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The characters who speak through the poems in Critical Assembly are all based on real people—some well-known historical figures, others obscure private citizens. In crafting verse voices for these individuals, I have tried to remain faithful to the historical record and, whenever possible, to their own writings and pronouncements, both published and unpublished. Indeed, in a few instances (the Norris Bradbury, Thomas Farrell, and David McDonald poems, along with the final J. Robert Oppenheimer), I have reworked existing sources; in other cases, I have invented voices based on only scraps and hints. At both poles, and in the latitudes between, for the past thirty- three years I have carefully surveyed the territory, visiting Manhattan Project sites, delving into archives, attending reunions of both military and scientific personnel, and interviewing and corresponding with project participants. In undertaking this work, my intent has been to offer the reader representations of historical truth.
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Why go to such lengths to produce mere poems? Something at the core of these people—something that made their participation in the Manhattan Project both possible and ultimately productive—is crucially important to the rest of us, not only because it enabled them to transform our world but because it inhabits us as well. Our future, as they framed and we enact it, depends on our understanding of that something, and poetry is particularly suited to the task, for, over the millennia, it has developed as a peculiar but effective medium through which to explore and extend the resources of language as a means of expressing, and shaping, the inner life of the individual. Poetry has evolved both to convey and to challenge convention, to engage ambiguity and to nurture nuance, to make music and to meditate on meaning, to hand down history and to reconceive the self. If we hope to move beyond propaganda, sound bites, and received wisdom, poetry is surely one of our best bets.
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