Atomic Comics: Cartoonists Confront the Nuclear World

Acknowledgments

xvii i n the fall of 2010, several months after my husband, Ferenc Morton Szasz, lost his struggle with leukemia, I met with Matt Becker, acquisitions editor for the University of Nevada Press, to discuss the manuscript of “Atomic Comics” that Ferenc had submitted earlier that year. The theme of this study had long been one of his keen interests, and he was eager to have it in print. The professional expertise of the University of Nevada Press staff has made this possible, and I would like to thank Matt Becker, Barbara Berlin, and Kathleen Szawiola, as well as Kimberly glyder, who created the cover for the book. I am also indebted to Chris garretson Bradley, who typed the original manuscript, acquired the illustration permissions, and shared with me the responsibility for responding to queries from copy editor John Mulvihill. The staff of the University of New Mexico Department of History contributed in many ways throughout the process, and I am indebted to Dana Ellison, Yolanda Martinez, Barbara Wafer, and Helen Ferguson. I owe further thanks to John Byram, director of the University of New Mexico Press, for responding quickly to a last-minute request. Eric garretson and Maria Szasz are always there when I need them. During the BBC radio coverage of the tenth anniversary of 9/11, one person observed: “We all live in the shadow of apocalyptic nuclear things.” By deploying a unique approach to this issue, atomic comics have boosted our understanding of the omnipresent nuclear shadow. Ferenc Szasz brings this concept to the foreground in his groundbreaking assessment of the role of atomic comics in the nuclear age. A C K N O W L E D G M E N T S M a r g a r e t c o n n e l l - s z a s z AT O M I C C O M I C S ...