

ANDREW LELAND: There is a film crew.

ANDREW LELAND: There's some family members.

ANDREW LELAND: And the whole place is just sort of abuzz.

[swell of celebratory woo-hoos]

[music: flowing, fast-paced synthesizers.]

ANDREW LELAND: Because today is-after months of preparation-flight day. It's this training flight for potential astronauts to experience near-zero gravity. And so scattered about the room

ANDREW LELAND: Are these people wearing these jumpsuits, these flight suits.

ANDREW LELAND: Some of them look nervous. Some of them ...

ANDREW LELAND: ... are at a little table.
MONA MINKARA: As a tradition before taking off for our flight.
ANDREW LELAND: And these people are the people who everybody's here to see. They're known as "The Ambassadors."

[music crests and then fades out]

ANDREW LELAND: I should say that I was also wearing a flight suit.

[music: low tones, electronic chimes, meandering]

ANDREW LELAND: Because what this flight day is is essentially an experiment.

ANDREW LELAND: This first step to see what would happen if disabled people were to go to space.

ANDREW LELAND: And so these ambassadors ...

ANDREW LELAND: ... are all people with disabilities.

ANDREW LELAND: There are blind people ...

ANDREW LELAND: ... deaf people ...

ANDREW LELAND: People who use wheelchairs, people who have prosthetics, who are here to be a part of this experiment.

[background airplane whine]

[music becomes spacy, distant]

ANDREW LELAND: And I was there ...

ANDREW LELAND: ... to simply report on it. Basically, I was there to go on this flight as a journalist.

[music & airplane abruptly stops]

ANDREW LELAND: ... it's-you know-there is-I'm coming at it from an angle that I'm interested personally.

[Chill but scintillating electronic chimes reprise]

LULU: So Andrew is a writer that we've long admired here at the show. And it was a few months ago that he told us about this effort to get disabled people into space that was just in its kind of early experimental phase. And he really wanted to go. He really wanted to be a part of it and observe it because what they were really up to seemed to be wrapped up in things he thinks about a lot.

ANDREW LELAND: Stuff I think about all the time, which is namely, what does disability mean, and how does the world look at disability? And how does that view need to change?

LATIF: Well, outer space is not the obvious place I would go to for that-answer of that question, I think.

ANDREW LELAND: I'm with you.

LATIF: Well, keep-maybe-maybe just explain, like, what were the steps that brought you to Long Beach to get on this flight thing you're on?

ANDREW LELAND: So I'm legally blind, and I'm getting blinder at a very slow rate.

ANDREW LELAND: And I've been writing and thinking about disability-and in particular, blindness-a lot more intensively in the last couple of years as I've kind of hit a new level of vision. And it's put me in touch with the world of blindness. And I've been hearing about ...

ANDREW LELAND: ... a woman named Sheri Wells-Jensen for a while.

ANDREW LELAND: And it happened that Sheri is one of the key architects of this whole getting disabled people into space thing.

ANDREW LELAND: It's a pretty small town. Rural. And Sheri was born blind.

ANDREW LELAND: But she said most of her childhood felt like people ...

ANDREW LELAND: It was suffocating.

ANDREW LELAND: But she said she always had this place of refuge.

ANDREW LELAND: In her backyard.

[crickets, and music with long, calm tones]

ANDREW LELAND: And she said that even though she couldn't see the stars, she had that feeling.

ANDREW LELAND: That sense of awe.

ANDREW LELAND: And she said it was, in part, those nights in her backyard that made her want to become an astronomer.

[airey vibrating harp]

ANDREW LELAND: When she would say this to people, they were like, [dismissively] "Oh, yeah. Yes. Mm-hmm."

ANDREW LELAND: So she graduates high school, goes to college ...

ANDREW LELAND: She became a linguist.

ANDREW LELAND: Which is the search for extraterrestrial intelligence people.

ANDREW LELAND: And they'd gotten ahold of Sheri because she had developed a class in astrolinguistics, which is basically the study of ...

SHERI WELLS-JENSEN: [excitedly] What would a truly alien language be like?

ANDREW LELAND: How you're gonna communicate with aliens.

ANDREW LELAND: So she just starts reading anything she can find.

[music: roaming synth]

ANDREW LELAND: I think that was a turning point for her where she started to think maybe theory isn't enough.

ANDREW LELAND: And instead, she needed to think about people-disabled people, blind people in space, and what a blind astronaut would look like and how that would work.

ANDREW LELAND: And so in 2018, she sits down and writes this article for Scientific American called "The Case for Disabled Astronauts." And the thing I like about it is it's not this sort of bid for inclusion.

ANDREW LELAND: She's sort of making the case that, like, actually, disabled people would make for better astronauts, and they should actually be given a slight preference when you're picking your next flight.

ANDREW LELAND: Well, I mean, Sheri likes to say that, like, space is trying to kill you at all times.

ANDREW LELAND: I mean, space is, if you think about it, it's this weird, disabling environment.

ANDREW LELAND: And so her point is that people with disabilities, they're already kind of better prepared.
[ominous music, stern voice, alarm-like beeps]
ANDREW LELAND: It's built, by and large, for non-disabled people.

ANDREW LELAND: So one example is, back in 1997 on the Mir Space Station ...

ANDREW LELAND: And even though it was a pretty small fire, smoke starts billowing.

ANDREW LELAND: Now the astronauts aboard did get the fire out.

ANDREW LELAND: But it did take them 14 minutes to extinguish the fire.

ANDREW LELAND: Or another example. I don't think people realize that on a space station it's extremely loud.

[blare of ventilation droning]

ANDREW LELAND: [shouting over the noise] SO THIS IS AMBIENT SOUND OF THE INTERNATIONAL SPACE STATION.

ANDREW LELAND: It's quite loud.

LATIF: Yeah, that's pretty loud.

ANDREW LELAND: So there have even been reports of astronauts having hearing damage after spending a long time in space.

ANDREW LELAND: Noise doesn't matter.

ANDREW LELAND: Or imagine ...

[muffled, static-y radio communication.]

ANDREW LELAND: ... you're out on a space walk, and the radio just dies.

[Radio suddenly cuts out.]

ANDREW LELAND Well, might not be a problem ...

ANDREW LELAND: So every day, they have to ride on stationary bicycles and strap into this special space treadmill.

ANDREW LELAND: That's time you could spend doing anything else, like research.

SHERI WELLS-JENSEN: And that's not an argument about space. That's an argument about employment. That's an argument about parenting. That's the argument that people have when they allow blind parents to have their children removed. Like, "Oh, you can't possibly parent, you're blind. You can't possibly parent this child, you're disabled." And I'm just done tolerating that sort of stuff, right? Because that comes down to basic disrespect for other human beings, and allowing your own fear and your own headspace to contaminate the way you treat other human beings.

SHERI WELLS-JENSEN: I mean, I get it walking across campus. "How do you know where you're going? What do you think you're doing here? Is there a special program for you? Can I help you get somewhere?" Right? Not "Hello, nice day," but all the other things, right?

LULU: When we come back, we're going to Long Beach, California.

[exciting synths pick up again]

LULU: Radiolab will be back in a moment.

LULU: Radiolab. Back with burgeoning space astronaut ...

ANDREW LELAND: [chuckles]

LULU: ... reporter Andrew Leland. So you-okay, but so how do we go from Sheri, like, having this kind of amazing idea that seems borne of her childhood and borne of some real frustration and other things, into this article, great thinkpiece, loving it, clicking, to what the heck is happening?

LULU: Up-down in-in Long Beach?

ANDREW LELAND: Yeah. So Sheri put out that piece in the middle of 2018.

ANDREW LELAND: She gets a call from George T. Whitesides.

LULU: Dun dun duh-who the heck is that? [laughs]

ANDREW LELAND: He's the former chief of staff of NASA under Obama.

ANDREW LELAND: And also on the line was Anna Voelker.

ANDREW LELAND: They told Sherri, "We read your article. We've also been thinking about this stuff for a long time."

ANDREW LELAND: "Do you want to be a part of it?"

[music: persistent, cyclical, velvety notes ]

ANDREW LELAND: So on October 14, I went to Long Beach to see how this was all gonna play out. But also, I had a seat on the plane.

[music brightens, soars]

ANDREW LELAND: So I get my flight suit on. I go gather with everybody.

ANDREW LELAND: And after the welcome, I start meeting everybody. There are NASA people.

[music builds in speed and density. Exciting.]

ANDREW LELAND: Scientists. I meet George ...

ANDREW LELAND: ... T. Whitesides.

LULU: Does George T. Whitesides have long, white sideburns?

ANDREW LELAND: No, ma'am. He does not.

ANDREW LELAND: He's like, clean-cut Princeton guy.

ANDREW LELAND: And then I meet the crew.

ANDREW LELAND: ... the ambassadors.

ANDREW LELAND: There were 12 total. Two of them were deaf.

ANDREW LELAND: Six have mobility disabilities, which means they use a wheelchair or a

prosthetic. And four of them were blind.

ANDREW LELAND: One of whom was, of course ...

ANDREW LELAND: And so the plan for today is that all of us are gonna get on this plane and of what is called a parabolic flight.

[music stops]

LATIF: Right. And can you just-can you just explain, like, what that is, actually?

ANDREW LELAND: So really simply, you're on a plane.

[Music: Surging energy]

ANDREW LELAND: The plane starts to ascend, and somewhat violently up. Like, the nose is pointing 45 degrees into the sky. And then at, like, 32,000 feet, the pilot cuts the thrust of the engines and starts to level the plane back out.

[intense whirs replaced by gentle piano music by Debussy]

ANDREW LELAND: And it's in that moment, because of physics, gravity starts to get canceled out. And what you get is this little window of, like, 20 to 30 seconds where you feel weightless, where you feel like you're just floating in space.
[sound changes to catchy, 8-bit accordion]
ANDREW LELAND: Because on these flights, the most important thing is can you float up and then find your way back down to where you started from without hurting anybody? So before the flight, the blind crew was testing out these different ringtones ...

ANDREW LELAND: ... that might help them orient themselves. Because Sheri's like, we don't know what happens when you're blind in zero G.

[series of electronic sounds: flute twitter, snippet of a melody, chimes, siren, drum sticks]

ANDREW LELAND: Like, there's all these things they don't know.

[voices continue in the background]

ANDREW LELAND: How do you alert a deaf person that they need to get back to their seat?

ANDREW LELAND: Is it like a light?

ANDREW LELAND: In some ways, the fundamental question is just: what happens to you then you're disabled ...

[airplane idling]

[music: anticipatory, resonant plucks]

ANDREW LELAND: Sunday morning, 10:30 a.m., we all board this plane.

ANDREW LELAND: It's a normal plane except once you get inside, it's like you've entered a tube of toothpaste or something.

ANDREW LELAND: Well, in the main cabin there's no seats. And it's just lined with these, like, bright white gym mats. But in the back, there are a few rows of seats, and so I went and sat down there with everybody.

ANDREW LELAND: And apparently, there's an area in the far back of the plane called "The Pain Cave," where if you start to feel real bad you can go there ...

[Music stops]

ANDREW LELAND: Well, the plane is known as "The Vomit Comet."

LATIF: Oh, right. Because of the-duh.

ANDREW LELAND: But anyway ...

ANDREW LELAND: Doors close, and pretty quick ...

[Synthesizers rev]
[cheering and engine acceleration]
ANDREW LELAND: ... we take off.

ANDREW LELAND: And we fly out over the Pacific Ocean, north of San Francisco.

[music: synthesizers race in and out, building adrenaline]

ANDREW LELAND: And they start bringing people out into the main ...

ANDREW LELAND: ... area with the padding.

ANDREW LELAND: Everybody kind of takes their positions.

ANDREW LELAND: The blind crew's checking on their sound system. I see one guy lying on a mat who uses a wheelchair. He's got a strap around his legs.

ANDREW LELAND: Everybody's getting ready, and then ...

ANDREW LELAND: ... the plane starts climbing.

[Music ascends]

ANDREW LELAND: We get up to 20,000 feet. 25,000. 30,000.

ANDREW LELAND: And then at 32,000 feet ...

ANDREW LELAND: ... we enter zero gravity.

[music mellows suddenly]

ANDREW LELAND: And suddenly, people are just floating everywhere.

ANDREW LELAND: Bouncing off the walls.

ANDREW LELAND: And there are just all these bodies moving around in space. And it's

pretty chaotic.

ANDREW LELAND: And disorienting. But it's like, you get a peek into this other world and then it's like zhooop!

[background noise and music cuts]

ANDREW L ELAND: In, like, 20 seconds gravity's back.

ANDREW LELAND: So the plan is we're gonna do 15 parabolas. And as we keep going ...

ANDREW LELAND: ... I'm trying to get around and talk to people and observe things. And I'm in a snowglobe that a toddler is shaking every minute.

ANDREW LELAND: And then I find out later that the blind crew, those sound devices that they brought aren't working because it's too loud on the plane for them to hear. And every time I feel like I'm trying to get a handle on something, somebody starts yelling ...

ANDREW LELAND: "Feet down! Feet down!" But eventually, I do make my way up to the blind group.

ANDREW LELAND: And they're like ...

[music: graceful piano by Debussy resumes]

ANDREW LELAND: And as we all float up again, I start to realize that people are figuring it out. Like, they're all doing the thing. They're floating up off the floor and safely floating back down. And it's happening over and over again.

ANDREW LELAND: And while we were up there, we also did these parabolas that simulated...

ANDREW LELAND: ... gravity on the moon.

ANDREW LELAND: And gravity on Mars.

ANDREW LELAND: And at a certain point ...
[more yips and yells from the crowd]
ANDREW LELAND: ... I just felt overwhelmed. No one's in the Pain Cave, no one's getting sick. Like, they're able to do this.

ANDREW LELAND: So we make it back down to Earth.

ANDREW LELAND: We deplane. We have some snacks. There's lots of hugs. And that's pretty much it.

[Gentle synth melody]

LULU: So okay, they land and, like, scientifically what did the flight show us? Like, what did it prove?

ANDREW LELAND: They found that between 70 and 90 percent of the times that an ambassador left their yoga mat or their station, they were able to return to it.

LATIF: And that's like-how does that check against their expectations or ...?

ANDREW LELAND: I think they were very happy with that.

LULU: And was there-was it truly just like, can disabled people hack it in a space flight, or was there-was anyone looking specifically at could they make better astronauts than non-disabled people?

ANDREW LELAND: Honestly, I don't think that they were testing against non-disabled

astronauts on this flight.

ANDREW LELAND: I mean, it was a really tiny mission compared to being in actual space, you know, like to being an astronaut. But I will say that when I was on the plane, I did feel like there were some moments when that huge distance between what it takes to be an astronaut, to go on a mission to Mars, and what was happening on this plane, that huge distance felt like it started to collapse a little bit.

[music: slow floating synths]

ANDREW LELAND: Like, there was one moment with Mary Cooper, who's a Stanford undergrad who has a prosthetic leg, one of her goals was to, like, remove her prosthetic leg and reattach it in microgravity, you know? And so she did that test, which is fine. But then she also, like, took it off, held it in her hand and spun it.

[music swells, pulses]

ANDREW LELAND: So that it was, like, spinning on its axis and kind of rotating. You know, doing this very graceful microgravity balletic turn in space. And as her leg was just floating there between us, I just looked at her and I was like, "You are totally an astronaut right now."

[music simmers with possibility]

ANDREW LELAND: Sheri Wells-Jensen again.

[music fades out]

SHERI WELLS-JENSEN: But we didn't flick a switch and change the world. I can tell that by the next two times I went through airports. You know what I mean by my airport situation, right?

LATIF: Wait, what's the airport situation?

ANDREW LELAND: So after the flight, Sheri left Long Beach and flew up to Berkeley to visit some friends. And as she was getting off the plane and, like, walking up the jetway, these guys came up behind her and started directing her.

SHERI WELLS-JENSEN: [emphatically] "I would just like to walk down the freakin' jetway in peace. Could you stop?"

ANDREW LELAND: She's thinking, like, I just did this thing that, you know, is this brand new, never been done before historical thing, and these guys still can't conceive of me as being able to, like, walk in a hamster tube.

ANDREW LELAND: And I have to say I had my own sort of complicated upside down experience of watching these possibilities get pushed out further.

[Crowd chatter and joyful yelling. "Zero two..."]

[Celestial, pointillist, synth notes]

ANDREW LELAND: Like, around the end of the first set of parabolas ...

ANDREW LELAND: There was this moment where Eric and Sawyer, who were in the mobility group, sort of floated into standing positions.

ANDREW LELAND: And I started crying.

ANDREW LELAND: And I really didn't want to be crying.

ANDREW LELAND: And I felt really bad that I was crying. And ...

LATIF: Why would you feel bad about that?

ANDREW LELAND: It seemed to come out of this sense of liberation. That, like, you know, the wheelchair user-wheelchair-that, like, their disability had been erased and that's a thing to celebrate. Because that goes against everything that I'm trying to understand and sort of frame-situate myself towards, right? Like, I feel like as I become more blind, it's really complicated for me because, like, what I'm going through right now is a loss, and I'm experiencing it as a loss. Like, it's a literal loss, but there's all this emotional loss connected to it too. But at the same time, like, I am recognizing elements of blindness that are interesting. And, like, it's tricky. Like, part of me wants to, like, go with the Sheri route of being, like, "And maybe even it's making me better," you know? And I'm not there yet. But at the very least, I don't want to see disability as a negative trait that should be erased.

ANDREW LELAND: So after Sheri told me about her complicated reaction to the flight ...
And was I like-you know-do you think that my reaction was problematic in that way?
ANDREW LELAND: I told her about mine.

[music: rolling, expansive synths]

LULU: Reporter Andrew Leland.

LATIF: This episode was produced by Maria Paz Gutiérrez, Matt Kielty and Pat Walters. Jeremy Bloom contributed music and sound design. Production sound recording by Dan McCoy.

Thank you to so many people-here we go-all the Mission AstroAccess Ambassadors, including and especially Sheri Wells-Jensen, Dana Bolles, Apurva Varia, Eric Ingram, Mary Cooper, Mona Minkara, Sina Bahram, Zuby Onwuta, Ce-ce Mazyck, Viktoria Modesta, Eric Shear and Sawyer Rosenstein.

Plus additional thanks to George Whitesides, Anna Voelker, Ann Kapusta, Jamie Molaro, Erik Virre, J.D. Polk, Cady Coleman, Shannon Finnegan, Sharon von See, April Jackson, Eboni Gaytan, and Annie Dieckman.
-30- New York Public Radio transcripts are created on a rush deadline, often by contractors. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of programming is the audio record.
LATIF: I'm Latif Nasser. This is Radiolab. Thank you for listening.

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DOWNLOAD BRAILLE READY FILE HERE [RADIOLAB INTRO] LATIF NASSER: Hey, I'm Latif Nasser. LULU MILLER: I'm Lulu Miller. This is Radiolab. [Scratchy zipper] LULU MILLER: And today we're gonna start ... [background rumble, propeller noise] ANDREW LELAND: All right, here we go LULU: With reporter Andrew Leland.

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Learn more about Carl Sagan, the scientist for whom the planet Sagan is named. Why do you think Barba Higuera names a planet after him?

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Here is a short video that imagines a dystopia in a place called "Autodale." Pay attention to similarities between this story and other dystopias you've read this year.

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"Model Citizen" | Dystopian Animated Short Film (2020)

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nytimes.com-A Future for People With Disabilities in Outer Space Takes Flight

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Petra and her family are headed to Sagan- here's where we stand (circa 2017) on the colonization of other planets.

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Halley is often called the most famous comet because it marked the first time astronomers understood comets could be repeat visitors to our night skies. Astronomers have now linked the comet's appearances to observations dating back more than 2,000 years.

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Halley is often called the most famous comet because it marked the first time astronomers understood comets could be repeat visitors to our night skies. Astronomers have now linked the comet’s appearances to observations dating back more than 2,000 years. Halley was last seen in Earth’s skies in 1986 and was met in space by […]