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Levy owns and operates the Deluxe Town Diner. The man who found the photographs, Don Levy (no relation) lives and works in Watertown, a working-class suburb of Boston. But why were they taken and by whom? And how is it that they ended up in a pile of garbage? Taken during the weeks following the bombing, they show a landscape that is eerily vacant and quiet, like ruins from a vanished civilization. These images go some way towards filling in this hole in our historical memory. As a result, Hiroshima has become, as the novelist Mary McCarthy wrote in 1946, “a kind of hole in human history.” Up until now, there have been few publicly available images of what happened on the ground when the first atomic bomb exploded. The lack of visual evidence of the atom bomb’s effect has helped us to forget its devastating impact. Awesome in its way, with its bulbous head and towering stem, it is nonetheless an abstract image freed from human agency.
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Think of Dresden after it was firebombed or London during the Blitz or the concentration camps of Bergen Belsen and Auschwitz after their liberation and a series of distinctive images flash in memory: powerful and haunting pictures of war’s destructive impact.īut think of Hiroshima and what comes to mind is the mushroom cloud. World War Two witnessed the maturation of the newly mobile photographic technology and its ability to capture images of devastation. Starting with Alexander Gardener’s and Matthew Brady’s images of the American dead at Gettysburg, through Robert Capa’s visceral images of the Spanish Civil War (made more immediate as a result of the camera having been freed from the restraints of the tripod), images of death and destruction have served to document war’s brutality. Since the invention of the camera in 1839, photography has marched in lockstep with death, especially death experienced in war. But this suppression of visual evidence served a third purpose: it helped, both in Japan and back home in America, to inhibit any questioning of the decision to use the bomb in the first place. government was ostensibly wary of the emotions of grief and anger that could be unleashed in Japan as a result of the circulation of images of the destroyed city it was probably just as concerned to keep the physical effects of its new and terrible weapon a secret. Hiroshima, photographer unknown, 1945, courtesy International Center of Photography It read, in part: “nothing shall be printed which might, directly or by inference, disturb public tranquility.”
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Government imposed a strict code of censorship on the newly defeated nation. On September 18, 1945, just over a month after Japan had surrendered, the U.S. The world has very few photographs of what gave Morrison that unforgettable jolt. I was pretty sure then that nothing I was going to see later would give me as much of a jolt.”
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“There was just one enormous, flat, rust-red scar, and no green or grey” Philip Morrison told The New Yorker in 1946, “because there were no roofs or vegetation left. Thirty-one days after the blast, a team of U.S. Thousands more would die in the following months and years as a result of sickness caused by radiation. Although exact numbers have never been agreed upon, one hundred and ten thousand civilians and twenty thousand military personnel are said to have died in Hiroshima, many of them instantly vaporized in the heat of the blast or burnt to death by the fireball which immediately swept through the city. On Augat 8:15am, a silver B-29 airplane called the Enola Gay (named after the pilot Paul Tibbets’ mother) dropped a uranium bomb.
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Now, over sixty years after the bombing of Hiroshima, their story can be told.
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The origin and purpose of the photographs were a mystery to the man who found them that night. In a dispassionate and scientific style, the seven hundred and one photographs inside the suitcase catalogued a city seared by a new form of warfare. He was looking at something he had never seen before: the effects of the first use of the Atomic bomb. He quickly closed the case and made his way back home.Īt the kitchen table, he looked through the photographs again and confirmed what he had suspected. He was even more astonished by their subject matter: devastated buildings, twisted girders, broken bridges - snapshots from an annihilated city.
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He was surprised to discover that the suitcase was full of black-and-white photographs. He bent down, turned the case on its side and popped the clasps. Amidst the garbage he caught sight of a battered suitcase. On the curb, in front of a neighbor’s house, he spotted a pile of trash: old mattresses, cardboard boxes, a few broken lamps. One rainy night eight years ago, in Watertown, Massachusetts, a man was taking his dog for a walk.