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After the carnage of World War Two, a murder in the desert of New Mexico seems barely significant. The result of a drunken brawl, perhaps. Or a crime of passion. Even a simple robbery gone too far, not important in the year that will see the end of the devastating global conflIct. But for the people 'on the Hill' at Los Alamos, the unsolved killing of Karl Bruner is a catastrophe. For Karl shouldered some of the responsibility for the security of their 'project', was privy to information about the 'gadget'. so if his murder had anything to do with his work, then it could mean that the best-kept secret in history had been leaked. For the project is the Manhattan Project, and the gadget is the Atom Bomb. Michael Connolly is sent to Los Alamos to investigate the death. A civilian and an ex-reporter, he is renowned for sniffing out a story and for being discreet. But in a community that doesn't officially exist, discretion and secrecy are second nature to everyone. Secrets abound and the scientists, their wives and the soldiers are being watched-as are the watchers themselves. For Connolly, it means stepping into a twilight world where reality- and morality- has become distorted, when breaking the frontiers of science is more important than finding the truth. He knew the investigation would be dangerous, but he didn't know that the cold War had already started, and that he will develop a secret, passionate life with another man's wife. An espionage novel of unique sensibilities, Los Alamos is also, like the invention at its core, about fusion. fusing together fact and fiction, loyalty and betrayal, idealism and guilt, love and hate, it heralds the arrival of a remarkable new voice in fiction.

The story of Los Alamos and the Pajarito Plateau begins with explosive eruptions. An ancient volcano in northern New Mexico created the mountainous region known as the Jemez, and with time, erosion sculpted narrow mesas and canyons. The first residents were Native Americans. One of their many pueblos was called Tsirege, or the "bird place," from which the name Pajarito originates, meaning "little bird" in Spanish. Homesteaders arrived in the 1880s, but the area was sparsely settled. In 1917, former Rough Rider Ashley Pond started the exclusive Los Alamos Ranch School in the isolated setting, but in 1942 the US government took an interest in that isolation. They abruptly closed the school, and Los Alamos became a secret military post. There, under J. Robert Oppenheimer's leadership, the atomic bomb was created. Postwar housing shortages, Cold War threats, and disastrous fires have challenged Los Alamos, yet it has endured as a place of unique history and natural beauty.

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Twenty-five years before the Manhattan Project created the town of Los Alamos, the Pajarito Plateau was home to an elite prep school for boys, ages twelve to eighteen. The Los Alamos Ranch School combined a robust outdoor life and a carefully cultivated wilderness experience with a rigorous academic program and the structured discipline of a Boy Scout troop, perfectly mirroring the Progressive Era's quest for perfection. John Wirth's father, Cecil, taught at the school and directed its summer camp. John spent his early childhood at the school along with his brother Tim, later a U.S. Senator from Colorado. Drawing on oral accounts, memoirs, and archival documents, as well as John's firsthand knowledge and family lore, the authors situate the school within the educational trends of the day and New Mexico's cultural milieu. Wirth and Aldrich examine the influence of the school's controversial director, Albert J. Connell, who was roundly disliked by two of the best-known students, Gore Vidal and William S. Burroughs. Many other students reported their time at the school to be a profoundly positive, often life-changing, experience. Additional chapters recount the growing-up experiences of ranch workers' children and the role the school played in their lives and those of area residents.

Former administrator of the Bradbury Science Museum of the Los Alamos National Laboratory. Several pages of photographs. 110p. Index.

Growing up in the shadow of the Los Alamos National Laboratory (LANL) the author, Chuck Montano, was thrilled to land a job there. But he never imagined the dangerous world he was about to enter. Los Alamos: A Whistleblower's Diary is a shocking account of foul play, theft and abuse at our nation's premier nuclear R&D installation, where those who dare to question pay with their careers and, potentially, their lives. This first-of-its-kind expose ventures past LANL's armed guards and security fences to chronicle persistent efforts to prevent hidden truths from surfacing in the wake of headline-grabbing events, as in the mysterious death of the lab's second-in-command, following a derailed fraud investigation, on the eve of congressional hearings . . . a cover-up rooted in arrogance, omissions and lies. Seventy years after its inception, the secret science colony on ''the Hill'' remains largely unaccountable to anyone. The author reveals, in terrifying detail, that this is no accident.

Growing up in the shadow of the Los Alamos National Laboratory (LANL) the author, Chuck Montano, was thrilled to land a job there. But he never imagined the dangerous world he was about to enter. Los Alamos: A Whistleblower's Diary is a shocking account of foul play, theft and abuse at our nation's premier nuclear R&D installation, where those who dare to question pay with their careers and, potentially, their lives. This first-of-its-kind expose ventures past LANL's armed guards and security fences to chronicle persistent efforts to prevent hidden truths from surfacing in the wake of headline-grabbing events, as in the mysterious death of the lab's second-in-command, following a derailed fraud investigation, on the eve of congressional hearings . . . a cover-up rooted in arrogance, omissions and lies. Seventy years after its inception, the secret science colony on ''the Hill'' remains largely unaccountable to anyone. The author reveals, in terrifying detail, that this is no accident.

Forever linked with World War II and America’s entrance into the Atomic Age, Los Alamos was a small ranching community and the site of an exclusive boys’ school until 1943. As the Manhattan Project unfolded, Pvt. J.J. Michnovicz―first assigned to Los Alamos as a photographer by the military but later working as a civilian―recorded the everyday spirit of the people and the events that shaped this mountain town into a home . . . and secret scientific hotbed. This comprehensive view of the social and professional world of Los Alamos is the photographic journal of a singular period, as seen through the eyes of one soldier.

"I had this notion of what I called a democratic way of looking around, that nothing was more or less important," William Eggleston once said. This radical attitude guided his ground-breaking work in color photography, work that has prefigured many recent developments in art and photography. Los Alamos presents a series of photographs that has never before been shown, yet it contains a blueprint of Eggleston's aesthetics, his subtle use of subdued color hues, the casual elegance of his trenchant observations of the mysteries of the mundane. The photographs in Los Alamos were shot in Eggleston's native Memphis and on countless road trips across the American South from 1964 to 1968 and from 1972 to 1974. Initially, Eggleston wanted to create a vast compendium of more than 2000 photographs to be contained in 20 volumes; he wanted the viewer to look at the photographs the way one looks at the world. He eventually abandoned this project--and hardly any of the negatives were ever printed. Now, 30 years later, we finally get to see a selection of this encyclopedia of Southern everyday life and vernacular culture. It's a stunning discovery that makes the so-called snapshot photography of recent years pale in comparison. Eggleston's astonishingly timeless portraits, still lives, landscapes, and photographs of buildings add up to a profound investigation of the world and our way of looking at it, a poetics of pleasures hidden in full view. They transcend the merely descriptive and uncover the universal encapsulated in the details and the detritus of life in a consumer culture. Published in collaboration with Museum Ludwig, Cologne. One of the few genuises in photography. --Andy GrundbergThe world is so visually complicated that the word "banal" scarcely is very intelligent to use. All days are similar, no matter what part of this planet we're in. --William Eggleston Essays by Walter Hopps and Thomas Weski. Hardcover, 11.75 x 11 in., 224 pages, 97 color illustrations

The classified lectures that galvanized the Manhattan Project scientists―with annotations for the nonspecialist reader and an introduction by a Pulitzer Prize-winning historian.In March 1943 a group of young scientists, sequestered on a mesa near Santa Fe, attended a crash course in the new atomic physics. The lecturer was Robert Serber, J. Robert Oppenheimer's protégé, and they learned that their job was to invent the world's first atomic bomb.Serber's lecture notes, nicknamed the "Los Alamos Primer," were mimeographed and passed from hand to hand, remaining classified for many years. They are published here for the first time, and now contemporary readers can see just how much was known and how terrifyingly much was unknown when the Manhattan Project began. Could this "gadget," based on the newly discovered principles of nuclear fission, really be designed and built? Could it be small enough and light enough for an airplane to carry? If it could be built, could it be controlled?Working with Richard Rhodes, Pulitzer Prize-winning historian of the development of the atomic bomb, Professor Serber has annotated original lecture notes with explanations of the physics terms for the nonspecialist. His preface, an informal memoir, vividly conveys the mingled excitement, uncertainty, and intensity felt by the Manhattan Project scientists. Rhodes's introduction provides a brief history of the development of atomic physics up to the day that Serber stood before his blackboard at Los Alamos. In this edition, The Los Alamos Primer finally emerges from the archives to give a new understanding of the very beginning of nuclear weapons. No seminar anywhere has had greater historical consequences.

"I had this notion of what I called a democratic way of looking around, that nothing was more or less important," William Eggleston once said. This radical attitude guided his ground-breaking work in color photography, work that has prefigured many recent developments in art and photography. Los Alamos presents a series of photographs that has never before been shown, yet it contains a blueprint of Eggleston's aesthetics, his subtle use of subdued color hues, the casual elegance of his trenchant observations of the mysteries of the mundane. The photographs in Los Alamos were shot in Eggleston's native Memphis and on countless road trips across the American South from 1964 to 1968 and from 1972 to 1974. Initially, Eggleston wanted to create a vast compendium of more than 2000 photographs to be contained in 20 volumes; he wanted the viewer to look at the photographs the way one looks at the world. He eventually abandoned this project--and hardly any of the negatives were ever printed. Now, 30 years later, we finally get to see a selection of this encyclopedia of Southern everyday life and vernacular culture. It's a stunning discovery that makes the so-called snapshot photography of recent years pale in comparison. Eggleston's astonishingly timeless portraits, still lives, landscapes, and photographs of buildings add up to a profound investigation of the world and our way of looking at it, a poetics of pleasures hidden in full view. They transcend the merely descriptive and uncover the universal encapsulated in the details and the detritus of life in a consumer culture. Published in collaboration with Museum Ludwig, Cologne. One of the few genuises in photography. --Andy GrundbergThe world is so visually complicated that the word "banal" scarcely is very intelligent to use. All days are similar, no matter what part of this planet we're in. --William Eggleston Essays by Walter Hopps and Thomas Weski. Hardcover, 11.75 x 11 in., 224 pages, 97 color illustrations

Forever linked with World War II and America's entrance into the Atomic Age, Los Alamos was a small ranching community and the site of an exclusive boys' school until 1943. As the Manhattan Project unfolded, Pvt. J.J. Michnovicz--first assigned to Los Alamos as a photographer by the military but later working as a civilian--recorded the everyday spirit of the people and the events that shaped this mountain town into a home . . . and secret scientific hotbed. This comprehensive view of the social and professional world of Los Alamos is the photographic journal of a singular period, as seen through the eyes of one soldier.

Unabridged declassified value reproduction of The Los Alamos Primer by Robert Serber, in full color with all censor markings. This is the booklet given to new workers at Los Alamos during World War II, to catch them up on how to build a practical fission bomb. The Primer was driven by Robert Oppenheimer asking his protégé Robert Serber to summarize all knowledge and possible solutions known as of April 1943 in a series of lectures. Serber did such an excellent job that the notes from the series was turned into The Los Alamos Primer.Serber was known as an expert that bridged theory and reality, and so was also chosen to be one of the first Americans to enter Hiroshima and Nagasaki to assess the atomic damage in 1945.Touch a piece of history in this slim volume with the full text at an affordable price.

To a few hundred scientists and their families, the atomic age began long before the first atomic bomb brought an end to World War II. For them, it began when they disappeared into the mountains of northern New Mexico, where the bomb would be developed against overwhelming odds. There, in the isolated, ramshackle community of Los Alamos, this specially selected group would spend two years of exhausting work, unaccustomed hardships, and high adventure. In this book, Bernice Brode, wife of a Manhattan Project physicist, gives a lighthearted, firsthand account of everyday life in the strange and secret community, between 1943 and 1945.

Meridel Rubenstein mixes mediums and metaphors to make art about our tenuous connection to place. Originally trained as a photographer, she combines disparate materials such as earthy palladium prints with cold steel mounts, transparent photographic imagery sandblasted onto glass, video imagery projected onto cast glass, and digital still imagery on floating vellum and hand-coated tree bark papers. A sense of fragility, transparency, and passage in her works underscores a possibility for change. Her complex narrative photoworks and installations derive from a sense of place, personal and collective history, and myth--the landscape of the cultural mind. Nine intersecting bodies of work compose this book. The Lowriders is a series of color photographs of the customized cars owned by Latinos from northern New Mexico. Critical Mass is a collaborative work about the making of the first bomb at Los Alamos. The intersecting of the world of the Native American and the Nuclear Scientist is told through the story of one woman who they met. Oppenheimer's Chair is a meditation on nature and the shedding of defensive postures after 50 years of the cold war. Also included is a series that stems from Rubenstein's 1997 trip to Vietnam, where she commenced a body of work tracing the trajectories of uprooting and replanting in relation to the Vietnam War.

As the head of the theory group at Los Alamos, Hans A. Bethe played a

Collectively the wartime children of Los Alamos---the children of scientists, of machinists and technicians from around the country, of construction workers from Texas and Oklahoma, and of Spanish Americans---constituted a microcosm of the United States. Katrina Mason gives readers a glimpse of what it was like to be the child of such luminous fathers as J. Robert Oppenheimer, Enrico Fermi, Edward Teller, Hans Bethe, and Kenneth Bainbridge at such an intense moment in American history. Her interviews also show what it was like to live in such a community when you were the child of a Spanish-American laborer or a machinist whod brought his family over from a neighboring state. She explores how the children have dealt with their often conflicting feelings about their parents involvement in the creation of such a destructive weapon.

Edith Warner (1893-1951), who lived by the Rio Grande at the Otowi Switch in northern New Mexico, has become a legendary figure owing largely to her portrayal in two books: The Woman at Otowi Crossing, by Frank Waters, and The House at Otowi Bridge, by Peggy Pond Church. Because she is famous for her tearoom, where she entertained scientists from the Manhattan Project, few people realize that Edith Warner was a serious writer. Here for the first time she is allowed to speak for herself. The book's title is taken from an autobiographical fragment published here for the first time. Also included are letters, essays published and unpublished, and journal entries (salvaged by various friends from the original, which was burned after Warner's death at her request). The editor provides a useful introduction outlining Edith Warner's life and sets it in local and historical context, along with a wonderful collection of period photographs and a facsimile of Edith's famous chocolate cake recipe.Thousands of readers have been fascinated by this modest woman whose friendships with Pueblo Indians and atomic scientists seem to epitomize the paradoxes of life in New Mexico. To read this book is to hear her own quiet voice, describing pueblo ceremonials, detailing the difficulties of life during the war years, and above all recording her own spiritual relationship with the New Mexico landscape. For Edith Warner her work in the world--building a house, running a restaurant, writing it all down--was a kind of meditation. People still come to New Mexico for the reasons that drew her here eighty years ago, and her response to New Mexico can now take its rightful place in the state's cultural heritage.

Katrina R. Mason has interviewed a wide range of people who spent all or parts of their childhoods in Los Alamos - from its muddy beginnings in 1943, when residents officially lived at P.O. Box 1663, to the late 1950s, after the laboratory had come under the auspices of the Atomic Energy Commission - to create this engaging and provocative portrait of a place that has come to epitomize both the scientific advances and the moral ambiguities of this century. Collectively the wartime children of Los Alamos - the children of scientists, of machinists and technicians from around the country, of construction workers from Texas and Oklahoma, and of Spanish Americans - constituted a microcosm of the United States. Mason identifies three elements common to their childhood recollections: a magnetic attraction to the land; a sense of security, that children always felt safe there; and multiculturalism. Almost all the children interviewed attribute their interest in other cultures and ability to get along with all kinds of people to their experience at Los Alamos. Some note that in important ways Los Alamos was an unusually stratified community, but most agree that scholastic achievement, not family background, determined one's place in the children's social strata. Mason gives readers a glimpse of what it was like to be the child of such luminous fathers as J. Robert Oppenheimer, Enrico Fermi, Edward Teller, Hans Bethe, and Kenneth Bainbridge at such an intense moment in American history. Her interviews also show what it was like to live in such a community when you were the child of a Spanish-American laborer or a machinist who'd brought his family over from a neighboring state. She explores howthe children have dealt with their often conflicting feelings about their parents' involvement in the creation of such a destructive weapon. Mason's volume illuminates these personal and often very emotional dimensions of a fascinating historical era, and as such should prove inv

Collectively the wartime children of Los Alamos---the children of scientists, of machinists and technicians from around the country, of construction workers from Texas and Oklahoma, and of Spanish Americans---constituted a microcosm of the United States. Katrina Mason gives readers a glimpse of what it was like to be the child of such luminous fathers as J. Robert Oppenheimer, Enrico Fermi, Edward Teller, Hans Bethe, and Kenneth Bainbridge at such an intense moment in American history. Her interviews also show what it was like to live in such a community when you were the child of a Spanish-American laborer or a machinist whod brought his family over from a neighboring state. She explores how the children have dealt with their often conflicting feelings about their parents involvement in the creation of such a destructive weapon.