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'Grandfather and Grandmother telling lots of stories. They had to live at Yalata. Their home was bombed. That was their home where the bomb went off. They thought it was mamu tjuta, evil spirits, coming. Everyone was frightened, thinking about people back in the bush. Didn't know what bomb was. Later told it was poison. Parents and grandparents really wanted to go home, used to talk all the time to get their land back.' Yvonne Edwards was just six years old when the first bombs of the nuclear tests at Maralinga were detonated in 1956. The tests continued until 1963 and their consequences profoundly affected her family and community. This powerful book, by award-winning author Christobel Mattingley, honours Yvonne Edwards' legacy as a highly respected artist and community elder.
Grappling with the Bomb is a history of Britain’s 1950s program to test the hydrogen bomb, code name Operation Grapple. In 1957–58, nine atmospheric nuclear tests were held at Malden Island and Christmas Island—today, part of the Pacific nation of Kiribati. Nearly 14,000 troops travelled to the central Pacific for the UK nuclear testing program—many are still living with the health and environmental consequences. Based on archival research and interviews with nuclear survivors, Grappling with the Bomb presents i-Kiribati woman Sui Kiritome, British pacifist Harold Steele, businessman James Burns, Fijian sailor Paul Ah Poy, English volunteers Mary and Billie Burgess and many other witnesses to Britain’s nuclear folly.
'Maralinga - the Anangu Story is our story. We have told it for our children, our grandchildren and their children. We have told it for you.' In words and pictures Yalata and Oak Valley community members, with author Christobel Mattingley, describe what happened in the Maralinga Tjarutja lands of South Australia before the bombs and after.
Embracing a rich diversity of voices, this volume seeks to explore the different facets of Anthropocene naturecultures in the desert biomes of the Global South and beyond. Essays in this collection will articulate issues of desertification, indigeneity and re-inhabitation in narratives that thread together Tibet, China, Australia, India, South Mexico, South Africa and Brazil in all their richness and complexity. Re-imaging the desert figure’s rich biodiversity, this book presents new ways to envision the human relationships to natural ecology and mindful accountability, tracing complex narrative connections and challenging hegemonic norms of its role in the co-construction of identity, affect, and gender. Essays also aim to engage in an intertextual conversation with colonial genres that influence the popular conception of these spaces, moving beyond the usual tropes to forge a topographically informed desert identity and posit a ‘natureculture’ ecosystem based on the interpenetration of landscape, culture, and history. This volume includes literary exploration of environmental injustices, analyzing motifs of deforestation, land degradation, falling crop production, toxic man-made chemicals, and extractivist practices linked to various social and economic stressors and gradients in economic and political power. This diverse volume will provide a significant contribution to desert humanities from the Global South, responding to the pressing problems of the Anthropocene and employing place-based ecocritical frameworks that help us imagine a sustainable way of life.
Maralinga. A uniquely Australian tourist destination. A remote site in the State of South Australia where thousands of Service personnel, mainly British and Australian, witnessed the deliberate contamination of pristine Australian bush with plutonium. Maralinga, where Britain exploded 22 atomic bombs in the 1950s and 60s. 15 of those bombs were exploded in the infamous Vixen B trials in a manner which spread plutonium over hundreds of square kilometres. This is the inside story of the clean-up of a tiny fraction of the contaminated area. It is the story of how workmen in sealed vehicles scraped up thousands of tonnes of contaminated soil and transferred it to a huge burial trench. It is also the story of how thousands of tonnes of debris, contaminated with plutonium, were to have been treated in a manner considered by both British and Australian specialists to be ideal, was turned into a botched job by a group with no nuclear expertise in order to save money. It is the story of how the outcome was declared world’s best practice by the newly formed Australian nuclear regulator, and was praised by the Australian government, but condemned by the federal opposition party. Maralinga has been returned to the Aboriginal owners, and tourists can now take their four-wheel drive vehicles to the site. They can walk on the cleaned area and learn something of the history. This book tells the rest.
The Cold War reconsidered as a limited nuclear war "[A] grimly important analysis of the cold war."--Andrew Robinson, Nature "Inexorable clarity and care for his fellow humans mark Robert Jacobs's guide to the Cold War as a limited nuclear war, whose harms disfigure any possible future."--Norma Field, author of In the Realm of a Dying Emperor: Japan at Century's End In the fall of 1961, President Kennedy somberly warned Americans about deadly radioactive fallout clouds extending hundreds of miles from H-bomb detonations, yet he approved ninety-six U.S. nuclear weapon tests for 1962. Cold War nuclear testing, production, and disasters like Chernobyl and Fukushima have exposed millions to dangerous radioactive particles; these millions are the global hibakusha. Many communities continue to be plagued with dire legacies and ongoing risks: sickness and early mortality, forced displacement, uncertainty and anxiety, dislocation from ancestors and traditional lifestyles, and contamination of food sources and ecosystems. Robert A. Jacobs re-envisions the history of the Cold War as a slow nuclear war, fought on remote battlegrounds against populations powerless to prevent the contamination of their lands and bodies. His comprehensive account necessitates a profound rethinking of the meaning, costs, and legacies of our embrace of nuclear weapons and technologies.
Since the first atomic weapon was detonated in 1945, Canadians have debated not only the role of nuclear power in their uranium-rich land but also their country’s role in a nuclear world. Should Canada belong to international alliances that depend on the threat of nuclear weapons for their own security? Should Canadian-produced nuclear technologies be exported? What about the impact of atomic research on local communities and the environment? This incisive nuclear history engages with much larger debates about national identity, Canadian foreign policy contradictions during the Cold War, and Canada’s global standing to investigate these critical questions.
Environmental art or ‘ecoart’ is a burgeoning field and includes a wide variety of practices, some of which are exemplified in this collection: from sculptures or installations made from discarded rubbish to intimate ephemeral artworks placed in the natural environment, or from theatrical presentations incorporated into environmental education programs to socially critical paintings. In some cases, the artworks aim to create indignation in the viewer, sometimes to educate, sometimes to create a feeling of empathy for the natural environment, or sometimes they are built into community building projects. This timely book examines various roles of the arts in building ecological sustainability. A wide range of practitioners is represented, including visual and performing artists, scientists, social researchers, environmental educators and research students. They are all united in this text in their belief that the arts are vital in the building of sustainability – in the way that they are practiced, but also the connections they make to ecology, science and indigenous culture.
More than a decade after the Fukushima Daiichi nuclear disaster, what we are witnessing is not a Second Nuclear Age – there is no post-atomic – but an uncanny, quiet return of the nuclear threat that so vividly animated the Cold War era. The renewed threat of nuclear proliferation, public complacency regarding weapons stockpiles, and the lack of a single functioning long-term repository after seventy years and thousands of tonnes of nuclear waste reveals the industry’s capacity for self-reinvention abetted by an ever-present capacity to forget. More than “fabulously textual,” as Jacques Derrida described it, the protean, unbound, and unending materiality of the nuclear is here to stay: resistance is crucial. Toxic Immanence introduces contemporary interdisciplinary perspectives that resist and decolonize the nuclear. Contributors highlight the prevalence and irrationality of slow violence and colonial governance as elements of the contemporary nuclear age. They propose a reappraisal of Cold War-era anti-nuclear art as well as pop culture representations of nuclear disaster, while decolonizing pedagogies advance the role of education in communicating and understanding the lethality of nuclear complexes. Collectively, the essays develop a robust critical discourse across fields of nuclear knowledge and integrate the work of the nuclear humanities with environmental justice and Indigenous rights activism. This reach across ways of knowing extends artistically: the poetry and photography included in this volume offer visions of past and present nuclear legacies. Conceived as a critical reflection on the potential of nuclear humanities, Toxic Immanence offers intellectual strategies for resisting and abolishing the global nuclear regime.
Award-winning poet, critic, editor and academic Sarah Holland-Batt takes the helm again as editor of this year’s Best Australian Poems. Previous contributors include Judith Beveridge, Stephen Edgar, Fiona Wright, Clive James, Lisa Gorton, Robert Adamson, Dorothy Porter, John Kinsella, David Malouf, Cate Kennedy and Les Murray. Sarah Holland-Batt is the author of The Hazards (UQP, 2015), which won the poetry prize at the 2016 Prime Minister's Literary Awards, and Aria (UQP, 2008), which won the Thomas Shapcott Poetry Prize, the Arts ACT Judith Wright Award, and the FAW Anne Elder Award and was shortlisted in both the New South Wales and Queensland Premiers’ Literary Awards. She is presently a Senior Lecturer in Creative Writing at the Queensland University of Technology and the poetry editor of Island.