This paper intends to analyze how Canadian Métis playwright Marie Clements offers an unknown account of the history of the atomic bombs dropped on Hiroshima and Nagasaki in 1945 in her play Burning Vision. This account is constructed in a non-linear narrative where different characters from various times and places, who are all linked through the history of the nuclear bombs, slowly converge toward the apex of the play, which coincides with the dropping of both atomic bombs. Clements, thus, not only manages to install the marginalized and victimized subjects of the history of the uranium trade as the protagonists of this history, but also makes an important comment on the role of art - more precisely drama - in the re-working of (inter)national history. This reading of the play is helped by Homi K. Bhabha's discussion of national narratives and their performance in the Location of Culture as well as performance theory.