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In the late 1980s it was felt that World War III could start in the Pacific. Long regarded by the USA as an American lake, the Pacific was now a focus of competition between the superpowers. The USSR, whose nuclear-arms navy was limited to their north Pacific ports, now had a major new naval base at Cam Ranh Bay in Vietnam. In response to this new threat, the Americans were planning more urgently for nuclear war in the Pacific, adding to their own mighty arsenal in the region and taunting the Soviets with aggressive surveillance and military exercises. The Soviets did the same. For 40 years, Pacific Islanders have had cause to resent the use of their ocean as a nuclear playground: of the five nuclear powers, three – the USA, USSR and China – launched missiles into the Pacific for text purposes; two – the USA and Britain – exploded nuclear devices there but had stopped; and one, France, continued to test nuclear bombs in one of its colonies. Pacific Islanders now have cause to fear that the ocean is becoming a nuclear battleground. Originally published in 1987, this book tells the story of the nuclear men in the Pacific and of those people they ‘displaced’ and irradiated. It is also about what these people and their governments had begun to do in response. The nuclear issue had transformed the political landscape of Micronesia and the South Pacific in the 1980s, loosening the US grip and making the French increasingly unpopular. The people of these remote communities, largely forgotten or considered dispensable, had a nuclear past made for them. Now they want to make their own future.
A transnational and transmedia companion to the post-millennial GothicKey FeaturesCovers key areas and themes of the post-millennial Gothic as well as developments in the field and revisions of the Gothic traditionConsitutes the first thematic compendium to this area with a transmedia (literature, film and television) and transnational approachCovers a plurality of texts, from novels such as Stephenie Meyer's Twilight (2005), Helen Oyeyemi's White Is for Witching (2009), Justin Cronin's The Passage (2010) and M.R. Carey's The Girl with All the Gifts (2014), to films such as Kairo (2001), Juan of the Dead (2012) and The Darkside (2013), to series such as Dante's Cove (2005-7), Hemlock Grove (2013-15), Penny Dreadful (2014-16) Black Mirror (2011-) and even the Slenderman mythos.This resource in contemporary Gothic literature, film and television takes a thematic approach, providing insights into the many forms the Gothic has taken in the twenty-first century. The 20 newly commissioned chapters cover emerging and expanding research areas, such as digital technologies, queer identity, the New Weird and postfeminism. They also discuss contemporary Gothic monsters - including zombies, vampires and werewolves - and highlight Ethnogothic forms such as Asian and Black Diasporic Gothic.
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.
During the 1970s, hundreds of thousands of people across Western Europe protested against civil nuclear energy. Nowhere were they more visible than in France and Germany-two countries where environmentalism seems to have diverged greatly since. This volume recovers the shared, transnational history of the early anti-nuclear movement, showing how low-level interactions among diverse activists led to far-reaching changes in both countries. Because nuclear energy was such a multivalent symbol, protest against it was simultaneously broad-based and highly fragmented. 'Concerned citizens' in communities near planned facilities felt that nuclear technology represented an outside intervention that potentially threatened their health, material existence, and way of life. In the decade after 1968, their concerns coalesced with more overtly 'political' criticisms of consumer society, the state, and militarism. Farmers, housewives, hippies, anarchists, and many more who defied categorization joined forces to oppose nuclear power, but the movement remained internally contradictory and outwardly unpredictable-not least with regard to violence at demonstrations. By analyzing the transnational dimensions, diverse outcomes, and internal divisions of anti-nuclear protest, Better Active than Radioactive! provides an encompassing and nuanced understanding of one of the largest 'New Social Movements' in post-war Western Europe and situates it within a decade of upheaval and protest. Drawing extensively on oral history interviews as well as police, media, and activist sources, this volume tells the story of the people behind the protests, showing how individuals at the grassroots built up a movement that transcended national borders as well as political and social differences.
From the dawn of the atomic age, art and popular culture have played an essential role interpreting nuclear issues to the public and investigating the implications of nuclear weapons to the future of human civilization. Political and social forces often seemed paralyzed in thinking beyond the advent of nuclear weapons and articulating a creative response to the dilemma posed by this apocalyptic technology. Art and popular culture are uniquely suited to grapple with the implications of the bomb and the disruptions in the continuity of traditional narratives about the human future endemic to the atomic age. Filling the Hole in the Nuclear Future explores the diversity of visions evoked in American and Japanese society by the mushroom cloud hanging over the future of humanity during the last half of the twentieth century. It presents historical scholarship on art and popular culture alongside the work of artists responding to the bomb, as well as artists discussing their own work. From the effect of nuclear testing on sci-fi movies during the mid-fifties in both the U.S. and Japan, to the socially engaged visual discussion about power embodied in Japanese manga, Filling the Hole in the Nuclear Future takes readers into unexpected territory
A chilling account of more than half a century of nuclear catastrophes, by the author of the “definitive” (Economist) Cold War history, Nuclear Folly. Almost 145,000 Americans fled their homes in and around Harrisburg, Pennsylvania, in late March 1979, hoping to save themselves from an invisible enemy: radiation. The reactor at the nearby Three Mile Island nuclear power plant had gone into partial meltdown, and scientists feared an explosion that could spread radiation throughout the eastern United States. Thankfully, the explosion never took place—but the accident left deep scars in the American psyche, all but ending the nation’s love affair with nuclear power. In Atoms and Ashes, Serhii Plokhy recounts the dramatic history of Three Mile Island and five more accidents that that have dogged the nuclear industry in its military and civil incarnations: the disastrous fallout caused by the testing of the hydrogen bomb in the Bikini Atoll in 1954; the Kyshtym nuclear disaster in the USSR, which polluted a good part of the Urals; the Windscale fire, the worst nuclear accident in the UK’s history; back to the USSR with Chernobyl, the result of a flawed reactor design leading to the exodus of 350,000 people; and, most recently, Fukushima in Japan, triggered by an earthquake and a tsunami, a disaster on a par with Chernobyl and whose clean-up will not take place in our lifetime. Through the stories of these six terrifying incidents, Plokhy explores the risks of nuclear power, both for military and peaceful purposes, while offering a vivid account of how individuals and governments make decisions under extraordinary circumstances. Today, there are 440 nuclear reactors operating throughout the world, with nuclear power providing 10 percent of global electricity. Yet as the world seeks to reduce carbon emissions to combat climate change, the question arises: Just how safe is nuclear energy?
'Spying on the Bomb' focuses on the past & present nuclear activities of various countries, intermingling what the US believed was happening with accounts of what actually occurred in each country's laboratories, test sites and decision-making councils.
Although New Zealander Lord Rutherford was the first to split the atom, the country has since been known around the world for its nuclear-free stance. In this engaging and accessible book, an alternative history is revealed of "nuclear New Zealand"—when there was much enthusiasm for nuclear science and technology. From the first users of X-rays and radium in medicine to the plans for a nuclear power station on the Kaipara Harbour, this account uncovers the long and rich history of New Zealanders' engagement with the nuclear world and the roots of its nuclear-free identity.
The first edited collection to bring ecocritical studies into a necessary dialogue with postcolonial literature, this volume offers rich and suggestive ways to explore the relationship between humans and nature around the globe, drawing from texts from Africa and the Caribbean, as well as the Pacific Islands and South Asia. Turning to contemporary works by both well- and little-known postcolonial writers, the diverse contributions highlight the literary imagination as crucial to representing what Eduoard Glissant calls the "aesthetics of the earth." The essays are organized around a group of thematic concerns that engage culture and cultivation, arboriculture and deforestation, the lives of animals, and the relationship between the military and the tourist industry. With chapters that address works by J. M. Coetzee, Kiran Desai, Derek Walcott, Alejo Carpentier, Zakes Mda, and many others, Postcolonial Ecologies makes a remarkable contribution to rethinking the role of the humanities in addressing global environmental issues.