Cover

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pp. 1-3

Title Page, Copyright

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pp. 4-5

Contents

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pp. v-vi

Acknowledgments

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pp. vii-x

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Introduction: Mapping Ground Zero in Postwar America

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pp. 1-30

Since the genre’s inception in August 1945, atomic narrative has located its characters with painstaking precision with respect to the bomb. Most of the footnotes in Michihiko Hachiya’s Hiroshima Diary (1955) record distances from various possible blast sites to the location of wounded friends and narrators; in Hiroshima (1946) John Hersey records the exact yardage between the...

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1. "Extraordinarily Convenient Neighbors": Servant-Savior-Savants in White-Authored Post-Nuclear Novels

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pp. 31-54

In the introduction, I referred to a map positioned at the narrative moment of nuclear impact in Philip Wylie’s Tomorrow!, which itself positioned the “Negro District” at the literal dead center of ground zero. This layout reflects the demographic realities of mid- and large-sized cities in the postwar period—an inner city inhabited mainly by persons of color surrounded by racially...

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2. "Tomorrow's Children": Interracial Conflict and Resolution in Atomic-Era Science Fiction and Afro-Futurism

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pp. 55-100

In a remarkable story called “The Equalizer” (Williamson), published in Astounding Science Fiction in early 1947, a group of space-traveling scientists and military advisors return to Earth when an abrupt halt to communication from the home planet (attributed later to nuclear war) raises concern. The repatriated men land their space craft at “Fort America,” where a president-dictator...

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3. Sidebar: Covering the Bomb in the African American Press

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pp. 101-136

Across the front page of the Chicago Defender, 27 October 1962, James Meredith’s heroic attempt to integrate the University of Mississippi predominates. Though the story had broken weeks earlier, the Defender probed further in this week’s edition, including a recap of Meredith’s first days on campus; a headline on Meredith’s wife, now also to enroll at Ole Miss; and a serene...

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4. Against the "Starless Midnight of Racism and War": African American Intellectuals and the Anti-Nuclear Agenda

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pp. 137-170

Early in Lorraine Hansberry’s masterwork A Raisin in the Sun (1959), an anxious and distracted Walter Younger reads the paper, as per the playwright’s stage directions, “vaguely” and announces to his estranged wife Ruth, “Set off another bomb yesterday” (1.1.6). The average postwar playgoer—and even the skilled contemporary critic (e.g., Matthews 556)—approaching this renowned...

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5. Last Man Standing: Sex and Survival in the Interracial Apocalyptic

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pp. 171-202

“When it comes,” observed Norman Mailer at a climactic moment in his Beat classic “The White Negro” (1957), “miscegenation will be a terror” (292), and he described this terror in suggestively post-nuclear terms. Though Mailer denounces the bomb and the moods of fear and conformity it has instilled, he deploys the atomic metaphor positively through the later...

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Conclusion: "Don't Drop It, Stop It, Bebop It": Some Final Notes on Race, Place, and the Atom Bomb in Postwar America

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pp. 203-212

In January 1951, the Los Angeles R&B artist Frankie Ervin recorded “I’d Rather Live like a Hermit,” in which he informs some “jive cats standing on the corner” that they had “better find some place to hide, / Because when those bombs start falling, / You gonna jump right out o’ your hide.” Ervin’s “Hermit” is one of dozens of atomic-themed novelty songs performed by...

Notes

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pp. 213-224

Works Cited

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pp. 225-248

Index

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pp. 249-254