Anthem’s statement about music as a voice against injustice invites the reader to see the young man’s struggle against the repressive Corporation as part of a long line of revolutions in which music has played a major role. 583), the twentieth-century civil rights movement in America (see Friedman xv), the 2011 toppling of President Zine el Abidine Ben Ali in Tunisia, and also the removal from authority of Husni Mubarak in Egypt (see LeVine 2012, p. Various real-world examples also show how music has been closely entwined with social revolution, such as in the overthrow of British monarch James Stuart in the seventeenth century (see Harol 2012, p. Music as a tool for facilitating action against injustice is also explored in Gregory Maguire’s I Feel Like the Morning Star (1989), from which the quotation in the title of this paper is taken. This ability that music has to influence people individually or as a group is also an important mechanism, however, in the overthrow of those same authorities. The capacity of music to change people’s psychological and physiological states is a major part of how the dystopian authorities in the post-disaster society into which Anthem was born keep control over their citizens. ‘Music’, laments eighteen-year-old Anthem in Emma Trevayne’s Coda (2013), ‘used to be a voice against injustice. In conclusion, I note that by uncovering the terrible realities of nuclear conflict and the dehumanization implicit in sophisticated techno-strategic paradigms, these artifacts from American nuclear culture which are also coextensive with nuclear countercultures everywhere, show the emancipatory possibilities of humane community-oriented critical literacies. Considering the current turbulence of an always already global nuclear landscape, this article examines two contemporary cinematic renderings of post-nuclear apocalyptic spaces, The Book of Eli (2010) and The Matrix (1999), to argue that any act of culturally representing/articulating the nuclear disaster is always an act of tangible recovery. This intervention emphasizes how the epistemic violence of strategic nuclear imaginaries-employed through the constant anxiety of an anticipated nuclear catastrophe-can be countered through a critical literacy opposed to both martial ideologies as well as the instrumentalization of weaponized nuclear technology.

Motifs of literacy while seldom discussed, share a self-reflexive relation with nuclearization and cultural productions of the apocalypse, since the specialized nature of nuclear technology transforms nuclear discourses into signifiers of power: a form of cultural capital that emerges from and simultaneously legitimizes nuclear weapons. Eschatological expressions underwent an epistemic shift with the Trinity tests on Jfrom an imaginative practice of predicting futurity to a cataclysmic vision of complete annihilation.

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