There’s an ashtray for every barstool, and the pool table is right in the doorway, and beyond that there’s lots of room for two-stepping or staggering. I’m in Truth or Consequences at the Pine Knot Saloon on an uncharacteristically frigid New Mexico day in late November. On my drive in, the local radio had bemoaned Virgin Galactic failing to begin operations from Spaceport America in 2013. Richard Branson would not, they said, rocket to the edge of space with his kids on Christmas as he had hoped. Galactic would not be ready to fly for another year. Nobody at the Pine Knot seems too bothered by the news. There’s a man lying on a bench beside a telephone booth, napping before his night shift. Three guys slowly orbit a game of pool. Everything in the saloon is pine and covered in a little bit of sweat from joy and a little bit of sweat from toil, and there’s that thick bar air from years of liquor-swelled dreams that don’t quite break but just get stagnant and hang around.

The Pine Knot is the only bar in Truth or Consequences, a town with a population of about 6,400 and an annual median income south of $22,000. The largest employers are Wal-Mart and the public schools. Half the storefronts in the historic downtown are shuttered. Main Street stays pretty empty except for an Art Hop one night a month, when you can buy any kind of turquoise jewelry or Navajo rug or get your tarot read by Christopher the Bohemian Vagabond. The real treasure of downtown is its spas, which are fueled by countless natural hot springs. The name of this town was, in fact, Hot Springs until Ralph Edwards held a contest in 1950 that required the winner to rename itself after his popular radio show, Truth or Consequences. Though a handful of citizens moved out in protest, the name stuck. Now, 60 years later, their identity is on the brink of another unlikely and controversial makeover.

I’m hanging around the Pine Knot waiting to get a good look at Spaceport America. I’m sort of obsessed with it because I lived most of my life just on the other side of the mountains in a town called Alamogordo. I grew up gazing at these New Mexico skies. When I attended the 2007 XPRIZE Cup held near Alamogordo I stood next to a mock-up of a Galactic spaceship and told a local news crew that I aimed to be the first-ever poet in space. The poetry thing hasn’t worked out, but here I am still wondering if I’ll ever be able to wake up one morning in my own bed and then spend the afternoon weightless. But tonight I’m stuck at the bar because the one road leading out to the spaceport is down to one lane and that one lane is frozen over.

Even though I’ve visited Spaceport America once before, my experience of it wasn’t matching the hype. New Mexico Tourism Secretary Monique Jacobson had told me, “It can become an iconic destination like the Sydney Opera House or the Statue of Liberty.” Christine Anderson, executive director of New Mexico Spaceport Authority, also likened the building to the Sydney Opera House and told me it is an “iconic jewel in the desert.” Richard Branson (whose representatives at Galactic declined interview requests for this story) said at a 2011 dedication ceremony, “It could be one of the Seven Wonders.” I want to look at it again the way any of us want to look the future in the eye, to know for sure whether Spaceport America represents a paradigm shift for human travel or a boondoggle for one of the poorest states in the nation or a carnival fad for the 1 percent or a cathedral for a new kind of space-age spirituality.

When I ask the guys at the pool table if this is, in fact, the closest bar to the spaceport, they respond with an incredulous “Huh?” They’re aware of the spaceport’s existence, but they don’t know why I’d care to ask about it because, as they say again and again, not much is going on out there. Nobody’s flying to space.

Or, almost nobody. Bonnie, who calls herself a "sometimes employee" of the bar, smokes and smokes and tells me all about the “ashes of dead people that get launched into space over there.”

“That old guy from Star Trek and some astronauts,” she says. “They pay a bunch of money to just shoot their ashes in the air. Into space! And so we have to just … What? ... Breathe them in?”

In the absence of Galactic operations, the only passengers who have lifted off from Spaceport America are the cremated remains of people whose families have paid UP Aerospace to launch their dead loved ones on a final joyride.

UP Aerospace is one of a few small commercial space startups that have been operating at Spaceport America over the last eight years. Together those startups have conducted 20 launches. But these have been relatively small rockets at a vertical launchpad secondary to the prized Virgin Galactic terminal, and they create a minuscule fraction of the revenue needed to operate the spaceport. UP Aerospace’s first operation, the first launch from Spaceport America in 2006, malfunctioned well before it got suborbital, crashed, and spilled the ashes of a veterinarian in the desert. Celestis is the company handling sales of space burials for clients like James Doohan (“that old guy from Star Trek”) and Gordon Cooper (the last of America’s Right Stuff astronauts to orbit Earth in Project Mercury). About its burials the company says, “Celestis missions are environmentally friendly in that no cremated remains are released into space.”

Bonnie assures me, though, that some of those ashes from Spaceport America’s first “tourist” are still scattered out there in the desert.