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Following World War II, the onset of nuclear weapons, long-range jet bombers, and ballistic missiles radically changed American foreign policy and military strategy. The United States Air Force, led by men of far-sighted vision and uncommon dedication, accepted the challenge of organizing and leading a massive research and development effort to build ballistic missiles. In the quarter of the century since, these weapons have constituted one of the tree legs of the strategic triad, the basis of America's strategy of deterring nuclear war, yet they have received less attention from the public and within the Air Force than the more glamorous manned bombers of the Strategic Air Command or the missile-launching submarines of the U.S. Navy. This volume attempts to correct the imbalance by telling the story of development of Air Force ballistic Missiles. It concentrates on the first generation of ballistic missiles: the intercontinental Atlas and Titan, and the intermediate range Thor. Although the effort to develop rockets has a longer history than commonly assumed, the modern history spans the relatively short era from 1945 to 1960. During this brief interval, missiles advanced from drawing board to alert status, where the next generation now remains poised to deter war.

The LGBT agenda for too long has been dominated by pragmatic issues like same-sex marriage and gays in the military. It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist. Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, Jose Esteban Munoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future. In a startling repudiation of what the LGBT movement has held dear, Munoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

The LGBT agenda for too long has been dominated by pragmatic issues like same-sex marriage and gays in the military. It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist. Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, Jose Esteban Munoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future. In a startling repudiation of what the LGBT movement has held dear, Munoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.