AdamSmith

If you absorbed Ulysses you have nothing to apologize for. I myself can still make almost nothing of Finnegan’s Wake. Which gives me one more thing to continue to live for.

Exactly. And this will make me sound like an old fart, which I certainly am, but I see today too much ‘protecting’ of students, even in college. ‘We don’t want to trigger the delicate little things.’ Well, yes you do! Education is the job of preparing kids for real life. Which is, in one sense, just a constant series of micro-aggressions punctuated by macro-aggressions. Get used to it; and learn which to ignore, and which to fight back against like an enraged tiger. ’Don’t be careful, be dangerous.’ https://www.jordanbpeterson.comI

Such as also Dostoevsky’s Crime & Punishment. She treated us as adults, who could do difficult things, well.

On reflection, in my childhood I was reading mostly Seven leagues under the sea, other like kind of SF, A.C. Clarke, etc.

Well, on assignment from 12-th grade English class, ‘Honors English,’ taught by a high school teacher who had exquisite literary taste, and a master’s degree in same from UNC Chapel Hill. Pretty big chops for hereabouts then. I loved her. She also pushed us through T.S. Eliot’s Prufrock, & so much more. As reported here already.

On some considered reflection, Faulkner’s novel Absalom, Absalom! is probably the single greatest book I have ever read. https://www.goodreads.com/book/show/373755.Absalom_Absalom_ To include even the KJV of the Scriptures. Which for me (& including the works of my idol Harold Bloom https://en.m.wikipedia.org/wiki/Harold_Bloom) is to say something.

This is a superb post. Thank you beyond saying. We need these foundational reminders of what matters and how we operate, right now

Not your mind?

For no particular reason... S. J. Perelman LanguageSidney Joseph "S.J." Perelman (February 1, 1904 – October 17, 1979) was an American humorist and screenwriter. He is best known for his humorous short pieces written over many years for The New Yorker. He also wrote for several other magazines, including Judge, as well as books, scripts, and screenplays. Perelman received an Academy Award for screenwriting in 1956... http://s j perelman

You apologize for this too much. Your deep comprehension of every language you know— and of the thoughts expressed therein — you know are a joy to me.

remark has infinite levels of meaning. sourced material may be challenged and removed. Find sources: "Malebolge" – news · newspapers · books · scholar · JSTOR (February 2019) (Learn how and when to remove this template message) In Dante Alighieri's Inferno, part of the Divine Comedy, Malebolge (/mælˈboʊldʒ/) is the eighth circle of Hell. Roughly translated from Italian, Malebolge means "evil ditches". Malebolge is a large, funnel-shaped cavern, itself divided into ten concentric circular trenches or ditches. Each trench is called a bolgia (Italian for "pouch" or "ditch"). Long causeway bridges run from the outer circumference of Malebolge to its center, pictured as spokes on a wheel. At the center of Malebolge is the ninth and final circle of hell. Contents 1Overview 2The Malebranche 3The Ten Bolgias 4Sources and external links Overview[edit] In Dante’s version of hell, categories of sin are punished in different circles, with the depth of the circle (and placement within that circle) symbolic of the amount of punishment to be inflicted. Sinners placed in the upper circles of hell are given relatively minor punishments, while sinners in the depths of hell endure far greater torments. As the eighth of nine circles, Malebolge is one of the worst places in hell to be. In it, sinners guilty of "simple" fraud are punished (that is, fraud that is committed without particularly malicious intent, whereas malicious or "compound" fraud—fraud which goes against bond of love, blood, honor, or the bond of hospitality—would be punished in the ninth circle). Sinners of this category include counterfeiters, hypocrites, grafters, seducers, sorcerers and simonists. Dante and his guide, Virgil, make their way into Malebolge by riding on the back of the monster Geryon, the personification of fraud, who possesses the face of an honest man 'good of cheer,' but the tail of a scorpion, who flies them down through the yawning chasm that separates the eighth circle from the seventh circle, where the violent are punished. Dante and Virgil plan on crossing Malebolge by way of the system of bridges, but find their path disturbed by many broken ledges and collapsed bridges that were destroyed during the Harrowing of Hell. They must then cross some of the bolgias on foot and even rely on demons to guide them. Eventually, they make it to the inner ledge where after a brief look at the giants, the babbling Nimrod to the hostile Ephialtes and heavily chained Briareus, Virgil convinces the giant Antaeus to lower them down to the ninth circle's frozen lake, Cocytus. The Malebranche[edit] The Malebranche threaten Virgil and Dante in the fifth Bolgia, portrayed by Gustave Doré. Main article: Malebranche (Divine Comedy) Thirteen demons known as the Malebranche, "Evil Claws", guard the fifth bolgia of the Malebolge. Their leader is Malacoda ("evil tail"), while the others are Scarmiglione ("ruffle-haired"), Barbariccia ("curly beard"), Alichino (derived from Arlecchino, the harlequin), Calcabrina ("one who walks on the frost"), Cagnazzo ("bad dog"), Libicocco (a possible mix of libeccio and sirocco), Draghignazzo (maybe from drago, "dragon", and sghignazzo, "guffaw"), Ciriatto (possibly "little pork"), Graffiacane ("scratch dog"), Farfarello (possibly "goblin"), Rubicante (possibly "red" or "rabid"), and a thirteenth Malebranche who was never named in the text. They try to trick Virgil and Dante by telling them of a path which does not really exist. The Ten Bolgias[edit] The ten ditches of the Malebolge, in descending order, are listed thus: Bolgia One: Panderers and Seducers are punished here. They are forced to march, single file around the circumference of their circle, constantly lashed by horned demons. Bolgia Two: Sinners guilty of excessive flattery are punished in this bolgia, immersed forever in a river of human excrement, similar to what their flatteries were. Bolgia Three: Simoniacs are punished here. They are turned upside down in large baptismal fonts cut into the rock, with their feet set ablaze by oily fires. The heat of the flames burns according to the guilt of the sinner. Bolgia Four: Astrologers, seers, sorcerers and others who attempted to pervert God’s laws to divine the future are punished here. Their heads have been twisted around to face backwards, and thus they are forced to walk backwards around the circumference of their circle for all eternity. Bolgia Five: Grafters (speculators, extortionists, blackmailers and unscrupulous businessmen: sinners who used their positions in life to gain personal wealth or other advantages for themselves) are punished by being thrown into a river of boiling pitch and tar. In addition, should any of the grafters try to escape the pitch, a horde of demons ("Malebranche", meaning "evil claws") armed with grappling hooks and barbs stands guard over them, ready to tear them to pieces. Bolgia Six: Hypocrites are punished in this circle. They are forced to wear heavy lead robes as they walk around the circumference of their circle. The robes are golden and resemble a monk’s cowl but are lined with heavy lead, symbolically representing hypocrisy. Also, Caiaphas, the Pharisee who insisted on the execution of Jesus, is crucified in this circle, staked to the ground so that the ranks of the lead-weighted hypocrites march across him. Bolgia Seven: This bolgia houses the souls of thieves. The bolgia is also filled with serpents, dragons and other vengeful reptiles that torture the thieves endlessly. The bites of some of the snakes cause the thieves to spontaneously combust, only to regenerate their bodies for further torment in a few moments. They are pursued by the monstrous fiery Cacus. Other thieves are denied human forms and appear as reptiles themselves, and can only assume their true shape if they steal a human shape from another sinner; this involves a very painful transformation for both souls involved. Bolgia Eight: In this trench, the souls of Deceivers who gave false or corrupted advice to others for personal benefit are punished. They are constantly ablaze, appearing as nothing so much as living, speaking tongues of flame. Bolgia Nine: Sinners who, in life, promoted scandals, schism, and discord are punished here; particularly those who caused schism within the church or within politics. They are forced to walk around the circumference of the circle bearing horrible, disfiguring wounds inflicted on them by a great demon with a sword. The nature of the wound mirrors the sins of the particular soul; while some only have gashes, or fingers and toes cut off, others are decapitated, cut in half (as schismatics), or are completely disemboweled. Among those who are tormented here is Bertran de Born, alleged agitator of the Revolt of 1173–74, who carries around his severed head like a lantern. Bolgia Ten: Falsifiers, those who attempted to alter things through lies or alchemy, or those who tried to pass off false things as real things, such as counterfeiters of coins, are punished here. This bolgia has four subdivisions where specific classes of falsifiers (alchemists, impostors, counterfeiters, and liars) endure different degrees of punishment based on horrible, consumptive diseases such as rashes, dropsy, leprosy and consumption. The lower edge of Malebolge is guarded by a ring of titans and earth giants, many of whom are chained in place as punishment for their rebellion against God. Beyond and below the giants lies Cocytus, hell's final depth. Sources and external links[edit] Allen Mandelbaum's translation of the Inferno, published by the University of California Press in 1980 "Dante's Inferno: Circle 8" summary at the University of Texas hide v t e Dante's Divine Comedy Characters and locations Inferno Acheron Alichino Barbariccia Ciampolo Cocytus Dis Ugolino della Gherardesca Malacoda Paolo Malatesta Malebranche Malebolge Minos Odysseus Phlegethon Francesca da Rimini Satan Scarmiglione Styx Virgil Purgatorio Cato the Younger Forese Donati Eunoe Beatrice Portinari Statius Paradiso Adam Thomas Aquinas Bernard of Clairvaux Bonaventure Cacciaguida Charles Martel of Anjou David Empyrean Justinian I Peter Lombard Piccarda Verses "Papé Satàn, papé Satàn aleppe" "Raphèl mai amècche zabì almi" Adaptations Classical music Après une Lecture de Dante: Fantasia quasi Sonata (Liszt, 1849) Dante Symphony (Liszt, 1857) Francesca da Rimini (Tchaikovsky, 1876) Francesca da Rimini (Rachmaninoff, 1904) Francesca da Rimini (Zandonai, 1914) Gianni Schicchi (Puccini, 1918) The Divine Comedy (Smith, 1996) Paintings The Barque of Dante (Delacroix, 1822) The Wood of the Self-Murderers: The Harpies and the Suicides (Blake, 1827) Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil (Scheffer, 1835) Dante in Hell (Flandrin, 1835) The Barque of Dante (1850s, Manet) Pia de' Tolomei (Rossetti, 1868) Paolo and Francesca da Rimini (Rossetti, 1885) La barca de Aqueronte (Hidalgo, 1887) La Laguna Estigia (Hidalgo, 1887) Sculptures The Kiss (Rodin, 1882) The Thinker (Rodin, 1904) The Gates of Hell (Rodin, 1917) Architecture Danteum (Terragni, 1938) Modern music Inferno (1973 album) "Dante's Inferno" (1995 song) Dante XXI (2006 album) A Place Where the Sun Is Silent (2011 album) Film L'Inferno (1911) Dante's Inferno (1924) Dante's Inferno (1935) The Dante Quartet (1987) A TV Dante (1989) Dante's Inferno (2007) Dante's Inferno: An Animated Epic (2010) Dante's Hell Animated (2013) Literature The Story of Rimini (1816) La Comédie humaine (1830–1850) Earth Inferno (1905) The Cantos (1917–1962) As I Was Going Down Sackville Street (1937) The System of Dante's Hell (1965) Demon Lord Dante (1971) Inferno (1976) The Dante Club (2003) Jimbo's Inferno (2006) Inferno (2013) Video games Tamashii no Mon (1994) Devil May Cry series (2001) Bayonetta (2009) Dante's Inferno (2010) The Lost (cancelled) Related Cultural references in Divina Commedia Dante Alighieri and the Divine Comedy in popular culture English translations Divine Comedy Illustrated by Botticelli Botticelli Inferno, 2016 documentary Hell in popular culture Category Categories: Divine Comedy Afterlife Hell (Christianity) Navigation menu Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Search Main page Contents Current events Random article About Wikipedia Contact us Donate Contribute Help Community portal Recent changes Upload file Tools What links here Related changes Special pages Permanent link Page information Cite this page Wikidata item Print/export Download as PDF Printable version Languages Català Español Français Bahasa Indonesia Italiano Edit links This page was last edited on 10 May 2019, at 10:02 (UTC). Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

https://www.amazon.com/World-Turned-Upside-Down-Revolution/dp/0140137327

The world is going up in flames. Yet again. Don't get me started on the other one. Paradise Lost by John Milton Summary The ‘books’ are what we would think of as chapters or sections. The whole book is an epic poem – which is a long story told in verse form. The poem is written in blank verse, or lines of unrhymed iambic pentameter, and is over 10,000 lines long. Milton had become blind by the time he composed much of this poem and so dictated it to different scribes including his daughter, Deborah. The poem is a retelling of the story of Adam and Eve from the biblical book of Genesis which describes the creation of Heaven and Earth and of Adam and Eve. This poem fleshes out this story and imagines the couple’s reactions to the events that led to them being expelled from the Garden of Eden (or Paradise). Analysis The poem opens with the lines: "Of Man’s First Disobedience, and the Fruit Of that Forbidden Tree, whose mortal taste Brought Death into the World, and all our woe." And in doing so it briefs the reader about the whole plot of the epic tale it is about to relate. The ‘first disobedience’ comes about when the devil, in the form of a serpent, tempts Eve to take and eat some fruit from the Tree of Knowledge. Eve then tells Adam what she has done and he too tastes the forbidden fruit. This episode is so well-known that the phrase ‘forbidden fruit’ is widely used in society to refer to something tempting which is often morally dubious. Many people assume that that fruit was an apple, and like other writers before him, Milton calls the ‘fatal fruit’ in Book 9 an apple, but the Bible itself doesn’t name the type of fruit. A key aspect of Paradise Lost is that Milton does not portray the couple’s decision to eat the fruit as inevitable. Instead, it shows that the couple exercised their free will. While Eve was seduced by the serpent, she still chose to eat the fruit, as did Adam in turn. The couple had the power to rule over everything on Earth with the only caveat that this particular fruit was out of bounds, and God expected this rule to be kept on trust as a sign of their obedience to Him. This is key because, as the poem states, Milton wanted to use the events to demonstrate the ‘ways of God’ to people. The poem illustrates how He considered Adam and Eve to have within themselves the capacity to withstand temptation, but that they chose not to. This decision is known as ‘the fall’ because it is the moment when the couple – and all their descendants – fell from God’s grace. As well as telling the story of Adam and Eve and the Fall, the poem also narrates the story of Satan. Also known as Lucifer, Satan was a fallen angel who was banished to Hell. After his expulsion, the devil famously claims that ‘it is better to reign in hell than to serve in Heaven’. Milton coined the name Pandemonium for the capital of Hell. Satan’s motivation to lead Adam and Eve into sin is part of his scheme to extract revenge on God for his banishment. While living in innocence in Eden, Adam and Eve had the pleasurable task of tending the garden – the reason the clown in William Shakespeare’s play Hamlet comments that,‘There is no ancient gentleman but gardeners, ditchers, and grave-makers: they hold up Adam's profession’ (5.1). After the Fall, however, the son of God is sent to Earth to mete out punishments. Adam is told that henceforth he will have to toil in backbreaking labour on the land to grow food. Eve’s punishments include that she will ‘bring forth in sorrow’ or experience pain in childbirth. The ultimate consequence of the Fall is that it brings death to Earth. Book 10 ends with Adam and Eve prostrate on the ground, their tears watering the earth as, full of remorse, they beg for forgiveness. This is the moment in the poem when the couple show that they have learnt from their actions and want to make amends. Key themes Theme Description Sin In the poem Eve breaks God’s ban on eating the fruit from the Tree of Knowledge. Punishment God expels Adam and Eve from Paradise as a result of their actions; he also makes Adam work hard to farm difficult land to produce food and that Eve will suffer pain in childbirth from now on. Temptation Adam and Eve have free will and were trusted to keep God’s commands. Resources The Bible: The website Biblegateway allows users to search for any biblical phrase in all the main versions of the Bible. The British Library has some images from the 1667 edition of Paradise Lost. ‘Luminarium’ is a literary hub and has a page of Milton resources.https://www.lboro.ac.uk/subjects/english/undergraduate/study-guides/paradise-lost/#:~:text=%22Of%20Man's%20First%20Disobedience%2C%20and,%2C%20and%20all%20our%20woe.%22 Websites such as Sparknotes provide an overview of the poem and its contexts. https://www.lboro.ac.uk/subjects/english/undergraduate/study-guides/paradise-lost/#:~:text=%22Of%20Man's%20First%20Disobedience%2C%20and,%2C%20and%20all%20our%20woe.%22

I like to have a martini, Two at the very most. Three, I’m under the table; Four, I’m under my host! Dorothy Parker

Regarding her emphasis of the grotesque, O'Connor said: "anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic."[20]Her texts usually take place in the South[21]and revolve around morally flawed characters, frequently interacting with people with disabilities or disabled themselves (as O'Connor was), while the issue of race often appears in the background. Most of her works feature disturbing elements, though she did not like to be characterized as cynical. "I am mighty tired of reading reviews that call A Good Man brutal and sarcastic," she wrote.[22]"The stories are hard but they are hard because there is nothing harder or less sentimental than Christian realism. ...When I see these stories described as horror stories I am always amused because the reviewer always has hold of the wrong horror."[22] She felt deeply informed by the sacramental and by the Thomist notion that the created world is charged with God. Yet she did not write apologetic fiction of the kind prevalent in the Catholic literature of the time, explaining that a writer's meaning must be evident in his or her fiction without didacticism. She wrote ironic, subtly allegorical fiction about deceptively backward Southern characters, usually fundamentalist Protestants, who undergo transformations of character that, to her thinking, brought them closer to the Catholic mind. The transformation is often accomplished through pain, violence, and ludicrous behavior in the pursuit of the holy. However grotesque the setting, she tried to portray her characters as open to the touch of divine grace. This ruled out a sentimental understanding of the stories' violence, as of her own illness. She wrote: "Grace changes us and the change is painful."[23] She also had a deeply sardonic sense of humor, often based in the disparity between her characters' limited perceptions and the awesome fate awaiting them. Another source of humor is frequently found in the attempt of well-meaning liberals to cope with the rural South on their own terms. O'Connor used such characters' inability to come to terms with disability, race, poverty, and fundamentalism, other than in sentimental illusions, as an example of the failure of the secular world in the twentieth century. However, in several stories O'Connor explored some of the most sensitive contemporary issues that her liberal and fundamentalist characters might encounter. She addressed the Holocaust in her story "The Displaced Person", racial integration in "Everything That Rises Must Converge" and intersexuality in "A Temple of the Holy Ghost." Her fiction often included references to the problem of race in the South; occasionally, racial issues come to the forefront, as in "The Artificial Nigger," "Everything that Rises Must Converge," and "Judgement Day," her last short story and a drastically rewritten version of her first published story, "The Geranium." Despite her secluded life, her writing reveals an uncanny grasp of the nuances of human behavior. O'Connor gave many lectures on faith and literature, traveling quite far despite her frail health. Politically, she maintained a broadly progressive outlook in connection with her faith, voting for John F. Kennedy in 1960 and supporting the work of Martin Luther King Jr.and the civil rights movement.[24]Nevertheless, she wrote in a letter to Maryat Lee 3rd May, 1964, “You know, I’m an integrationist by principle & a segregationist by taste anyway. I don’t like negroes. They all give me a pain and the more of them I see, the less and less I like them. Particularly the new kind.” [25] https://en.m.wikipedia.org/wiki/Flannery_O'Connor

Not exactly childhood, but in 11th grade my English teacher said, ‘I know who you would like,’ and handed me a collection of short stories by Flannery O’Connor. https://en.m.wikipedia.org/wiki/Flannery_O'Connor Life perception was never quite the same since.

Was going to say something or other. But just feel we are all on LSD right now.

Per me si va ne la città dolente, per me si va ne l'etterno dolore, per me si va tra la perduta gente. Giustizia mosse il mio alto fattore: fecemi la divina potestate, la somma sapienza e 'l primo amore. Dinanzi a me non fuor cose create se non etterne, e io etterno duro. Lasciate ogni speranza, voi ch'entrate. https://en.m.wikiquote.org/wiki/Divine_Comedy

There is also FDR during WWII interning Japanese-descended US citizens in ‘quarantine’ camps. Not to mention Adams’s Alien & Sedition Acts, or Lincoln’s suspension of habeas corpus during the Civil War.

Also https://en.m.wikipedia.org/wiki/Twenty_Thousand_Leagues_Under_the_Sea

https://en.m.wikipedia.org/wiki/The_House_of_the_Seven_Gables

https://www.psychologytoday.com/us/blog/science-choice/201504/what-is-confirmation-bias

Take thus as you will.] https://www.psychologytoday.com/us/blog/science-choice/201504/what-is-confirmation-bias

https://en.m.wikipedia.org/wiki/Gaia_hypothesis

The Unlikely Pair History Page Type: Manhattan Project History Profiles: Leslie R. Groves J. Robert Oppenheimer Date: Thursday, June 5, 2014 Quotes: That Oppenheimer and Groves should have worked so well together is really no mystery. Groves saw in Oppenheimer an "overweening ambition" that drove him. He understood that Oppenheimer was frustrated and disappointed; that his contributions to theoretical physics had not brought him the recognition he believed he deserved. This project could be his route to immortality. Part of Groves' genius was to entwine other people's ambitions with his own. Groves and Oppenheimer got on so well because each saw in the other the skills and intelligence necessary to fulfill their common goal, the successful use of the bomb in World War II...They treated each other in special ways. Oppenheimer could at times be sarcastic with students or colleagues who could not keep up with his quick mind. Not so with Groves. He patiently answered whatever query the general asked. On Groves' part he treated Oppenheimer delicately, like a fine instrument that needed to be played just right. ~Robert S. Norris, Racing for the Bomb: General Leslie R. Groves, the Manhattan Project's Indispensable Man General Leslie Groves and J. Robert Oppenheimer were a study in contrasts, yet both were indispensable to the success of the Manhattan Project. Both men were extremely ambitious and overcame personal differences to achieve their common purpose. General Leslie Groves A West Point graduate, General Leslie Groves was chosen to head the Manhattan Project for the Army Corps of Engineers in September 1942. Prior to his assignment, Groves was in charge of all domestic Army construction during the mobilization period for World War II. The projects included the building of camps, depots, air bases, munitions plants, hospitals, airplane plants, and the Pentagon. Groves oversaw a million men and spent $8 billion on Army construction with a peak month in July 1942 of $720 million, the equivalent of fifteen Pentagons. Groves' proven record of managing complex undertakings made him a logical choice to lead the Manhattan Project. Colonel Kenneth D. Nichols, district engineer of the Manhattan Engineer District, wrote of Groves: "First, General Groves is the biggest S.O.B. I have ever worked for. He is most demanding. He is most critical. He is always a driver, never a praiser. He is abrasive and sarcastic. He disregards all normal organizational channels. He is extremely intelligent. He has the guts to make timely, difficult decisions. He is the most egotistical man I know. He knows he is right and so sticks by his decision. He abounds with energy and expects everyone to work as hard, or even harder, than he does... if I had to do my part of the atomic bomb project over again and had the privilege of picking my boss, I would pick General Groves." J. Robert Oppenheimer At the time of Groves' appointment, J. Robert Oppenheimer was already considered an exceptional theoretical physicist and held teaching positions at the University of California at Berkeley, and the California Institute of Technology. By the fall of 1942 he was deeply involved in exploring the possibility of an atomic bomb. Throughout the previous year he had been doing research on fast neutrons, calculating how much material might be needed for a bomb and how efficient it might be. In May 1942 Arthur H. Compton chose Oppenheimer to head the theoretical group exploring these questions. Oppenheimer convened a summer study conference at Berkeley in July to assess where the research stood. Many members of this "galaxy of luminaries" would soon be recruited to go to Los Alamos and other Manhattan Project sites. Oppenheimer was a captivating and charismatic figure that could easily draw people's attention and interest. "We were all completely under his spell," said physicist Philip Morrison, who would follow him to Los Alamos, NM "He was enormously impressive. There was no one like him." Isidor I. Rabi remembered Oppenheimer's mutable and dynamic personality: "He had this mystic streak that could sometimes be very foolish. Sometimes he made foolish judgments and sometimes he just liked to tell tall stories... When he was riding high he could be very arrogant. When things went against him he could play victim. He was a most remarkable fellow."' Dynamic Duo "Oppenheimer had two major disadvantages—he had had almost no administrative experience of any kind, and he was not a Nobel Prize winner," wrote Groves in his memoir Now It Can Be Told: The Story of the Manhattan Project. However, the Military Policy Committee in charge of the selection could not produce a better candidate, and Groves made the astute decision to designate Oppenheimer as director of the Los Alamos Laboratory. Another of Oppenheimer's flaws was his troublesome past associations with Communist causes, which Groves ultimately disregarded despite the concerns of some members of the committee. "I have never felt that it was a mistake to have selected and cleared Oppenheimer for his wartime post. He accomplished his assigned mission and he did it well," continued Groves, writing after Oppenheimer's security clearance had been revoked in 1954. Despite their differences in style, Groves and Oppenheimer became an effective pair. For more information, our "Voices of the Manhattan Project" website features interviews with General Groves and Oppenheimer. Related Video: Gen. Leslie Groves The Atomic Heritage Foundation produced a documentary film on the life and work of General Leslie Groves. To purchase the film, visit our online store. More Historical Resources: Robert S. Norris, Racing for the Bomb: General Leslie R. Groves, the Manhattan Project's Indispensable Man Cynthia C. Kelly, Oppenheimer and The Manhattan Project: Insights Into J Robert Oppenheimer, "Father Of The Atomic Bomb" Cynthia C. Kelly, The Manhattan Project: The Birth of the Atomic Bomb in the Words of Its Creators, Eyewitnesses, and Historians Hear the stories of the Manhattan Project Browse our collection of oral histories with workers, families, service members, and more about their experiences in the Manhattan Project. Tour the Sites of the Manhattan Project Tour some of the key locations of the Manhattan Project with an audio guide.