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It was the weapon to end all weapons: the doomsday device. A huge nuclear bomb so powerful that it could envelop the entire planet in a cloud of radioactive dust, and bring about instant extinction. This is the untold story of the Cold War’s most insane plan, the men behind it and how it nearly happened. It is also the history of humanity’s nightmare vision of a superweapon, showing how popular culture, from the stories of H. G. Wells and Jules Verne to films such as Planet of the Apes, Mad Max and Dr Strangelove itself have both shaped and reflected our darkest dreams.
In this volume the author describes more than 3000 short stories, novels, and plays with science fiction elements, from earliest times to 1930. He includes imaginary voyages, utopias, Victorian boys' books, dime novels, pulp magazine stories, British scientific romances and mainstream work with science fiction elements. Many of these publications are extremely rare, surviving in only a handful of copies, and most of them have never been described before.
This volume describes how the initiation of young girls into the sexual practices of the commune became a major source of conflict. The study appraises information about the history, practices, organization, and principles of Oneida.
In this book, Michael Gardiner suggests that the conception of the ‘war-ending’ weapon was tied up with a longer commitment to unified space and singular progress. The mission for total weapons can be seen rising with the highly-technical defensive war of the later nineteenth century, and passing through twentieth century atomic research, then the targeting of the outsides of commercial empire, and the post-war consensus with deterrence as its foundation. The end of the Cold War brought an opportunity to fully naturalise deterrence, but also brought a tacit acceptance of nuclear violence while forms of violence against the individual were rigorously sought out. If the world-unifying role of deterrence has always been undermined by the rise of rival empires, it has also been questioned by critical communities including the consensus-sceptics of the 1950s–60s, 1980s–90s Nuclear Criticism and readers of ‘nuclear ism’, millennial campaigns for Scottish independence, and twenty-first century descriptions of nuclear colonialism. Recently it has become more obvious that an Anglosphere concept of ‘worldly’ deterrence was bound to a singular and ultimately nihilistic idea of progress.[bio]Michael Gardiner is Professor in the Department of English and Comparative Literature at the University of Warwick.
Learning of the existence of rare footage of Bela Lugosi's screen test for the part of Frankenstein's monster, Valentino discovers that a ruthless adversary has been killing people to get his hands on the long-missing film.