Fahrenheit 451 by Ray Bradbury

Fahrenheit 451 by Ray Bradbury

I once heard an anecdote about a famous film critic who said that he wasn’t going to watch “The African Queen” until he was on his deathbed, because he wanted to save the best for last. Maybe that’s why I, a fan of classic literature and American literature both, have waited so long to read Fahrenheit 451. Of course, like so many people, my plans were foiled by a child, namely my step-son who wanted help with his 8th grade summer reading, and who could say no to that? Looking around the site you can see that I adore Ray Bradbury, so much so that I would venture to say that, were I ever able to get a PhD., I might just specialize in his works. I think he’s an overlooked genius, but at least, I thought, at least students read Fahrenheit 451. Then I read the novel … and it’s not very good. Also, everything after this point is spoilers, just FYI.

Compared to Bradbury’s corpus, Fahrenheit 451 should have been a footnote; flat characters, been-done plot (it’s basically Anthem), not-helpful observations about how technology is rotting minds. It’s almost the opposite of some of his works, specifically The Martian Chronicles collection, wherein machines are personified sympathetically. In Fahrenheit 451 it’s just “technology bad, people complacent” and the characters … I need to organize my thoughts because I cannot just ramble about my disappointment. All I’m saying is that, if that anecdote is true, I really hope that critic liked “The African Queen” because, for me, not liking Fahrenheit 451 was quite the bummer.

The novel opens with Guy Montag being thrilled with his work as a fireman, you know, the book burning kind. Then there’s a lonely walk down a moodily lit street. Enter: a dame. Clarisse McClellan is teenager and unusual, asking Montag all manner of questions as they find themselves walking side by side. This feels like a “meet cute,” where our two polar opposites meet, don’t agree, yet are drawn to each other. Montag is thirty and Clarisse is seventeen, to which my step-son said “eew!” but whatever, I’m much younger than my S.O. and it couldn’t bother me less. So I guess their age difference is supposed to establish them as platonic? Yet he looks for her every day, misses her, she leaves him little quirky manic pixie dream girl presents like acorns, and Montag thinks about her face, “really quite beautiful in memory: astonishing, in fact.” Clarisse asks him why he doesn’t read the books he burns and she asks if he’s happy before running off into the moonlight, she is the character that introduces these huge concepts to Montag … but then she’s unceremoniously killed off. For no reason.

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Clarissa by Samuel Richardson, a Reading Journal

I have the extremely odd habit of saving drafts in the most random places, and so, I just stumbled upon this Clarissa reading journal that I wrote way back in 2007. I have to published it because it’s just so odd (it was, it seem, an assignment for school that I took really seriously), it’s in the same epistolary style, and because I’m so amused that I wrote it an forgot about it again. It seems to function as a sort of diary of my Clarissa reading experience, and if you have ever read the novel, I’m sure you understand why such a step is necessary. I hope you enjoy.

Robert Lovelace preparing to abduct Clarissa Harlowe, by Francis Hayman
Week 1

Letter 1: Miss Pamela Coovert to Self at Future Date
4 September 2007

I’ve read through the Introduction to Clarissa and I can’t help but be a little worried, the Introduction is, theoretically, written by someone very fond of the book, but even their glowing terms can’t seem to mask what appears to be a staggering behemoth of a novel. I have unofficially assigned it tome status, which I like to give books more than 100 pages larger than a nice, round thousand. Apparently, every time Samuel Richardson went to edit it down he – in an act that makes it obvious that he was his own publisher – added to the book. Happily it seems that we are dealing with the first edition, which, it seems, is the smallest version. Also, the Introduction amusingly notes all of the far better known writers to slam the book (and Richardson in general) as time goes by, specifically, S. T. Coleridge. Still, Dr. Runge assures us that we are lucky to be among the few classes of graduate students who will ever get through the authentic version of this book; perhaps my pride would be more awakened at this thought were we reading James Joyce, at least then, at the end of the novel, I’d feel cool.

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The Martian Chronicles, Usher II by Ray Bradbury, Summary and Analysis

Usher II, Hungarian Graphic Novel

Below is a synopsis and analysis of “Usher II” from The Martian Chronicles for my class and, perhaps more accurately, for myself. I hope you enjoy!

“Usher II (2004-2005)” was originally published as “Carnival of Madness” in 1950 by Standard Magazines. It works as Bradbury’s love letter to Poe and feels like a prequel or alternate timeline for Fahrenheit 451 (1953) as it deals with censorship. It is similar to the 1949 short story “The Exiles” which was reprinted in The Illustrated Man (1951). “The Exiles” deals with authors whose spirits are on Mars, fearfully awaiting the burning of the final copies of their books. “Usher II” like “The Naming of Names” covers a period of time rather than a specific month, which is unusual because it seems to take place over the span of 1-2 days rather than 1-2 years. This chapter is also foreshadowed in the previous chapter, “The Naming of Names.”

Characters

William Stendahl: Millionaire and lover of fiction who concocts the elaborate plan for Usher II (which he calls “The House of Usher,” I am calling it “Usher II” for the sake of clarity). Importantly, he is the only character with a first name. Stendahl is characterized by intense anger and, although not likable, is the protagonist.

Mr. Bigelow: The architect who designed Usher II without knowing or caring what it is. He represents the complacent, unquestioning attitude of people, the “common man” in this story.

Mr. Garrett: Investigator of Moral Climates is his official title, he is in charge of enforcing the laws that regulate fiction and imagination. Like many characters in the story he has a robot double. Lack of imagination is his downfall.

Pikes: Stendahl’s right-hand man, an actor who is not allowed to act, and who is characterized by extreme bitterness. Pikes assists Stendahl in engineering the events in “Usher II.”

The Party Guests: Numbered around three dozen, some of which have names (so the narration flows well). They are portrayed essentially as sheep (like Bigelow) who Stendahl had befriended in the time leading up to the “party.” They, too, represent “the masses.” Continue reading

Shakespeare’s Measure for Measure

J'accuse!

J’accuse!

Measure for Measure is one of those fascinating plays in the Shakespearean cannon that almost defies staging and is rarely filmed. Classified as a “problem play” (or “comedy” if you’re kind of messed up) it involves religion to an almost absurd level. The title is, as I’ve been told, a reference to the Sermon on the Mount, which I know nothing about, as I was raised Taoist. However, Shakespeare wouldn’t be crammed down the throats of high school and college kids alike if he didn’t have universal applications so it still bears analysis regardless of all the allusions that I don’t get. Sorry not sorry, dominant culture.

The play revolves around the hottest nun in town, Isabella, and everyone attempting to sleep with her. Pervs. Ooh, Measure for Measure: Pervs of Vienna would draw a good crowd for those of you producing it for the stage. The Duke of Vienna (Vincentio) has just realized that he been more carrot than stick and decides to “leave town” and make Angelo the temporary Duke. Angelo has a reputation for being super uptight and the Duke feels like Angelo will 1) do all his dirty work while 2) making the Duke look super nice in comparison. A flawless plan. Angelo, like all uptight people, doesn’t want anyone to have sex before marriage, so he shuts down all the brothels and arrests Claudio, a gentleman’s son, for getting his fiancee pregnant. Her name’s Juliet(ta), obviously, and I want to do a reading of this as an alternate timeline where she never meets Romeo but my professor would really hate that … due to it’s inaccuracy. Anyway, Claudio asks his whore-loving friend Lucio to get his sister Isabella right before she enters the convent, and make her use her rhetorical prowess to get him of jail. It works if you consider Angelo deciding to kill Claudio sooner and rape Isabella to be “success”. It’s not. She fails. Get thee (back) to a nunnery!

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