Yet, all things considered, both movie and book stand up quite well in the light of these discoveries, and it is fascinating to compare the Jupiter sequences in the film with the actual movies from the Voyager cameras. But clearly, anything written today has to incorporate the results of the 1979 explorations: the moons of Jupiter are no longer uncharted territory.

And there is another, more subtle, psychological factor to be taken into consideration. 2001 was written in an age that now lies beyond one of the Great Divides in human history; we are sundered from it forever by the moment when Neil Armstrong set foot upon the Moon. The date 20 July 1969 was still half a decade in the future when Stanley Kubrick and I started thinking about the 'proverbial good science-fiction movie' (his phrase). Now history and fiction have become inextricably intertwined.

The Apollo astronauts had already seen the film when they left for the Moon. The crew of Apollo 8, who at Christmas 1968 became the first men ever to set eyes upon the Lunar Farside, told me that they had been tempted to radio back the discovery of a large black monolith: alas, discretion prevailed.

And there were, later, almost uncanny instances of nature imitating art. Strangest of all was the saga of Apollo 13 in 1970.

As a good opening, the Command Module, which houses the crew, had been christened Odyssey, Just before the explosion of the oxygen tank that caused the mission to be aborted, the crew had been playing Richard Strauss's Zarathustra theme, now universally identified with the movie. Immediately after the loss of power, Jack Swigert radioed back to Mission Control: 'Houston, we've had a problem.' The words that Hal used to astronaut Frank Poole on a similar occasion were: 'Sorry to interrupt the festivities, but we have a problem.'