The Last Two Seconds Read Online Free Page B

it to Amerika. The first chapter was published in Germany in 1913 as Der Heizer ( The Stoker ).
    Filming the Doomsday Clock : The Doomsday Clock is a clock face that was established in 1947 by an international group of scientists called Chicago Atomic Scientists. It has appeared since then on every cover of the Bulletin of the Atomic Scientists. The hands are set closer or farther from midnight depending upon political—and since 2007, ecological—global events that threaten the planet. On January 14, 2014, it was set at five minutes to midnight.
    An earlier version of this poem was published as “Doktor Strangelove.” The 1964 Stanley Kubrick film Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb starred Peter Sellers. An instrumental version of “Try a Little Tenderness” played during the opening credits. Kubrick, describing the development of the script said, “And it was at this point I decided to treat the story as a nightmare comedy. Following this approach, I found it never interfered with presenting well-reasoned arguments. In culling the incongruous, it seemed to me to be less stylized and more realistic than any so-called serious, realistic treatment, which in fact is more stylized than life itself by its careful exclusion of the banal, the absurd, and the incongruous. In the context of impending world destruction, hypocrisy, misunderstanding, lechery, paranoia, ambition, euphemism, patriotism, heroism, and even reasonableness can evoke a grisly laugh.”

ACKNOWLEDGMENTS
    Thanks to the editors of the following journals where these poems appeared, sometimes in an earlier version:
    Asymptote (online): “Close Observation Especially of One under Suspicion”; The Awl (online): “An Autopsy of an Era,” “The Numbers,” and “The Storm We Call Progress”; The Believer : “Wall Street”; Better Magazine (online): “A Structure of Repeating Units” and “A Technical Drawing of the Moment”; Boston Review : “The Nerve Fibers”; Brand Literary Magazine (UK): “Silence Always Happens Suddenly”; Conduit : “Here’s What the Mapmaker Knows”; Crazyhorse : “Scene I: A Hall in the Temple of Justice,” “In This Box” and “Studies in Neuroscience: The Perpetual Moment”; Critical Quarterly (UK): “The Disappearance of Amerika: After Kafka”; Denver Quarterly: “The Too-Bright Light Will Wash You Out,” “The Perpetual Night She Went Into,” “The Landscapist,” “Except for Being, It Was Relatively Painless,” and “As in Corona”; Fence : “Two Places and One Time,” “Two Frames,” and “Under the Influence of Ideals”; Harvard Review : “Silence Always Happens Suddenly”; Hazlitt (Random House in Canada): “A Man Mentioned in an Essay”; Health & Spirituality : “Explain the Brain”; Island (Australia): “The Storm We Call Progress”; jubilat : “Scene after Scene,” “Opened and Shut,” “Equidistant from the Center of Never,” “The earthquake in this case was,” and “Had There Been”; The Kenyon Review : “A Calculation Based on Figures in a Scene,” “To Write a History,” “There She Was,” and “Can the Individual Experience Tragic Consequences?”; Lo-Ball Magazine: “Masquerade: After Beckmann”; The New Republic : “Rude Mechanicals” and “An Individual Equinox Suitable for Framing”; The New Yorker : “The Circus Watcher” and “All through the Night”; Ploughshares : “At the Moment of Beginning” and “Practice for Being Empty”; Poetry London (UK): “The Elastic Moment,” “The Last Two Seconds,” “Time Trap: The Perpetual Moment,” and “Worn”; Salmagundi : “Provisional Doubt as an Architectural Space” and “Reading Conrad’s Heart of Darkness”; Thumbnail Magazine : “Lions and Tigers: The Escaped Animal Was Bent to the Trainer’s Will”; Tin House : “Sure, it’s a little game. You, me, our minds”; Vanitas : “Compulsion in Theory and Practice: Principles and