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The variables of nuclear strategy were too complex to be pondered without the aid of advanced quantitative methods and a high-speed computer. One of the earliest of the atomic-age defense intellectuals, Bernard Brodie, had made his reputation artwork with a book called “A Guide to Naval Strategy,” published in 1942. When he wrote it, Brodie had not only never been on a ship; he had never artwork seen an ocean. He artwork carried this spirit into his work on the bomb. Ghamari-Tabrizi thinks that if nuclear strategy is a science it is, at best, an “intuitive science,” more imaginative than empirical, and she relies a lot on the vocabulary of literary criticism to interpret it: the grotesque, the fantastic, the uncanny, the hardboiled, “the aesthetic of spontaneity,” “serious play.” She does not withhold judgment about the merits of Kahn’s work, but she is interested mainly in the feel of the moment, the moods and tastes of a time when the Cold War, and the anxious talk that swirled around it, had many Americans scared almost to death.
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