#American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer

[deadpresidents]

Just saw Oppenheimer and I was a bit disappointed with how they portrayed Truman. He came across pretty poorly IMO. It was only one scene but I wondered what you thought.

I understand your disappointment and it certainly wasn't a very in-depth portrayal of Truman, but according to the book that the movie was largely based on -- American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin (BOOK | KINDLE | AUDIO) -- the meeting that Oppenheimer had with President Truman went down pretty much as depicted in the film.

As Bird and Sherwin write in American Prometheus:

(O)n October 25, 1945, Oppenheimer was ushered into the Oval Office. President Truman was naturally curious to meet the celebrated physicist, whom he knew by reputation to be an eloquent and charismatic figure. After being introduced by Secretary [of War Robert P.] Patterson, the only other individual in the room, the three men sat down. By one account, Truman opened the conversation by asking for Oppenheimer's help in getting Congress to pass the May-Johnson bill, giving the Army permanent control over atomic energy. "The first thing is to define the national problem," Truman said, "then the international." Oppenheimer let an uncomfortably long silence pass and then said, haltingly, "Perhaps it would be best first to define the international problem." He meant, of course, that the first imperative was to stop the spread of these weapons by placing international controls over all atomic technology. At one point in their conversation, Truman suddenly asked him to guess when the Russians would develop their own atomic bomb. When Oppie replied that he did not know, Truman confidently said he knew the answer: "Never." For Oppenheimer, such foolishness was proof of Truman's limitations. The "incomprehension it showed just knocked the heart out of him," recalled Willie Higinbotham. As for Truman, a man who compensated for his insecurities with calculated displays of decisiveness, Oppenheimer seemed maddeningly tentative, obscure -- and cheerless. Finally, sensing that the President was not comprehending the deadly urgency of his message, Oppenheimer nervously wrung his hands and uttered another of those regrettable remarks that he characteristically made under pressure. "Mr. President," he said quietly, "I feel I have blood on my hands." The comment angered Truman. He later informed David Lilienthal, "I told him the blood was on my hands -- to let me worry about that." But over the years, Truman embellished the story. By one account, he replied, "Never mind, it'll all come out in the wash." In yet another version, he pulled his handkerchief from his breast pocket and offered it to Oppenheimer, saying, "Well, here, would you like to wipe your hands?" An awkward silence followed this exchange, and then Truman stood up to signal that the meeting was over. The two men shook hands, and Truman reportedly said, "Don't worry, we're going to work something out, and you're going to help us." Afterwards, the President was heard to mutter, "Blood on his hands, dammit, he hasn't half as much blood on his hands as I have. You just don't go around bellyaching about it." He later told [Secretary of State] Dean Acheson, "I don't want to see that son-of-a-bitch in this office ever again." Even in May 1946, the encounter still vivid in his mind, he wrote Acheson and described Oppenheimer as a "cry-baby scientist" who had come to "my office some five or six months ago and spent most of his time wringing his hands and telling me they had blood on them because of the discovery of atomic energy."

[denimbex1986]

'Years before he became known as the father of the atomic bomb, J. Robert Oppenheimer worked as a physics professor at the University of California, Berkeley, when he met who became perhaps the greatest love of his life.

Her name was Jean Tatlock, and just as she captured the famed physicist’s heart, their romance has captured the imaginations of historians for nearly a century. And they aren’t the only ones. Tatlock will be portrayed by Florence Pugh, alongside Cillian Murphy’s Oppenheimer, in the upcoming film Oppenheimer, directed by Christopher Nolan.

Affiliated with the Communist Party, Tatlock is often credited with introducing Oppenheimer to radical politics, something that haunted him in his later life and career. Despite their 10-year age gap, and though they were separated by the time he led the famous Manhattan Project, Tatlock had an undeniable impact on Oppenheimer’s life, and her tragic death weighed on him as he began his work on the atomic bomb.

“A free-spirited woman with a hungry, poetic mind, she was always the one person in the room, whatever the circumstances, who remained unforgettable,” according to American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin Sherwin.

Meeting Oppenheimer

Born in Ann Arbor, Michigan in 1914, Tatlock was the second child of J.S.P. Tatlock and Marjorie Fenton. Her father, who had a docorate from Harvard University, was an acclaimed English professor and literary scholar and was considered a foremost expert on the works of Geoffrey Chaucer, according to Brotherhood of the Bomb by Gregg Herken.

Jean inherited her father’s intellect. Before attending Vassar College in 1931, she took a year off to travel in Europe, staying with a friend in Switzerland who was a devoted follower of psychologist Carl Jung. After meeting a close-knit community of psychoanalysts during the trip, she decided to study psychology herself, according to Bird and Sherwin.

After graduating from Vassar in 1935, she studied at the Stanford Medical School, where her intellect and good looks intimidated the other classmates. They also caught the interest of Oppenheimer, then a physics professor at the University of California, Berkeley, where Tatlock completed her prerequisites before enrolling at Stanford.

Oppenheimer and Tatlock began a passionate and intense romance in 1936, when she was 22 and he was 32. The decade age gap didn’t seem to matter. A friend described Tatlock as Oppenheimer’s “truest love” and said he was “devoted to her,” according to Bird and Sherwin. He reportedly proposed to Tatlock twice, though she turned him down.

Tatlock was impressed with Oppenheimer’s knowledge of English literature, and she introduced him to the poetry of John Donne. It’s widely believed the Trinity test—the first detonation of the nuclear weapon in 1945—was named after a Donne poem and inspired by Tatlock, according to The First Atomic Bomb by Janet Farrell Brodie.

Communist Affiliations

Tatlock was a dues-paying member of the Communist Party of the United States of America while dating Oppenheimer, an association that would later bring a great deal of scrutiny to the famed physicist. Tatlock wrote for the Western Worker, a major West Coast communist publication, and she introduced him to several prominent members of the party, according to Robert Oppenheimer: A Life Inside the Center by Ray Monk.

“I find I am a complete Red when anything at all,” Tatlock wrote to a friend, according to American Prometheus. She also pushed Oppenheimer to move from mere theory to action, and when he commented that he would have to settle for staying on the periphery of political struggles, Tatlock remarked, “Oh, for God’s sake, don’t settle for anything.”

However, Oppenheimer denied that Tatlock was solely responsible for his political interests or affiliations, noting that he first read about Soviet communism after his father lent him a book on the subject before he met Tatlock. According to Bird and Sherwin’s American Prometheus, Oppenheimer described Tatlock’s communist involvement as “on-again, off-again affairs and never seemed to provide for her what she was seeking. I do not believe that her interests were really political.”

From 1939 onward, Oppenheimer claimed he only saw Tatlock on rare occasions, and in 1940, he wed Katherine Puening, more commonly known as Kitty Oppenheimer, to whom he was married the rest of his life. However, he and Tatlock remained “the closest of friends and occasional lovers,” according to Bird and Sherwin, and she would phone him for comfort during her occasional bouts of depression.

By 1943, Tatlock was a pediatric psychiatrist at Mount Zion Hospital in San Francisco, at the start of what seemed to be a promising career. The 29-year-old was also being treated for clinical depression, which might have worsened when Oppenheimer drastically reduced contact with her after becoming director of the Los Alamos Laboratory that year, according to Bird and Sherwin.

A Tragic Death

Tatlock was placed under surveillance by the FBI due to her relationship with Oppenheimer and past involvement with communist politics. When Tatlock and Oppenheimer had one last meeting in June 1943, she confessed that she still loved him and wanted to be with him. Unbeknownst to her, FBI agents monitored the entire visit, according to Monk’s biography.

“For reasons of love and compassion, he had become a key member of Jean’s psychological support structure—and then he had vanished, mysteriously,” Bird and Sherwin wrote in American Prometheus. “In Jean’s eyes, it may have seemed as if ambition had trumped love.”

Tatlock died by suicide on January 4, 1944, at age 29. Her father discovered her body after entering her San Francisco apartment through a window after she didn’t respond to the doorbell. He found her lying in the bathroom, her head submerged in a partially-filled bathtub, with a suicide note on the dining room table, according to Monk.

“I am disgusted with everything,” the note read, according to Bird and Sherwin. “To those who loved me and helped me, all love and courage. I wanted to live and to give and I got paralyzed somehow. I tried like hell to understand and couldn’t.”

One of the first people to learn of her death was FBI Director J. Edgar Hoover, due to the agency’s surveillance, according to Monk. Oppenheimer was despondent upon hearing the news. Due to the unusual circumstances around her death and the FBI surveillance, many have speculated that Tatlock was murdered, but most of her loved ones believe the cause of death was suicide.

Tatlock’s relationship with Oppenheimer would be used as evidence against him in 1954, when the United States Atomic Energy Commission held security hearings that explored his communist associations and other past actions. Oppenheimer lost his security clearance as a result of the hearing, effectively ending his formal relationship with the U.S. government.'

[thatwritererinoriordan]

[alltrekvarnews]

Nuevo tráiler de 'Oppenheimer' revela a Albert Einstein, Florence Pugh, Robert Downey Jr. y más en la película repleta de estrellas de Christopher Nolan....

[darshanan-blog]

Oppenheimer - Movie Review

Epic-maker movie “Oppenheimer”, directed by Christopher Nolan tells the story leading up to atom bombs dropped on Hiroshima and Nagasaki towards the end of World War II that changed the course of history forever.  The film is based on the Pulitzer Prize-winning book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin J. Sherwin. Deeply heartrending…

[jeahreading]

but what is Jeah reading…

ok I'm finally onto this @konqurer

Dracula (Bram Stoker)

The Screaming Staircase (Jonathan Stroud)

A Dance with the Fae Prince (Elise Kova)

American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer (Kai Bird)

The Silver Birds (Apolline Lucy)

The Complete Adventures of Feluda, Vol 1 (Satyajit Ray)

The Da Vinci Code (Dan Brown)

The God of Small Things (Arundhati Roy)

Circe (Madeline Miller)

The Housemaid is Watching (Freida McFadden)

Fourth Wing (Rebecca Yarros)

Mahabharat unabridged- BORI CE

The Sage's Secret (Abhinav)

(literally) Constitution of India(Consituent assembly????)

Peril At End House(Agatha Christie)

Third Girl(Agatha Christie)

Then there were none(Agatha Christie)

Three Thousand Stitches: Ordinary People, Extraordinary Lives (Sudha Murthy)

The Lightning Thief (Rick Riordan)

Caraval(Stephanie Garber)

Divergent (Veronica Roth)

The Coworker(Freida McFadden)

49, Vol-1(Isabelle Bisson-Routhier)

I am like 90% sure there are more book that I am "currently reading" but I can't for the life of me figure out which ones so this it for now lmao

[jadelotusflower]

2024 Roundup - books read

Fiction

Stone Blind: Medusa's Story - Natalie Haynes

Atonement - Ian McKeown (re-read)

A Gentleman in Moscow - Amor Towles

Emily Wilde’s Encyclopaedia of Faeries - Heather Fawcett

Emily Wilde’s Map of the Otherlands - Heather Fawcett

Coraline - Neil Gaiman

The Wonderful Wizard of Oz - L. Frank Baum (re-read)

The Marvelous Land of Oz - L. Frank Baum

Ozma of Oz - L. Frank Baum

Dorothy and the Wizard of Oz - L. Frank Baum

The Road to Oz - L. Frank Baum

The Emerald City of Oz - L. Frank Baum

Wicked: The Life and Times of the Wicked Witch of the West - Gregory Maguire (re-read)

Mrs Dalloway - Virginia Woolf

Orlando: A biography- Virginia Woolf

Sappo: Poems & Fragments - Sappo (translated by Josephine Balmer)

Twenty Thousand Leagues Under the Sea - Jules Verne (translated by Henry Frith)

The Mysterious Island - Jules Verne (translated by Jordan Stump)

Piranesi - Susanna Clarke

Anna Karenina - Leo Tolstoy (translated by Louise and Aylmer Maude)

Wuthering Heights - Emily Brontë

Frankenstein, or, The Modern Prometheus - Mary Shelley (re-read)

The Scarlet Pimpernel - Baroness Emmuska Orczy (re-read)

Sir Percy Leads the Band - Baroness Emmuska Orczy

The League of the Scarlet Pimpernel - Baroness Emmuska Orczy

The Elusive Pimpernel - Baroness Emmuska Orczy (re-read)

A Court of Thorns and Roses - Sarah J Mass

Best Fairy Tales - Hans Christian Andersen (translated by Jean Hersholt)

A Christmas Carol - Charles Dickens (re-read)

Non-Fiction

A year in the life of Ancient Egypt and the real lives of the people who lived there - Donald P Ryan

Persians: The Age of the Great Kings - Lloyd LLewellyn-Jones

American Prometheus: The Tragedy and Triumph of J Robert Oppenheimer- Kai Bird and Martin J Sherwin

Divine Might: Goddesses in Greek Myth - Natalie Haynes

The Splendid and the Vile: Churchill, Family, and Defiance during the bombing of London - Erik Larson

The History of the World: From the Dawn of Humanity to the Modern Age - Frank Welsh

Pagan Britain - Ronald Hutton

Unruly: A History of England’s Kings and Queens - David Mitchell

Burn it Down: Power, Complicity, and a Call for Change in Hollywood - Maureen Ryan

Montaigne: A Very Short Introduction - William H Hamlin

Essays: A Selection - Michel de Montaigne (translated and edited by M.A. Screech)

Hey Honey, I’m Homo: Sitcoms, Specials, and the Queering of American Culture - Matt Baume

Shakespeare: The Man Who Pays the Rent - Judi Dench (with Brendan O’Hea)

What I Ate in One Year (and related thoughts) - Stanley Tucci

What I liked

I enjoyed most of what I read this year, including revisiting some older books with new eyes, finally getting around to some classics from my TBR list (with a few detours), and general mix of history and biography/memoir.

My favourite book of the year, and now up there with my favourite books of all time, is Piranesi, something that has been on the list a while and yet something I have successfully avoided spoilers for. I went in completely blind and so glad I did because the way this story washed over me is one of those very rare things and I loved loved loved reading this book.

I also really enjoyed A Gentleman in Moscow (the tv adaptation was sadly a bit of a disappointment). There’s a fine line between whimsical and twee and while that line likely differs for everyone, for me it successfully kept just on the side of whimsy - or maybe I just love a literary reference and this was full of them. It also inspired me to check out the works of Montaigne which I found interesting in context.

On the non-fiction front, American Prometheus is a good companion to the Oppenheimer film, and Burn it Down was an excellent but rage-inducing peak behind the Hollywood curtain, but The Man Who Pays the Rent was my other favourite read this year. Rather than ghostwritten, this takes the format of question and answer between Judi Dench and actor/director Brendan O’Hea, each chapter focussing on a different Shakespeare play and the characters Dench performed. It’s a beautiful insight into the acting process, theatre history, and Shakespeare’s female characters. Dench is so compelling and charming and the format allows her voice to leap off the page (more memoirs should take this approach tbh). I love Shakespeare but hardly consider myself an expert, so her perspective on the works and the characters was insightful - one of those books you look forward to returning to at the end of the day.

What I didn’t

When I tell people I’m writing a fantasy novel they often ask if I’ve read A Court of Thorns and Roses and I’m kind of sick of seeming uninformed about this faeriecore juggernaut, so finally gave it a go. It’s…not for me, really, despite it being generally keyed into my interests. I just found it…kind of boring? Feyre is dumb as rocks difficult to care about, and Tamlin, despite the cute nod with the name, is stock beast archetype with no other discernible personality.

Most of the book was an absolute slog until it finally got semi-interesting 3/4 in, but we’re stuck in Feyre’s pov and therefore unable to explore anything approaching compelling or nuanced. I’ve been told it actually gets good in the second book (and have been spoiled about the whole Rhysand thing), but I’m not really inspired to give it any more effort.

I also had mixed feelings about Emily Wilde - while of better quality than ACOTAR and I really loved the worldbuilding and some of the fae characters (Poe my beloved!) the central romance fell completely flat for me (maybe I’m just immune to the charms of faerie lords?) and I find the narrative is limited by the epistolary style. However I enjoy the fae plotline enough that I will likely get around to the third book at some stage.

On the point of mixed feelings, it’s interesting how much I enjoy Natalie Haynes’ non-fiction work on Greek myth while finding that her fiction completely misses the mark. Essentially a collection of essays, Divine Might is engaging and thought-provoking on the various depictions of Greek goddesses and their place within the mythos both then and now. On the other side of the coin, Stone Blind is ostensibly Medusa’s story, but mostly told through other perspectives and (much like with her previous effort A Thousand Ships) Haynes is preoccupied with recreating the whole of the myth which ultimately subsumes women, and therefore fails in its premise to showcase the female perspective. It’s just so odd that she can’t bring any of her insights from her compelling analysis to an actual narrative.

[eowyntheavenger]

By Susan Montoya Bryan

LOS ALAMOS, N.M. —  The movie about a man who changed the course of the world’s history by shepherding the development of the first atomic bomb is expected to be a blockbuster, dramatic and full of suspense.

On the sidelines will be a community downwind from the testing site in the southern New Mexico desert, the impacts of which the U.S. government never has fully acknowledged. The movie on the life of scientist J. Robert Oppenheimer and the top-secret work of the Manhattan Project sheds no light on those residents’ pain.

“They’ll never reflect on the fact that New Mexicans gave their lives. They did the dirtiest of jobs. They invaded our lives and our lands and then they left,” Tina Cordova, a cancer survivor and founder of a group of New Mexico downwinders, said of the scientists and military officials who established a secret city in Los Alamos during the 1940s and tested their work at the Trinity Site some 200 miles away.

Cordova’s group, the Tularosa Basin Downwinders Consortium, has been working with the Union of Concerned Scientists and others for years to bring attention to what the Manhattan Project did to people in New Mexico.

While film critics celebrate “Oppenheimer” and officials in Los Alamos prepare for the spotlight to be on their town, downwinders remain frustrated with the U.S. government — and now movie producers — for not recognizing their plight.

Advocates held vigils Saturday on the 78th anniversary of the Trinity Test in New Mexico and in New York City, where director Christopher Nolan and others participated in a panel discussion following a special screening of the film.

Nolan has called the Trinity Test an extraordinary moment in human history.

“I wanted to take the audience into that room and be there for when that button is pushed and really fully bring the audience to this moment in time,” he said in a clip being used by Universal Studios to promote the film.

The movie is based on Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer.” Nolan has said Oppenheimer’s story is both a dream and a nightmare.

Lilly Adams, a senior outreach coordinator with the Union of Concerned Scientists, participated in the New York vigil and said it was meant to show support for New Mexicans who have been affected.

“The human cost of Oppenheimer’s Trinity Test, and all nuclear weapons activities, is a crucial part of the conversation around U.S. nuclear legacy,” she said in an email. “We have to reckon with this human cost to fully understand Oppenheimer’s legacy and the harm caused by nuclear weapons.”

In developing and testing nuclear weapons, Adams said the U.S. government effectively “poisoned its own people, many of whom are still waiting for recognition and justice.”

Adams and others have said they hope that those involved in making “Oppenheimer” help raise awareness about the downwinders, who have not been added to the list of those covered by the federal government’s compensation program for people exposed to radiation.

Government officials chose the Trinity Test Site because it was remote and flat, with predictable winds. Due to the secret nature of the project, residents in surrounding areas were not warned.

The Tularosa Basin was home to a rural population that lived off the land by raising livestock and tending to gardens and farms. They drew water from cisterns and holding ponds. They had no idea that the fine ash that settled on everything in the days following the explosion was from the world’s first atomic blast.

The government initially tried to hide it, saying that an explosion at a munitions dump caused the rumble and bright light, which could be seen more than 160 miles away.

It wasn’t until the U.S. dropped bombs on Japan weeks later that New Mexico residents realized what they had witnessed.

According to the Manhattan Project National Historical Park, large amounts of radiation shot up into the atmosphere and fallout descended over an area about 250 miles long and 200 miles (322 kilometers) wide. Scientists tracked part of the fallout pattern as far as the Atlantic Ocean, but the greatest concentration settled about 30 miles from the test site.

For Cordova and younger generations who are dealing with cancer, the lack of acknowledgment by the government and those involved with the film is inexcusable.

“We were left here to live with the consequences,” Cordova said. “And they’ll over-glorify the science and the scientists and make no mention of us. And you know what? Shame on them.”

[daydreamerdrew]

Books Round-Up for 2024:

Not counting the two big books I had mostly read by the end of December 2023 and finished in January, my Goodreads account says I’ve read 65 books this year. This has definitively been the best reading year of my adult life.

Best Fiction Books:

Giovanni’s Room by James Baldwin

Letter to a Child Never Born by Oriana Fallaci, translated from Italian by John Shepley

My Dark Vanessa: A Novel by Kate Elizabeth Russell

Story of O by Pauline Réage (Anne Desclos)

Best Non-Fiction Books:

The Journalist and the Murderer by Janet Malcolm

Perversion: The Erotic Form of Hatred by Robert J. Stoller

Coming Out Under Fire: The History of Gay Men and Women in World War Two by Allan Bérubé

American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin

Best Poetry Books:

What the Living Do by Marie Howe

Good Bones by Maggie Smith

Life of the Party by Olivia Gatwood

House Without a Dreamer by Andrea Hollander Budy

Transformations by Anne Sexton

Poetry of the First World War: An Anthology, edited by Tim Kendall

[routesyxmedia]

routesyxmedia OSCAR nominations are in and congratulations for Oppenheimer’s nominations for Best Adapted Screenplay written for the screen by Christopher Nolan & Sarai Briggs based on the books “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer”..

Also nominated for Best Picture, Best Director, Best Actor, Best Supporting Actor and Actress, Adapted Screenplay, Production Design, Custome Design, Cinematography, Editing, Makeup & Hairstyling, Sound, etc.

[ik-ek-chutki-sindoor-ki-kimat]

Damnn

Just saw Oppenheimer and I was a bit disappointed with how they portrayed Truman. He came across pretty poorly IMO. It was only one scene but I wondered what you thought.

I understand your disappointment and it certainly wasn't a very in-depth portrayal of Truman, but according to the book that the movie was largely based on -- American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin (BOOK | KINDLE | AUDIO) -- the meeting that Oppenheimer had with President Truman went down pretty much as depicted in the film.

As Bird and Sherwin write in American Prometheus:

(O)n October 25, 1945, Oppenheimer was ushered into the Oval Office. President Truman was naturally curious to meet the celebrated physicist, whom he knew by reputation to be an eloquent and charismatic figure. After being introduced by Secretary [of War Robert P.] Patterson, the only other individual in the room, the three men sat down. By one account, Truman opened the conversation by asking for Oppenheimer's help in getting Congress to pass the May-Johnson bill, giving the Army permanent control over atomic energy. "The first thing is to define the national problem," Truman said, "then the international." Oppenheimer let an uncomfortably long silence pass and then said, haltingly, "Perhaps it would be best first to define the international problem." He meant, of course, that the first imperative was to stop the spread of these weapons by placing international controls over all atomic technology. At one point in their conversation, Truman suddenly asked him to guess when the Russians would develop their own atomic bomb. When Oppie replied that he did not know, Truman confidently said he knew the answer: "Never." For Oppenheimer, such foolishness was proof of Truman's limitations. The "incomprehension it showed just knocked the heart out of him," recalled Willie Higinbotham. As for Truman, a man who compensated for his insecurities with calculated displays of decisiveness, Oppenheimer seemed maddeningly tentative, obscure -- and cheerless. Finally, sensing that the President was not comprehending the deadly urgency of his message, Oppenheimer nervously wrung his hands and uttered another of those regrettable remarks that he characteristically made under pressure. "Mr. President," he said quietly, "I feel I have blood on my hands." The comment angered Truman. He later informed David Lilienthal, "I told him the blood was on my hands -- to let me worry about that." But over the years, Truman embellished the story. By one account, he replied, "Never mind, it'll all come out in the wash." In yet another version, he pulled his handkerchief from his breast pocket and offered it to Oppenheimer, saying, "Well, here, would you like to wipe your hands?" An awkward silence followed this exchange, and then Truman stood up to signal that the meeting was over. The two men shook hands, and Truman reportedly said, "Don't worry, we're going to work something out, and you're going to help us." Afterwards, the President was heard to mutter, "Blood on his hands, dammit, he hasn't half as much blood on his hands as I have. You just don't go around bellyaching about it." He later told [Secretary of State] Dean Acheson, "I don't want to see that son-of-a-bitch in this office ever again." Even in May 1946, the encounter still vivid in his mind, he wrote Acheson and described Oppenheimer as a "cry-baby scientist" who had come to "my office some five or six months ago and spent most of his time wringing his hands and telling me they had blood on them because of the discovery of atomic energy."

[denimbex1986]

'Christopher Nolan is freaking me out.

“There’s a pretty simple argument mathematically for saying the world will end in nuclear Armageddon simply because that’s a possibility,” he’s calmly explaining. “Over an infinite timeline, it’s going to happen at some point.”

It’s hard to dispute Nolan’s logic that civilization will one day vaporize, but as he tops off his mug of Earl Grey tea from a small kettle on the table in front of him, he hits a slightly more hopeful note. “My optimistic human self has to believe we’ll find a way to avoid that, but I don’t take a lot of reassurance in the idea that mutually assured destruction has prevented a cataclysm so far. It’s the ‘so far’ that’s the problem.”

Nolan is something of an authority on the apocalypse. After all, “Oppenheimer,” his look at J. Robert Oppenheimer, the architect of the Atomic Age, is one of the most-seen films of this or any year. The three-hour, R-rated drama where the action mostly unfolds in laboratories and congressional hearings has grossed nearly $950 million globally, more than almost any recent Marvel movie. In the process, it’s reshaping Hollywood’s idea of what constitutes blockbuster entertainment.

Over the past two decades, comic book adventures subsumed the movie business, with studios churning out an assembly line of sequels and spinoffs featuring superpowered heroes. But “Oppenheimer” reveals that audiences will turn out in record numbers for darker, more complex stories. That is, if they’re told with the epic flair that Nolan has honed in movies like “The Dark Knight” and “Dunkirk.” And it’s giving other filmmakers hope.

“Not only did ‘Oppenheimer’ work, but it seemed to work in defiance of received wisdom,” says Damien Chazelle, the Oscar-winning director of “La La Land.” “Before I even saw the film, it felt like one of those test-case scenarios. All around the industry, a lot of people were saying, ‘This is not what the audience wants — it’s a bummer, and they just want escapism.’ And they were all wrong. So that makes its success all the sweeter.”

Nolan is stunned by the grosses, as well as the Oscar buzz that “Oppenheimer” is generating. “With certain films, your timing is just right in ways that you never could have predicted,” he says. “When you start making a film, you’re two or three years out from when it’s going to be released, so you’re trying to hit a moving target as far as the interest of the audience. But sometimes you catch a wave and the story you’re telling is one people are waiting for.”

In this case, the film reached screens at a moment of roiling global anxiety. Russia’s invasion of Ukraine, which took place just as Nolan and his cast and crew were starting production, has elevated fears of a potential nuclear conflict. And when we meet on an October morning in a lifeless conference room in lower Manhattan, blocks from where the World Trade Center once stood, we are a week away from the terrorist attack on Israel, which has resulted in unspeakable violence in the Middle East and the prospect of a widening war. Our troubled world has only grown more turbulent since “Oppenheimer” was released four months ago. (The film will be available on Blu-ray, DVD and digital on Nov. 21.)

“The awful truth of nuclear weapons is that concern about them ebbs and flows with the geopolitical situation,” Nolan says. “But it shouldn’t. The threat is always present, but sometimes an event will happen that brings it more front of mind. But that’s not how it should be; it’s a danger that hovers over the planet and will never go away.”

On the night “Oppenheimer” opened in July, Nolan sneaked his mom, his producing partner and (wife), Emma Thomas, along with three of their four kids into the back of the Imax theater at Manhattan’s AMC Lincoln Square to see how the sold-out crowd was enjoying the movie.

“I usually don’t want to go, but the minute I’m there, something magic happens,” says Thomas.

In the theater that night, as Oppenheimer and his team prepare to detonate the first nuclear weapon, Nolan felt viewers’ concentration intensify. “It was a remarkable experience to be there,” he says. “Every seat was filled, and the focus on what was happening on-screen was so strong. That level of engagement was something that I’d never really felt before. Real attention was being paid.”

On that morning downtown, Nolan, 53, is wearing a collared shirt, slacks and a blue blazer. He rarely deviates from this proper, vaguely professorial look, which colleagues say is intentional.

“His dressing style is a manifestation of the fact that he’s putting his energy elsewhere,” says “Oppenheimer” cinematographer Hoyte van Hoytema. ”He wears the uniform to make things easier for himself and to strip away the bullshit. He likes certain routines, and he hangs on to them in order not to have to think about anything else. He has such a hawk’s-eye focus on the task at hand. There’s no other director I’ve ever worked with who has such a specific devotion and dedication.”

There are certain rituals on a Nolan production too. He shoots on film, even though most of the industry has moved to digital, using Imax cameras to give his movies the scope and scale that he prefers. And he surrounds himself with a close-knit group of frequent collaborators — from Cillian Murphy, who took the lead role in “Oppenheimer” after five previous Nolan outings, to van Hoytema, who returned for a fourth go-round with the director. Despite his films’ big budgets, he likes to keep his sets small, shunning a video village. And he discourages his actors from spending a lot of time in their trailers.

“There’s not a lot of waiting around,” says Thomas, “because Chris is fast and efficient when he works.”

Thomas, who has produced all her husband’s films and co-founded their production company, Syncopy, says Nolan maintains an atmosphere on set. “Chris is clear about what he needs,” she says. “But there’s also a sense of calm, which allows people to do their best work.”

When he’s not shooting a movie, Nolan takes notes about ideas that, more often than not, never become a finished film. “His office is a shambles,” says Thomas. “It’s filled with notebooks. There’s no method to them — there are sketches of things or a logo for a movie he’s going to make or a little bit of a story he may want to tell. He writes everything down.”

But Nolan doesn’t start writing a script until he knows he’s actually going to make the movie he sees in his head. That’s partly due to his experience writing a biopic about Howard Hughes in the early aughts. He loved the screenplay he’d finished and expected to cast Jim Carrey as the reclusive billionaire, but he had to abandon it when a competing Hughes project, Martin Scorsese’s “The Aviator,” went into production. To this day, he hasn’t seen Scorsese’s film, something he had to confess to its star, Leonardo DiCaprio, when they made “Inception.”

“It was very emotional to not get to make something I’d poured all that into,” he says.

The idea for “Oppenheimer” was kindled when Robert Pattinson gave Nolan a book of the physicist’s speeches at the wrap party for his 2020 film “Tenet.” Nolan had been born into a world where nuclear weapons were a fact of life, but he was struck by how Oppenheimer and his fellow scientists were grappling for ways to make sense of the destructive power they had unleashed. “It was a brilliant mind asking how we manage this change we’ve wrought,” Nolan remembers.

That led him to revisit “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning biography. It documented how a socially awkward academic became the unlikely leader of America’s efforts to beat the Nazis in developing an atomic bomb. It also chronicled the aftermath of that discovery, as well as Oppenheimer’s conflicted feelings about the nuclear arms race it sparked. Nolan began to see the cinematic potential.

“This was a man who was a remarkable combination of integrity, sincerity and theatricality,” Nolan says. “I’m drawn to complex and contradictory protagonists.”

For most of his career Nolan made movies for Warner Bros. He never had a production deal with the studio, but Warners put him on the A-list by selecting him to oversee its “Batman” reboot, leading to the hugely successful “Dark Knight” trilogy. Warners then released other Nolan hits, such as “Dunkirk” and “Inception.” But in 2020, with the pandemic raging and theaters struggling to draw audiences, WarnerMedia chief Jason Kilar decided to premiere a year’s worth of films on HBO Max, the streaming service that Warner Bros.’ parent company had recently launched. Nolan didn’t have a movie slated to open during this period, but he was incensed by the precedent. He released a statement slamming the strategy as a bad business decision, writing, “Some of our industry’s biggest filmmakers and most important movie stars went to bed the night before thinking they were working for the greatest movie studio and woke up to find out they were working for the worst streaming service.”

So it wasn’t surprising that when it came time to make “Oppenheimer,” Nolan went elsewhere, to Universal. He had established a strong relationship with its head, Donna Langley, while working on a film adaptation of the TV series “The Prisoner” several years before. He couldn’t quite “crack” the adaptation, he says, which went unmade, but the pair stayed in touch, with Langley seeing Nolan and Thomas for the occasional lunch. Nolan appreciated Langley’s reputation for protecting and supporting top talent, while the executive was eager to land the next film from such a high-profile filmmaker. Still, “Oppenheimer,” with its nearly $100 million budget and lengthy discussions of theoretical physics, was a risky proposition.

“A biopic at this length about this subject matter should not do well,” says Langley. “But when you factor in a filmmaker like Chris, who is undeniably theatrical and who has a strong following of fans ranging from teenagers to adults, that’s the differentiator.”

Nolan didn’t want to make the movie on studio sets. He wanted to immerse viewers in the world of his protagonist, so he shot the film on location in New Mexico, near where Oppenheimer’s team made the bomb, as well as in Princeton and Berkeley, where he spent most of his academic career. The production also used historical locations, filming scenes in the actual Los Alamos home where Oppenheimer lived with his wife and young children as he oversaw the Manhattan Project.

“The audience may not notice the difference, but shooting as much as we can on the real locations gives everyone so much more to tap into,” says Thomas.

“Oppenheimer” unfolds in two overlapping sections. One, shot in color, is told from Oppenheimer’s perspective and is set largely during World War II. The other, produced in black and white, centers on Lewis Strauss, an original member of the U.S. Atomic Energy Commission, as he clashes with Oppenheimer over the scientist’s eventual opposition to the development of the hydrogen bomb. Strauss’ anger over slights, real and imagined, sets in motion a plot to discredit Oppenheimer and deny him his security clearance.

Nolan’s film depicts the Trinity test, the first detonation of the bomb in the New Mexico desert, in nail-biting detail, but it does not show the destruction of Hiroshima and Nagasaki, an omission that Spike Lee and others have criticized. Nolan says that was intentional — Oppenheimer was half a world away when the bombs were dropped. He learned about their detonation on the radio.

“The film presents Oppenheimer’s experience subjectively,” Nolan says. “It was always my intention to rigidly stick to that. Oppenheimer heard about the bombing at the same time that the rest of the world did. I wanted to show somebody who is starting to gain a clearer picture of the unintended consequences of his actions. It was as much about what I don’t show as what I show.”

Oppenheimer did grow more concerned about nuclear proliferation, and he advocated for the creation of an international body to control the production of radioactive material. However, he never publicly criticized the decision to drop the bombs. It’s a debate that continues to divide people. So what does Nolan think?

“My research and my engagement with this story tell me that anyone claiming a simple answer is in denial of a lot of the facts,” he says. “Obviously, it would be much better for the world if it hadn’t happened. But so much of the attitude toward the bombing depends on the situation of the individual answering the question. When you speak to people whose relatives were fighting in the Pacific, you get one answer. When you look at the devastating impact in Hiroshima and Nagasaki, you get another.”

Nolan says that he and the movie he made are more interested in provoking discussion than providing resolution. “The film is an honest attempt to express my feelings about it,” he says.

Shortly after Nolan and Langley announced in September 2021 that Universal would produce “Oppenheimer,” they revealed that the film would open two years later, in July, the same month that the director had launched two “Batman” movies, “Dunkirk” and “Inception.” “Chris is somebody who likes tradition,” Langley notes.

Nolan may have had sentimental reasons for picking July for “Oppenheimer” to drop, but he couldn’t foresee the stiff competition his film would face when it was released. In April 2022, Warner Bros. announced that it would open “Barbie” on the same day as “Oppenheimer.” It looked like the studio wanted to kill Nolan’s movie.

Nolan deflects when I ask him about it. “It’s always daunting when you start to see how the competition for the summer is shaking up,” he says. “I’ve been releasing summer films for 20 years, and it’s always crowded.”

If Warner Bros. intended to hobble Nolan’s film, the plan backfired spectacularly. Instead of cannibalizing each other, the prospect of two major movies opening in the same weekend galvanized audiences. It inspired memes that encouraged people to turn the confluence of blockbusters — one a neon-pink comedy, the other a somber drama — into an unlikely double feature.

“People had forgotten what it was like pre-COVID,” says Nolan. “Not that long ago, there often was more than one big film opening on a weekend. That can be stressful for filmmakers, but it’s better for theaters.”

It also seemed like a sign that audiences are desperate for something that isn’t a reboot or a retread. For the first time since 2001, the year’s three highest-grossing films, “Barbie,” “The Super Mario Bros. Movie” and “Oppenheimer,” aren’t sequels or comic book adventures.

“It’s clear from the box office that audiences are looking for things they haven’t seen before,” Nolan says. “We’ve been through a period where it was wonderfully reassuring for studio executives to feel that their franchise properties could go on forever and be predictably successful. But you can’t deny filmgoers’ desire for novelty.”

Despite the drama involving the “Barbie” and “Oppenheimer” release date, as well as his criticism of Warner Bros., Nolan’s relationship with the studio isn’t irretrievably broken. “It’s water under the bridge,” he says of the feud.

For one thing, the media chiefs that Nolan came out swinging against are gone. AT&T, which had prioritized streaming above all else, sold a controlling stake in the company to Discovery in 2022. The newly rechristened Warner Bros. Discovery then installed CEO David Zaslav, setting the stage for Kilar’s exit. Zaslav also recruited new movie chiefs, Michael De Luca and Pam Abdy. So is Nolan open to working with Warner Bros. again?

“Oh yeah, absolutely,” he says. “Pam and Mike and Zaslav, they’re trying to do some great things with that studio, which is encouraging to see.”

It also helps that the entertainment industry, and Warner Bros., have begun to share some of Nolan’s skepticism about streaming. For a time, nearly every major media company was busy dropping licensing deals that allowed their movies to appear on cable or platforms like Netflix. They wanted to bolster subscriptions to their own streaming services by offering their movies exclusively on the likes of HBO Max or Disney+. However, as Wall Street looked more closely at the economics of these platforms, it found them overly costly and insufficiently profitable.

Nolan, who clearly understands the film business as well as the art, says he slammed the HBO Max plan partly because of the shoddy economics. And he thinks that Hollywood’s decision to push a streaming model above all else caused the writers’ and actors’ unions to strike this year because they weren’t earning the same type of royalties they once did.

“Part of the craziness with the labor negotiations this summer has been the studios sitting there and going, ‘Well, we can’t pay you because we don’t have enough money,’” Nolan says. “To which the answer is ‘Well, you don’t have enough money because you’re not managing your business correctly. You’re not getting the same amount of money for your product that you were before.’ The shift to streaming has disrupted the entire industry and created problems for everybody.”

‘‘Are you making me look amazing?” Nolan asks.

He is in high spirits as he calls me a few days after our initial meeting to answer some follow-up questions and to see how the story is progressing. That includes teasing me when I ask him if he’s thought about what’s next after the blockbuster success] of “Oppenheimer.” “Why? Do you have a script to pitch me?” he asks with a laugh.

It’s a warmer, droller side of Nolan, and one I haven’t experienced before. Not that he’s prickly — he’s unfailingly polite, generous with his time and thoughtful in his responses. Yet, he’s also keenly aware of how his remarks may be misinterpreted on social media or repackaged online, which can lead him to approach certain topics gingerly. For example, when I ask him if he’s seen “The Batman,” Matt Reeves’ recent film about the Caped Crusader, Nolan says he doesn’t want to answer that question. “If I start talking about comic book movies, that would be the only thing anybody pays any attention to in the article,” he explains. He’s probably right.

Nolan hasn’t made up his mind about the kind of movie he’ll make next. And when I push him on whether he’d return to franchise filmmaking, as he did so effectively with his “Batman” films, or if he’d prefer to make a movie purely based on an original idea, he leaves the door ajar.

“Ideas come from everywhere,” he says. “I’ve done a remake, I’ve made adaptations from comic books and novels, and I’ve written original screenplays. I’m open to anything. But as a writer and director, whatever I do, I have to feel like I own it completely. I have to make it original to me: The initial seed of an idea may come from elsewhere, but it has to go through my fingers on a keyboard and come out through my eyes alone.”

It will be intriguing to see how Nolan spends the capital he’s accrued from the critical and commercial success of “Oppenheimer.” Ever since “The Dark Knight’’ topped the box office, studios have been lining up to work with him. He’s used their interest to greenlight cerebral epics and historical dramas that others might have had trouble getting made. These movies, whether they take place in the streets of Gotham City or on the beaches of France, center on similar themes. Many, if not most, of Nolan’s films contain a warning: The search for knowledge is perilous. That danger is front and center in “Oppenheimer,” where the quest to harness the power of the atom creates unimaginable suffering.

“This film has impacted people and made them think very deeply about all the ways in which we can be our own worst enemy,” says Thomas.

“Oppenheimer” also feels like the culmination of a phase of Nolan’s artistic journey.

“There was a sense that he’s been working his way toward this film,” Steven Soderbergh, the director of “Traffic” and an executive producer of Nolan’s film “Insomnia,” says. “It required all the tools and experience that he’d had up to that point to pull something like this off. This was the cinematic equivalent of a mic drop.”

Realizing his bold vision cost Nolan something. The darkness of the subject matter, along with the existential questions it raises, weighed on him as he edited the movie. One stormy day in Los Angeles, he was returning home when he noticed raindrops falling on a puddle. It evoked the beginning of “Oppenheimer,” where the intense physicist stares down at rainwater sloshing on the ground. It’s a moment of contemplation for a brilliant mind who, over the course of the film, will become painfully aware of humanity’s boundless potential to build, as well as destroy.

“As I looked at it, I had a distinctly negative reaction,” Nolan says. “That gave me the faith that the film was working on me. And it made me glad to leave it behind, which I haven’t felt with my other films. I was ready to think about other things.”

“So, thank you,” he says jokingly. “Thank you for dragging me back into this.”'

[r1errr]

I just finished reading “American Prometheus the triumph and tragedy of J. Robert Oppenheimer” and I’m sitting and sobbing. Today, February 18, 1967, Oppenheimer died, which is very symbolic since I just finished reading his biography. I’m very sorry for him as a person, he suffered a lot, I think he was a very good person. ok I'm going to cry

[grimeysociety]

best books I've read this year (so far) - all I rated 5 stars on goodreads/storygraph:

The Queen Is Dead by Stan Grant

Our Share of Night by Mariana Enriquez

I'm A Fan by Sheena Patel

Legends & Lattes by Travis Baldtree

American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Martin J. Sherwin, Kai Bird

Catwoman: Lonely City by Cliff Chiang

Kitchen Confidential: Adventures in the Culinary Underbelly by Anthony Bourdain

[thatwritererinoriordan]

In this podcast, Kai Bird keeps calling the atomic bomb "the gadget," like it's a toaster oven. Uhh, can we not?

[jeahreading]

(This mood board is freaking awesome and everything you really need to know about me, the love of my life @im-on-crack-send-help made this)

(Right I think It's time for me to finally get this over with )

Helloo and Welcome to my Blog, This is Primarily a Writer/readerBlr, but there are other things too(Particularly listening to podcasts ) since I can't be bothered to make a side one.

My reader side - I am an avid reader and am almost always in the middle of a book, I will be updating here on which books I'm reading

Current read list -

Dracula (Bram Stoker)

The Screaming Staircase (Jonathan Stroud)

A Dance with the Fae Prince (Elise Kova)

American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer (Kai Bird)

The Silver Birds (Apolline Lucy)

That Night (Nidhi Upadhyay)

The Complete Adventures of Feluda, Vol 1 (Satyajit Ray)

The Da Vinci Code (Dan Brown)

The God of Small Things (Arundhati Roy)

The War of Lanka (Amish Tripathi) (YES I CAN FINALLY TAKE THIS OFF MY LIST I HAVE FINALLY FINISHED THIS I CAN'T BE HAPPIER)

City of Bones (Cassandra Clare)

Circe (Madeline Miller)

The Housemaid is Watching (Freida McFadden)

And that's all I can remember Right about now , Yes I'm reading 10 books or more simultaneously, no I do not have an explanation to that.

My main Genre is Historical Fiction, Fantasy, Mystery and thriller, But I do love widening my scope so do recommend me any books you might think may pique my interest. 😁

My reader side also includes me obsessing over podcasts, I'm including my Favourite podcasts here too, and I assure you they are amazing!

Podcasts for you - I usually listen to them on Spotify and love True crime, mystery, Murder mysteries etc. Here they are -

Rotten Mango by Stephanie Soo (True Crime) - I wouldn't suggest you listen to this if you get disgusted or scared easily, I usually am not affected by these kinds of things and I was still very disturbed, The first 2 episodes are quite... I would suggest you research about it more before you listen to it.

Baking a Murder by Stephanie Soo (Books and movies) - This podcast is again one of my favourites, the way she explains the movie is just so immersive, if you want to understand a story but don't have time to sit down and read the book/watch the movie then this is for you.

7 Suspects by Cryptic Radio(Murder Mystery ) - OH MY GOD, holy- this is probably one of the best mystery podcasts I've ever listened to, tbh you think you know what is going on and till the very end that is kinda sorta true, but then in the like the last 5 moments the plot twist so intense you are left sinking on to the floor thinking "What just happened", listen to, right now.

Magnus Archives by Rusty Quill (Story? horror? not sure what it comes under) - I've started listening to it after getting intense FOMO and can confirm it's going pretty well, I mean I have a LOT to catch up to, but I can say, it's caught my interest.

Murder in HR by Caspian Studios (Murder Mystery) - Again OH MY GOD, again, this is one of the best mystery podcasts I've ever listened to, I mean yeah, the gym ad thingy gets a little bit annoying but the rest of the story compensates for it, again, you think you know where you are going, again up until the very end you just don't know what the hell is going on, and again (Do you see a pattern) when the mystery hits you you are flabbergasted, soo I suggest give it a listen(also kinda obsessed with the soundtrack).

Murphy's Inc. by 97toNow Productions (Scifi mystery) - This is one of the better ones, I'm still listening to it and it's just actually really good, It's kinda the thing you listen to once a day, kinda relaxing (for me at least )

Ok, so this one is a bit different, there is a podcast Caso 63: Enigma: Spotify studios but it's in Spanish which I still haven't quite learnt and I didn't know this existed. I was recommended 2063 theke Esechi by Spotify Studios which is in Bengali which I do, in fact, understand. It was voiced by one of my favourite actors and I was absolutely in love with it, It feels like I wasn't listening to a podcast but a movie and there is so much confusion and so many twists. This podcast has been made in other languages as well, the other two ik are Case 63 (In English) and Virus 2062(In Hindi). So check it out!!

Treat by C13Features (Horror, gory) - This is like a podcast movie, it's around 2 hours long maybe? this is pretty good I would say, you can give it a listen.

Welcome to Night Vale by Night Vale Presents (Absurdity?) - I really don't think I need to say anythi_-_- HAIL THE GLOWCLOUD.

Morning Cup of Murder by Morning Cup of Murder (True Crime) - True crime yk...

The Sounds of Nightmares by Little Nightmares - Bandai Namco Europe (Horror, gore, mystery) - Uhh it's a little unnerving how detailed the actions of characters are As if they were compensating for the fact that there are no visuals, but it was pretty good I would say(Also like the soundtrack)

My writer side- My most popularly known name is Jeah (jee - ah) and I'll be using that here, I am a new author getting started on writing. I still have a looong way to go but, I enjoy writing very much even though my mind and body are definitely not on par with my will to write which is why my second unintended hobby is procrastination. Most of the time that I'm here on Tumblr I am supposed to be doing some other work, like right now.

Anywaysss here are my current WIP's

Mirror My Way - This is my first and only properly published Book. Tbh Not very proud of it, I did it in a hurry, because I took part in the school's Writing program, did nothing the whole year, and finished it in the last week, I honestly think It had potential but I kinda ruined it trying to finish it within the deadline. I wouldn't recommend you read it, It was supposed to be a part of a duology or trilogy but I think I'm just gonna let it sit in the corner for now, let it be there, think upon its mistakes, it did wrong 😤.

Tots and Coffee - Now this one I like better, this was actually inspired by the Scam Caller post here on Tumblr. Kinda had a sudden burst of inspiration and Wrote the first Chapter and since then it's still going pretty strong. Unlike the previous one, it is there on Ao3 if you wish to read it 😁.

I dunno what to call this but I occasionally write short stories in the replies of Pinterest pins when I come across writing prompts. This isn't a wip exactly but , I once posted the starting of a story and jokingly wrote "Continue-!" at the end thinking that would be the end of it, but someone did eventually continue it and that led to a string of events and a very weirdly Eledritch, beautiful Frankestine story formation, I'll be posting it slowly here on Tumblr as well, so keep checking!

Forgot to put it in earlier, but check out @the-writers-corner-inc It's a group blog I initiated, and you can find lots of fun stories, prompts, visuals and more!!

Oh just a side note, I amde another side blog where I post the answer of the everyday wordle.@answer-of-the-everyday-wordle

And that's about it, I don't what else to say, but while you're here, grab a cup of coffee or tea, pick out a book and read a page, I'm right here on the other side with a book as well, let's be booky buddies 😄😄😃😃🍵☕