What influenced ray bradbury to write fahrenheit 451

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Contents

Epigraph Introduction by Neil Gaiman one The Hearth and the Salamander two The Sieve and the Sand three Burning Bright

History, Context, and Criticism

PART ONE: THE STORY OF FAHRENHEIT 451 “The Story of Fahrenheit 451” by Jonathan R. Eller

From “The Day After Tomorrow: Why Science Fiction?” (1953) by Ray Bradbury

Listening Library Audio Introduction (1976) by Ray Bradbury

“Investing Dimes: Fahrenheit 451” (1982, 1989) by Ray Bradbury

“Coda” (1979) by Ray Bradbury

PART TWO: OTHER VOICES

The Novel:

From a Letter to Stanley Kauffmann by Nelson Algren

“Books of the Times” by Orville Prescott

From “New Wine, Old Bottles” by Gilbert Highet

“New Novels” by Idris Parry

“New Fiction” by Sir John Betjeman

“1984 and All That” by Adrian Mitchell

From New Maps of Hell by Sir Kingsley Amis

Introduction to Ray Bradbury’s Fahrenheit 451 by Harold Bloom

“Fahrenheit 451” by Margaret Atwood

The Motion Picture:

“Shades of Orwell” by Arthur Knight

From “The Journal of Fahrenheit 451” by François Truffaut

About Ray Bradbury

This one, with gratitude, is for Don Congdon

Introduction

Sometimes writers write about a world that does not yet exist. We do it for a hundred reasons. (Because it’s good to look forward, not back. Because we need to illuminate a path we hope or we fear humanity will take. Because the world of the future seems more enticing or more interesting than the world of today. Because we need to warn you. To encourage. To examine. To imagine.) The reasons for writing about the day after tomorrow, and all the tomorrows that follow it, are as many and as varied as the people writing.

This is a book of warning. It is a reminder that what we have is valuable, and that sometimes we take what we value for granted.

There are three phrases that make possible the world of writing about the world of not-yet (you can call it science fiction or speculative fiction; you can call it anything you wish) and they are simple phrases:

What if . . . ? If only . . . If this goes on . . . “What if . . . ?” gives us change, a departure from our

lives. (What if aliens landed tomorrow and gave us everything we wanted, but at a price?)

“If only . . .” lets us explore the glories and dangers of tomorrow. (If only dogs could talk. If only I were invisible.)

“If this goes on . . .” is the most predictive of the three, although it doesn’t try to predict an actual future with all its messy confusion. Instead, “If this goes on . . .” fiction takes an element of life today, something clear and obvious and normally something troubling, and asks what would happen if that thing, that one thing, became bigger, became all-pervasive, changed the way we thought and behaved. (If this goes on, all communication everywhere will be through text messages or computers, and direct speech between two people, without a machine, will be outlawed.)

It’s a cautionary question, and it lets us explore cautionary worlds.

People think—wrongly—that speculative fiction is about predicting the future, but it isn’t; or if it is, it tends to do a rotten job of it. Futures are huge things that come with many elements and a billion variables, and the human race has a habit of listening to predictions for what the future will bring and then doing something quite different.

What speculative fiction is really good at is not the future but the present—taking an aspect of it that troubles or is dangerous, and extending and extrapolating that aspect into something that allows the people of that time to

see what they are doing from a different angle and from a different place. It’s cautionary.

Fahrenheit 451 is speculative fiction. It’s an “If this goes on . . .” story. Ray Bradbury was writing about his present, which is our past. He was warning us about things; some of those things are obvious, and some of them, half a century later, are harder to see.

Listen. If someone tells you what a story is about, they are

probably right. If they tell you that that is all the story is about, they are

very definitely wrong. Any story is about a host of things. It is about the

author; it is about the world the author sees and deals with and lives in; it is about the words chosen and the way those words are deployed; it is about the story itself and what happens in the story; it is about the people in the story; it is polemic; it is opinion.

An author’s opinions of what a story is about are always valid and are always true: the author was there, after all, when the book was written. She came up with each word and knows why she used that word instead of another. But an author is a creature of her time, and even she cannot see everything that her book is about.

More than half a century has passed since 1953. In America in 1953, the comparatively recent medium of radio was already severely on the wane—its reign had

lasted about thirty years, but now the exciting new medium of television had come into ascendancy, and the dramas and comedies of radio were either ending for good or reinventing themselves with a visual track on the “idiot box.”

The news channels in America warned of juvenile delinquents—teenagers in cars who drove dangerously and lived for kicks. The Cold War was going on—a war between Russia and its allies and America and its allies in which nobody dropped bombs or fired bullets because a dropped bomb could tip the world into a Third World War, a nuclear war from which it would never return. The senate was holding hearings to root out hidden Communists and taking steps to stamp out comic books. And whole families were gathering around the television in the evenings.

The joke in the 1950s went that in the old days you could tell who was home by seeing if the lights were on; now you knew who was home by seeing who had their lights off. The televisions were small and the pictures were in black and white and you needed to turn off the light to get a good picture.

“If this goes on . . .” thought Ray Bradbury, “nobody will read books anymore,” and Fahrenheit 451 began. He had written a short story once called “The Pedestrian,” about a man who is incarcerated by the police after he is stopped simply for walking. That story became part of the

world he was building, and seventeen-year-old Clarisse McLellan becomes a pedestrian in a world where nobody walks.

“What if . . . firemen burned down houses instead of saving them?” Bradbury thought, and now he had his way in to the story. He had a fireman named Guy Montag, who saved a book from the flames instead of burning it.

“If only . . . books could be saved,” he thought. If you destroy all the physical books, how can you still save them?

Bradbury wrote a story called “The Fireman.” The story demanded to be longer. The world he had created demanded more.

He went to UCLA’s Powell Library. In the basement were typewriters you could rent by the hour, by putting coins into a box on the side of the typewriter. Ray Bradbury put his money into the box and typed his story. When inspiration flagged, when he needed a boost, when he wanted to stretch his legs, he would walk through the library and look at the books.

And then his story was done. He called the Los Angeles fire department and asked

them at what temperature paper burned. Fahrenheit 451, somebody told him. He had his title. It didn’t matter if it was true or not.

The book was published and acclaimed. People loved the book, and they argued about it. It was a novel about

censorship, they said, about mind control, about humanity. About government control of our lives. About books.

It was filmed by Francois Truffaut, although the film’s ending seems darker than Bradbury’s, as if the remembering of books is perhaps not the safety net that Bradbury imagines, but is in itself another dead end.

I read Fahrenheit 451 as a boy: I did not understand Guy Montag, did not understand why he did what he did, but I understood the love of books that drove him. Books were the most important things in my life. The huge wall- screen televisions were as futuristic and implausible as the idea that people on the television would talk to me, that I could take part if I had a script. Fahrenheit was never a favorite book: it was too dark, too bleak for that. But when I read a story called “Usher II” in The Silver Locusts (the UK title for The Martian Chronicles), I recognized the world of outlawed authors and imagination with a fierce sort of familiar joy.

When I reread it as a teenager, Fahrenheit 451 had become a book about independence, about thinking for yourself. It was about treasuring books and the dissent inside the covers of books. It was about how we as humans begin by burning books and end by burning people.

Rereading it as an adult, I find myself marveling at the book once more. It is all of those things, yes, but it is also a period piece. The four-wall television being described

is the television of the 1950s: variety shows with symphony orchestras and low-brow comedians, and soap operas. The world of fast-driving, crazy teenagers out for kicks, of an endless cold war that sometimes goes hot, of wives who appear to have no jobs or identities save for their husbands’, of bad men being chased by hounds (even mechanical hounds) is a world that feels like it has its roots firmly in the 1950s.

A young reader finding this book today, or the day after tomorrow, is going to have to imagine first a past, and then a future that belongs to that past.

But still, the heart of the book remains untouched, and the questions Bradbury raises remain as valid and important.

Why do we need the things in books? The poems, the essays, the stories? Authors disagree. Authors are human and fallible and foolish. Stories are lies after all, tales of people who never existed and the things that never actually happened to them. Why should we read them? Why should we care?

The teller and the tale are very different. We must not forget that.

Ideas—written ideas—are special. They are the way we transmit our stories and our thoughts from one generation to the next. If we lose them, we lose our shared history. We lose much of what makes us human. And fiction gives us empathy: it puts us inside the minds of

other people, gives us the gift of seeing the world through their eyes. Fiction is a lie that tells us true things, over and over.

I knew Ray Bradbury for the last thirty years of his life, and I was so lucky. He was funny and gentle and always (even at the end, when he was so old he was blind and wheelchair-bound, even then) enthusiastic. He cared, completely and utterly, about things. He cared about toys and childhood and films. He cared about books. He cared about stories.

This is a book about caring for things. It’s a love letter to books, but I think, just as much, it’s a love letter to people, and a love letter to the world of Waukegan, Illinois, in the 1920s, the world in which Ray Bradbury had grown up and which he immortalized as Green Town in his book of childhood, Dandelion Wine.

As I said when we began: If someone tells you what a story is about, they are probably right. If they tell you that that is all the story is about, they are probably wrong. So any of the things I have told you about Fahrenheit 451, Ray Bradbury’s remarkable book of warning, will be incomplete. It is about these things, yes. But it is about more than that. It is about what you find between its pages.

(As a final note, in these days when we worry and we argue about whether ebooks are real books, I love how broad Ray Bradbury’s definition of a book is at the end, when he points out that we should not judge our books by

their covers, and that some books exist between covers that are perfectly people-shaped.)

—Neil Gaiman April 2013

If they give you ruled paper, write the other way. —Juan Ramón Jiménez

one The Hearth and the Salamander

It was a pleasure to burn. It was a special pleasure to see things eaten, to see

things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon-winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning.

Montag grinned the fierce grin of all men singed and driven back by flame.

He knew that when he returned to the firehouse, he might wink at himself, a minstrel man, burnt-corked, in the mirror. Later, going to sleep, he would feel the fiery smile still gripped by his face muscles, in the dark. It never went away, that smile, it never ever went away, as long as he remembered.

º º º He hung up his black beetle-colored helmet and shined it; he hung his flameproof jacket neatly; he showered luxuriously, and then, whistling, hands in pockets, walked across the upper floor of the fire station and fell down the hole. At the last moment, when disaster seemed positive, he pulled his hands from his pockets and broke his fall by grasping the golden pole. He slid to a squeaking halt, the heels one inch from the concrete floor downstairs.

He walked out of the fire station and along the midnight street toward the subway where the silent air-propelled train slid soundlessly down its lubricated flue in the earth and let him out with a great puff of warm air onto the cream-tiled escalator rising to the suburb.

Whistling, he let the escalator waft him into the still night air. He walked toward the corner, thinking little at all about nothing in particular. Before he reached the corner, however, he slowed as if a wind had sprung up from nowhere, as if someone had called his name.

The last few nights he had had the most uncertain feelings about the sidewalk just around the corner here, moving in the starlight toward his house. He had felt that a moment prior to his making the turn, someone had been there. The air seemed charged with a special calm as if someone had waited there, quietly, and only a moment before he came, simply turned to a shadow and let him through. Perhaps his nose detected a faint perfume, perhaps the skin on the backs of his hands, on his face, felt the temperature rise at this one spot where a person’s standing might raise the immediate atmosphere ten degrees for an instant. There was no understanding it. Each time he made the turn, he saw only the white, unused, buckling sidewalk, with perhaps, on one night, something vanishing swiftly across a lawn before he could focus his eyes or speak.

But now tonight, he slowed almost to a stop. His inner mind, reaching out to turn the corner for him, had heard the faintest whisper. Breathing? Or was the atmosphere compressed merely by someone standing very quietly there, waiting?

He turned the corner. The autumn leaves blew over the moonlit pavement in

such a way as to make the girl who was moving there seem fixed to a sliding walk, letting the motion of the wind and the leaves carry her forward. Her head was half bent to watch her shoes stir the circling leaves. Her face was

slender and milk-white, and in it was a kind of gentle hunger that touched over everything with tireless curiosity. It was a look, almost, of pale surprise; the dark eyes were so fixed to the world that no move escaped them. Her dress was white and it whispered. He almost thought he heard the motion of her hands as she walked, and the infinitely small sound now, the white stir of her face turning when she discovered she was a moment away from a man who stood in the middle of the pavement waiting.

The trees overhead made a great sound of letting down their dry rain. The girl stopped and looked as if she might pull back in surprise, but instead stood regarding Montag with eyes so dark and shining and alive, that he felt he had said something quite wonderful. But he knew his mouth had only moved to say hello, and then when she seemed hypnotized by the salamander on his arm and the phoenix- disc on his chest, he spoke again.

“Of course,” he said, “you’re our new neighbor, aren’t you?”

“And you must be—” she raised her eyes from his professional symbols “—the fireman.” Her voice trailed off.

“How oddly you say that.” “I’d—I’d have known it with my eyes shut,” she said,

slowly. “What—the smell of kerosene? My wife always

complains,” he laughed. “You never wash it off

completely.” “No, you don’t,” she said, in awe. He felt she was walking in a circle about him, turning

him end for end, shaking him quietly, and emptying his pockets, without once moving herself.

“Kerosene,” he said, because the silence had lengthened, “is nothing but perfume to me.”

“Does it seem like that, really?” “Of course. Why not?” She gave herself time to think of it. “I don’t know.” She

turned to face the sidewalk going toward their homes. “Do you mind if I walk back with you? I’m Clarisse McClellan.”

“Clarisse. Guy Montag. Come along. What are you doing out so late wandering around? How old are you?”

They walked in the warm-cool blowing night on the silvered pavement and there was the faintest breath of fresh apricots and strawberries in the air, and he looked around and realized this was quite impossible, so late in the year.

There was only the girl walking with him now, her face bright as snow in the moonlight, and he knew she was working his questions around, seeking the best answers she could possibly give.

“Well,” she said, “I’m seventeen and I’m crazy. My uncle says the two always go together. When people ask your age, he said, always say seventeen and insane. Isn’t

this a nice time of night to walk? I like to smell things and look at things, and sometimes stay up all night, walking, and watch the sun rise.”

They walked on again in silence and finally she said, thoughtfully, “You know, I’m not afraid of you at all.”

He was surprised. “Why should you be?” “So many people are. Afraid of firemen, I mean. But

you’re just a man, after all. . . .” He saw himself in her eyes, suspended in two shining

drops of bright water, himself dark and tiny, in fine detail, the lines about his mouth, everything there, as if her eyes were two miraculous bits of violet amber that might capture and hold him intact. Her face, turned to him now, was fragile milk crystal with a soft and constant light in it. It was not the hysterical light of electricity but—what? But the strangely comfortable and rare and gently flattering light of the candle. One time, as a child, in a power failure, his mother had found and lit a last candle and there had been a brief hour of rediscovery, of such illumination that space lost its vast dimensions and drew comfortably around them, and they, mother and son, alone, transformed, hoping that the power might not come on again too soon. . . .

And then Clarisse McClellan said: “Do you mind if I ask? How long’ve you worked at

being a fireman?” “Since I was twenty, ten years ago.”

“Do you ever read any of the books you burn?” He laughed. “That’s against the law!” “Oh. Of course.” “It’s fine work. Monday burn Millay, Wednesday

Whitman, Friday Faulkner, burn ’em to ashes, then burn the ashes. That’s our official slogan.”

They walked still further and the girl said, “Is it true that long ago firemen put fires out instead of going to start them?”

“No. Houses have always been fireproof, take my word for it.”

“Strange. I heard once that a long time ago houses used to burn by accident and they needed firemen to stop the flames.”

He laughed. She glanced quickly over. “Why are you laughing?” “I don’t know.” He started to laugh again and stopped.

“Why?” “You laugh when I haven’t been funny and you answer

right off. You never stop to think what I’ve asked you.” He stopped walking. “You are an odd one,” he said,

looking at her. “Haven’t you any respect?” “I don’t mean to be insulting. It’s just I love to watch

people too much, I guess.” “Well, doesn’t this mean anything to you?” He tapped

the numerals 451 stitched on his char-colored sleeve.

“Yes,” she whispered. She increased her pace. “Have you ever watched the jet cars racing on the boulevards down that way?”

“You’re changing the subject!” “I sometimes think drivers don’t know what grass is, or

flowers, because they never see them slowly,” she said. “If you showed a driver a green blur, Oh yes! he’d say, that’s grass! A pink blur? That’s a rose garden! White blurs are houses. Brown blurs are cows. My uncle drove slowly on a highway once. He drove forty miles an hour and they jailed him for two days. Isn’t that funny, and sad, too?”

“You think too many things,” said Montag, uneasily. “I rarely watch the ‘parlor walls’ or go to races or Fun

Parks. So I’ve lots of time for crazy thoughts, I guess. Have you seen the two-hundred-foot-long billboards in the country beyond town? Did you know that once billboards were only twenty feet long? But cars started rushing by so quickly they had to stretch the advertising out so it would last.”

“I didn’t know that!” Montag laughed abruptly. “Bet I know something else you don’t. There’s dew on

the grass in the morning.” He suddenly couldn’t remember if he had known this or

not, and it made him quite irritable. “And if you look”—she nodded at the sky—“there’s a

man in the moon.”

He hadn’t looked for a long time. They walked the rest of the way in silence, hers

thoughtful, his a kind of clenching and uncomfortable silence in which he shot her accusing glances. When they reached her house all its lights were blazing.

“What’s going on?” Montag had rarely seen that many house lights.

“Oh, just my mother and father and uncle sitting around, talking. It’s like being a pedestrian, only rarer. My uncle was arrested another time—did I tell you?—for being a pedestrian. Oh, we’re most peculiar.”

“But what do you talk about?” She laughed at this. “Good night!” She started up her

walk. Then she seemed to remember something and came back to look at him with wonder and curiosity. “Are you happy?” she said.

“Am I what?” he cried. But she was gone—running in the moonlight. Her front

door shut gently.

º º º “Happy! Of all the nonsense.”

He stopped laughing. He put his hand into the glove hole of his front door and

let it know his touch. The front door slid open. Of course I’m happy. What does she think? I’m not? he

asked the quiet rooms. He stood looking up at the

ventilator grill in the hall and suddenly remembered that something lay hidden behind the grill, something that seemed to peer down at him now. He moved his eyes quickly away.

What a strange meeting on a strange night. He remembered nothing like it save one afternoon a year ago when he had met an old man in the park and they had talked. . . .

Montag shook his head. He looked at a blank wall. The girl’s face was there, really quite beautiful in memory: astonishing, in fact. She had a very thin face like the dial of a small clock seen faintly in a dark room in the middle of a night when you waken to see the time and see the clock telling you the hour and the minute and the second, with a white silence and a glowing, all certainty and knowing what it has to tell of the night passing swiftly on toward further darknesses, but moving also toward a new sun.

“What?” asked Montag of that other self, the subconscious idiot that ran babbling at times, quite independent of will, habit, and conscience.

He glanced back at the wall. How like a mirror, too, her face. Impossible; for how many people did you know that refracted your own light to you? People were more often—he searched for a simile, found one in his work— torches, blazing away until they whiffed out. How rarely did other people’s faces take of you and throw back to you

your own expression, your own innermost trembling thought?

What incredible power of identification the girl had; she was like the eager watcher of a marionette show, anticipating each flicker of an eyelid, each gesture of his hand, each flick of a finger, the moment before it began. How long had they walked together? Three minutes? Five? Yet how large that time seemed now. How immense a figure she was on the stage before him; what a shadow she threw on the wall with her slender body! He felt that if his eye itched, she might blink. And if the muscles of his jaws stretched imperceptibly, she would yawn long before he would.

Why, he thought, now that I think of it, she almost seemed to be waiting for me there, in the street, so damned late at night. . . .

He opened the bedroom door. It was like coming into the cold marbled room of a

mausoleum after the moon has set. Complete darkness, not a hint of the silver world outside, the windows tightly shut, the chamber a tomb-world where no sound from the great city could penetrate. The room was not empty.

He listened. The little mosquito-delicate dancing hum in the air, the

electrical murmur of a hidden wasp snug in its special pink warm nest. The music was almost loud enough so he could follow the tune.

He felt his smile slide away, melt, fold over and down on itself like a tallow skin, like the stuff of a fantastic candle burning too long and now collapsing and now blown out. Darkness. He was not happy. He was not happy. He said the words to himself. He recognized this as the true state of affairs. He wore his happiness like a mask and the girl had run off across the lawn with the mask and there was no way of going to knock on her door and ask for it back.

Without turning on the light he imagined how this room would look. His wife stretched on the bed, uncovered and cold, like a body displayed on the lid of a tomb, her eyes fixed to the ceiling by invisible threads of steel, immovable. And in her ears the little Seashells, the thimble radios tamped tight, and an electronic ocean of sound, of music and talk and music and talk coming in, coming in on the shore of her unsleeping mind. The room was indeed empty. Every night the waves came in and bore her off on their great tides of sound, floating her, wide-eyed, toward morning. There had been no night in the last two years that Mildred had not swum that sea, had not gladly gone down in it for the third time.

The room was cold but nonetheless he felt he could not breathe. He did not wish to open the drapes and open the French windows, for he did not want the moon to come into the room. So, with the feeling of a man who will die

in the next hour for lack of air, he felt his way toward his open, separate, and therefore cold bed.

An instant before his foot hit the object on the floor he knew he would hit such an object. It was not unlike the feeling he had experienced before turning the corner and almost knocking the girl down. His foot, sending vibrations ahead, received back echoes of the small barrier across its path even as the foot swung. His foot kicked. The object gave a dull clink and slid off in darkness.

He stood very straight and listened to the person on the dark bed in the completely featureless night. The breath coming out the nostrils was so faint it stirred only the furthest fringes of life, a small leaf, a black feather, a single fiber of hair.

He still did not want outside light. He pulled out his igniter, felt the salamander etched on its silver disc, gave it a flick. . . .

Two moonstones looked up at him in the light of his small hand-held fire; two pale moonstones buried in a creek of clear water over which the life of the world ran, not touching them.

“Mildred!” Her face was like a snow-covered island upon which

rain might fall, but it felt no rain; over which clouds might pass their moving shadows, but she felt no shadow. There was only the singing of the thimble-wasps in her tamped-

shut ears, and her eyes all glass, and breath going in and out, softly, faintly, in and out her nostrils, and her not caring whether it came or went, went or came.

The object he had sent tumbling with his foot now glinted under the edge of his own bed. The small crystal bottle of sleeping tablets which earlier today had been filled with thirty capsules and which now lay uncapped and empty in the light of the tiny flare.

As he stood there the sky over the house screamed. There was a tremendous ripping sound as if two giant hands had torn ten thousand miles of black linen down the seam. Montag was cut in half. He felt his chest chopped down and split apart. The jet bombers going over, going over, going over, one two, one two, one two, six of them, nine of them, twelve of them, one and one and one and another and another and another, did all the screaming for him. He opened his own mouth and let their shriek come down and out between his bared teeth. The house shook. The flare went out in his hand. The moonstones vanished. He felt his hand plunge toward the telephone.

The jets were gone. He felt his lips move, brushing the mouthpiece of the phone. “Emergency hospital.” A terrible whisper.

He felt that the stars had been pulverized by the sound of the black jets and that in the morning the earth would be covered with their dust like a strange snow. That was his

idiot thought as he stood shivering in the dark, and let his lips go on moving and moving.

º º º They had this machine. They had two machines, really. One of them slid down into your stomach like a black cobra down an echoing well looking for all the old water and the old time gathered there. It drank up the green matter that flowed to the top in a slow boil. Did it drink of the darkness? Did it suck out all the poisons accumulated with the years? It fed in silence with an occasional sound of inner suffocation and blind searching. It had an Eye. The impersonal operator of the machine could, by wearing a special optical helmet, gaze into the soul of the person whom he was pumping out. What did the Eye see? He did not say. He saw but did not see what the Eye saw. The entire operation was not unlike the digging of a trench in one’s yard. The woman on the bed was no more than a hard stratum of marble they had reached. Go on, anyway, shove the bore down, slush up the emptiness, if such a thing could be brought out in the throb of the suction snake. The operator stood smoking a cigarette. The other machine was working, too.

The other machine, operated by an equally impersonal fellow in nonstainable reddish-brown coveralls. This machine pumped all of the blood from the body and replaced it with fresh blood and serum.

“Got to clean ’em out both ways,” said the operator, standing over the silent woman. “No use getting the stomach if you don’t clean the blood. Leave that stuff in the blood and the blood hits the brain like a mallet, bang, a couple thousand times and the brain just gives up, just quits.”

“Stop it!” said Montag. “I was just sayin’,” said the operator. “Are you done?” said Montag. They shut the machines up tight. “We’re done.” His

anger did not even touch them. They stood with the cigarette smoke curling around their noses and into their eyes without making them blink or squint. “That’s fifty bucks.”

“First, why don’t you tell me if she’ll be all right?” “Sure, she’ll be okay. We got all the mean stuff right in

our suitcase here, it can’t get at her now. As I said, you take out the old and put in the new and you’re okay.”

“Neither of you is an M.D. Why didn’t they send an M.D. from Emergency?”

“Hell!” The operator’s cigarette moved on his lip. “We get these cases nine or ten a night. Got so many, starting a few years ago, we had the special machines built. With the optical lens, of course, that was new; the rest is ancient. You don’t need an M.D., case like this; all you need is two handymen, clean up the problem in half an hour. Look”— he started for the door—“we gotta go. Just had another

call on the old ear-thimble. Ten blocks from here. Someone else just jumped off the cap of a pillbox. Call if you need us again. Keep her quiet. We got a contrasedative in her. She’ll wake up hungry. So long.”

And the men with the cigarettes in their straight-lined mouths, the men with the eyes of puff adders, took up their load of machine and tube, their case of liquid melancholy and the slow dark sludge of nameless stuff, and strolled out the door.

Montag sank down into a chair and looked at this woman. Her eyes were closed now, gently, and he put out his hand to feel the warmness of breath on his palm.

“Mildred,” he said, at last. There are too many of us, he thought. There are billions

of us and that’s too many. Nobody knows anyone. Strangers come and violate you. Strangers come and cut your heart out. Strangers come and take your blood. Good God, who were those men? I never saw them before in my life!

Half an hour passed. The bloodstream in this woman was new and it seemed

to have done a new thing to her. Her cheeks were very pink and her lips were very fresh and full of color and they looked soft and relaxed. Someone else’s blood there. If only someone else’s flesh and brain and memory. If only they could have taken her mind along to the dry cleaner’s

and emptied the pockets and steamed and cleansed it and reblocked it and brought it back in the morning. If only . . .

He got up and put back the drapes and opened the windows wide to let the night air in. It was two o’clock in the morning. Was it only an hour ago, Clarisse McClellan in the street, and him coming in, and the dark room and his foot kicking the little crystal bottle? Only an hour, but the word had melted down and sprung up in a new and colorless form.

Laughter blew across the moon-colored lawn from the house of Clarisse and her father and mother and the uncle who smiled so quietly and so earnestly. Above all, their laughter was relaxed and hearty and not forced in any way, coming from the house that was so brightly lit this late at night while all the other houses were kept to themselves in darkness. Montag heard the voices talking, talking, talking, giving, talking, weaving, reweaving their hypnotic web.

Montag moved out through the French windows and crossed the lawn, without even thinking of it. He stood outside the talking house in the shadows, thinking he might even tap on their door and whisper, “Let me come in. I won’t say anything. I just want to listen. What is it you’re saying?”

But instead he stood there, very cold, his face a mask of ice, listening to a man’s voice (the uncle?) moving along at an easy pace:

“Well, after all, this is the age of the disposable tissue. Blow your nose on a person, wad them, flush them away, reach for another, blow, wad, flush. Everyone using everyone else’s coattails. How are you supposed to root for the home team when you don’t even have a program or know the names? For that matter, what color jerseys are they wearing as they trot out on the field?”

Montag moved back to his own house, left the window wide, checked Mildred, tucked the covers about her carefully, and then lay down with the moonlight on his cheekbones and on the frowning ridges in his brow, with the moonlight distilled in each eye to form a silver cataract there.

One drop of rain. Clarisse. Another drop. Mildred. A third. The uncle. A fourth. The fire tonight. One, Clarisse. Two, Mildred. Three, uncle. Four, fire. One, Mildred, two, Clarisse. One, two, three, four, five, Clarisse, Mildred, uncle, fire, sleeping tablets, men, disposable tissue, coattails, blow, wad, flush, Clarisse, Mildred, uncle, fire, tablets, tissues, blow, wad, flush. One, two, three, one, two, three! Rain. The storm. The uncle laughing. Thunder falling downstairs. The whole world pouring down. The fire gushing up in a volcano. All rushing on down around in a spouting roar and rivering stream toward morning.

“I don’t know anything anymore,” he said, and let a sleep lozenge dissolve on his tongue.

º º º At nine in the morning, Mildred’s bed was empty.

Montag got up quickly, his heart pumping, and ran down the hall and stopped at the kitchen door.

Toast popped out of the silver toaster, was seized by a spidery metal hand that drenched it with melted butter.

Mildred watched the toast delivered to her plate. She had both ears plugged with electronic bees that were humming the hour away. She looked up suddenly, saw him and nodded.

“You all right?” he asked. She was an expert at lip reading from ten years of

apprenticeship at Seashell ear-thimbles. She nodded again. She set the toaster clicking away at another piece of bread.

Montag sat down. His wife said, “I don’t know why I should be so

hungry.” “You—” “I’m hungry.” “Last night,” he began. “Didn’t sleep well. Feel terrible,” she said. “God, I’m

hungry. I can’t figure it.” “Last night—” he said again. She watched his lips casually. “What about last night?” “Don’t you remember?”

“What? Did we have a wild party or something? Feel like I’ve a hangover. God, I’m hungry. Who was here?”

“A few people,” he said. “That’s what I thought.” She chewed her toast. “Sore

stomach, but I’m hungry as all get-out. Hope I didn’t do anything foolish at the party.”

“No,” he said, quietly. The toaster spidered out a piece of buttered bread for

him. He held it in his hand, feeling obligated. “You don’t look so hot yourself,” said his wife.

º º º In the late afternoon it rained and the entire world was dark gray. He stood in the hall of his house, putting on his badge with the orange salamander burning across it. He stood looking up at the air-conditioning vent in the hall for a long time. His wife in the TV parlor paused long enough from reading her script to glance up. “Hey,” she said. “The man’s thinking!”

“Yes,” he said. “I wanted to talk to you.” He paused. “You took all the pills in your bottle last night.”

“Oh, I wouldn’t do that,” she said, surprised. “The bottle was empty.” “I wouldn’t do a thing like that. Why would I do a thing

like that?” she said. “Maybe you took two pills and forgot and took two

more, and forgot again and took two more, and were so

dopey you kept right on until you had thirty or forty of them in you.”

“Heck,” she said, “what would I want to go and do a silly thing like that for?”

“I don’t know,” he said. She was quite obviously waiting for him to go. “I

didn’t do that,” she said. “Never in a billion years.” “All right if you say so,” he said. “That’s what the lady said.” She turned back to her

script. “What’s on this afternoon?” he asked, tiredly. She didn’t look up from the script again. “Well, this is a

play comes on the wall-to-wall circuit in ten minutes. They mailed me my part this morning. I sent in some box tops. They write the script with one part missing. It’s a new idea. The homemaker, that’s me, is the missing part. When it comes time for the missing lines, they all look at me out of the three walls and I say the lines. Here, for instance, the man says, ‘What do you think of this whole idea, Helen?’ And he looks at me sitting here center stage, see? And I say, I say—” She paused and ran her finger under a line on the script. “ ‘I think that’s fine!’ And then they go on with the play until he says, ‘Do you agree to that, Helen?’ and I say, ‘I sure do!’ Isn’t that fun, Guy?”

He stood in the hall looking at her. “It’s sure fun,” she said. “What’s the play about?”

“I just told you. There are these people named Bob and Ruth and Helen.”

“Oh.” “It’s really fun. It’ll be even more fun when we can

afford to have the fourth wall installed. How long you figure before we save up and get the fourth wall torn out and a fourth wall-TV put in? It’s only two thousand dollars.”

“That’s one-third of my yearly pay.” “It’s only two thousand dollars,” she replied. “And I

should think you’d consider me sometimes. If we had a fourth wall, why it’d be just like this room wasn’t ours at all, but all kinds of exotic people’s rooms. We could do without a few things.”

“We’re already doing without a few things to pay for the third wall. It was put in only two months ago, remember?”

“Is that all it was?” She sat looking at him for a long moment. “Well, goodbye, dear.”

“Goodbye,” he said. He stopped and turned around. “Does it have a happy ending?”

“I haven’t read that far.” He walked over, read the last page, nodded, folded the

script, and handed it back to her. He walked out of the house into the rain.

º º º

The rain was thinning away and the girl was walking in the center of the sidewalk with her head up and the few drops falling on her face. She smiled when she saw Montag.

“Hello!” He said hello and then said, “What are you up to now?” “I’m still crazy. The rain feels good. I love to walk in

it.” “I don’t think I’d like that,” he said. “You might if you tried.” “I never have.” She licked her lips. “Rain even tastes good.” “What do you do, go around trying everything once?”

he asked. “Sometimes twice.” She looked at something in her

hand. “What’ve you got there?” he said. “I guess it’s the last of the dandelions this year. I didn’t

think I’d find one on the lawn this late. Have you ever heard of rubbing it under your chin? Look.” She touched her chin with the flower, laughing.

“Why?” “If it rubs off, it means I’m in love. Has it?” He could hardly do anything else but look. “Well?” she said. “You’re yellow under there.” “Fine! Let’s try you now.”

“It won’t work for me.” “Here.” Before he could move she had put the

dandelion under his chin. He drew back and she laughed. “Hold still!”

She peered under his chin and frowned. “Well?” he said. “What a shame,” she said. “You’re not in love with

anyone.” “Yes, I am!” “It doesn’t show.” “I am, very much in love!” He tried to conjure up a face

to fit the words, but there was no face. “I am!” “Oh, please don’t look that way.” “It’s that dandelion,” he said. “You’ve used it all up on

yourself. That’s why it won’t work for me.” “Of course, that must be it. Oh now I’ve upset you, I

can see I have; I’m sorry, really I am.” She touched his elbow.

“No, no,” he said, quickly, “I’m all right.” “I’ve got to be going, so say you forgive me, I don’t

want you angry with me.” “I’m not angry. Upset, yes.” “I’ve got to go see my psychiatrist now. They make me

go. I make up things to say. I don’t know what he thinks of me. He says I’m a regular onion! I keep him busy peeling away the layers.”

“I’m inclined to believe you need the psychiatrist,” said Montag.

“You don’t mean that.” He took a breath and let it out and at last said, “No, I

don’t mean that.” “The psychiatrist wants to know why I go out and hike

around in the forests and watch the birds and collect butterflies. I’ll show you my collection some day.”

“Good.” “They want to know what I do with all my time. I tell

them that sometimes I just sit and think. But I won’t tell them what. I’ve got them running. And sometimes, I tell them, I like to put my head back, like this, and let the rain fall in my mouth. It tastes just like wine. Have you ever tried it?”

“No, I—” “You have forgiven me, haven’t you?” “Yes.” He thought about it. “Yes, I have. God knows

why. You’re peculiar, you’re aggravating, yet you’re easy to forgive. You say you’re seventeen?”

“Well—next month.” “How odd. How strange. And my wife thirty and yet

you seem so much older at times. I can’t get over it.” “You’re peculiar yourself, Mr. Montag. Sometimes I

even forget you’re a fireman. Now, may I make you angry again?”

“Go ahead.”

“How did it start? How did you get into it? How did you pick your work and how did you happen to think to take the job you have? You’re not like the others. I’ve seen a few; I know. When I talk, you look at me. When I said something about the moon, you looked at the moon, last night. The others would never do that. The others would walk off and leave me talking. Or threaten me. No one has time any more for anyone else. You’re one of the few who put up with me. That’s why I think it’s so strange you’re a fireman, it just doesn’t seem right for you, somehow.”

He felt his body divide itself into a hotness and a coldness, a softness and a hardness, a trembling and a not trembling, the two halves grinding one upon the other.

“You’d better run on to your appointment,” he said. And she ran off and left him standing there in the rain.

Only after a long time did he move. And then, very slowly, as he walked, he tilted his head

back in the rain, for just a few moments, and opened his mouth. . . .

º º º The Mechanical Hound slept but did not sleep, lived but did not live in its gently humming, gently vibrating, softly illuminated kennel back in a dark corner of the firehouse. The dim light of one in the morning, the moonlight from the open sky framed through the great window, touched here and there on the brass and the copper and the steel of the

faintly trembling beast. Light flickered on bits of ruby glass and on sensitive capillary hairs in the nylonbrushed nostrils of the creature that quivered gently, gently, its eight legs spidered under it on rubber-padded paws.

Montag slid down the brass pole. He went out to look at the city and the clouds had cleared away completely, and he lit a cigarette and came back to bend down and look at the Hound. It was like a great bee come home from some field where the honey is full of poison wildness, of insanity and nightmare, its body crammed with that over- rich nectar and now it was sleeping the evil out of itself.

“Hello,” whispered Montag, fascinated as always with the dead beast, the living beast.

Nights when things got dull, which was every night, the men slid down the brass poles, and set the ticking combinations of the olfactory system of the Hound and let loose rats in the firehouse areaway, and sometimes chickens, and sometimes cats that would have to be drowned anyway, and there would be betting to see which of the cats or chickens or rats the Hound would seize first. The animals were turned loose. Three seconds later the game was done, the rat, cat, or chicken caught half across the areaway, gripped in gentling paws while a four-inch hollow steel needle plunged down from the proboscis of the Hound to inject massive jolts of morphine or procaine. The pawn was then tossed in the incinerator. A new game began.

Montag stayed upstairs most nights when this went on. There had been a time two years ago when he had bet with the best of them, and lost a week’s salary and faced Mildred’s insane anger, which showed itself in veins and blotches. But now nights he lay in his bunk, face turned to the wall, listening to the whoops of laughter below and the pianostring scurry of rat feet, the violin squeaking of mice, and the great shadowing, motioned silence of the Hound leaping out like a moth in the raw light, finding, holding its victim, inserting needle and going back to its kennel to die as if a switch had been turned.

Montag touched the muzzle. The Hound growled. Montag jumped back. The Hound half rose in its kennel and looked at him

with green-blue neon light flickering in its suddenly activated eye bulbs. It growled again, a strange rasping combination of electrical sizzle, a frying sound, a scraping of metal, a turning of cogs that seemed rusty and ancient with suspicion.

“No, no, boy,” said Montag, his heart pounding. He saw the silver needle extend upon the air an inch,

pull back, extend, pull back. The growl simmered in the beast and it looked at him.

Montag backed up. The Hound took a step from its kennel. Montag grabbed the brass pole with one hand. The pole, reacting, slid upward, and took him through the

ceiling, quietly. He stepped off in the half-lit deck of the upper level. He was trembling and his face was green- white. Below, the Hound had sunk back down upon its eight incredible insect legs and was humming to itself again, its multifaceted eyes at peace.

Montag stood, letting the fears pass, by the drop-hole. Behind him, four men at a card table under a greenlidded light in the corner glanced briefly but said nothing. Only the man with the Captain’s hat and the sign of the Phoenix on his hat, at last, curious, his playing cards in his thin hand, talked across the long room.

“Montag . . . ?” “It doesn’t like me,” said Montag. “What, the Hound?” The Captain studied his cards.

“Come off it. It doesn’t like or dislike. It just ‘functions.’ It’s like a lesson in ballistics. It has a trajectory we decide on for it. It follows through. It targets itself, homes itself, and cuts off. It’s only copper wire, storage batteries, and electricity.”

Montag swallowed. “Its calculators can be set to any combination, so many amino acids, so much sulphur, so much butterfat and alkaline. Right?”

“We know all that.” “All of those chemical balances and percentages on all

of us here in the house are recorded in the master file downstairs. It would be easy for someone to set up a partial combination on the Hound’s ‘memory,’ a touch of

amino acids, perhaps. That would account for what the animal did just now. Reacted toward me.”

“Hell,” said the Captain. “Irritated, but not completely angry. Just enough

‘memory’ set up in it by someone so it growled when I touched it.”

“Who would do a thing like that?” asked the Captain. “You haven’t any enemies here, Guy.”

“None that I know of.” “We’ll have the Hound checked by our technicians

tomorrow.” “This isn’t the first time it’s threatened me,” said

Montag. “Last month it happened twice.” “We’ll fix it up. Don’t worry.” But Montag did not move and only stood thinking of the

ventilator grill in the hall at home and what lay hidden behind the grill. If someone here in the firehouse knew about the ventilator then mightn’t they “tell” the Hound . . . ?

The Captain came over to the drop hole and gave Montag a questioning glance.

“I was just figuring,” said Montag, “what does the Hound think about down there nights? Is it coming alive on us, really? It makes me cold.”

“It doesn’t think anything we don’t want it to think.” “That’s sad,” said Montag, quietly, “because all we put

into it is hunting and finding and killing. What a shame if

that’s all it can ever know.” Beatty snorted, gently. “Hell! It’s a fine bit of

craftsmanship, a good rifle that can fetch its own target and guarantees the bull’s-eye every time.”

“That’s why,” said Montag, “I wouldn’t want to be its next victim.”

“Why? You got a guilty conscience about something?” Montag glanced up swiftly. Beatty stood there looking at him steadily with his eyes,

while his mouth opened and began to laugh, very softly.

º º º One two three four five six seven days. And as many times he came out of the house and Clarisse was there somewhere in the world. Once he saw her shaking a walnut tree, once he saw her sitting on the lawn knitting a blue sweater, three or four times he found a bouquet of late flowers on his porch, or a handful of chestnuts in a little sack, or some autumn leaves neatly pinned to a sheet of white paper and thumbtacked to his door. Every day Clarisse walked him to the corner. One day it was raining, the next it was clear, the day after that the wind blew strong, and the day after that it was mild and calm, and the day after that calm day was a day like the furnace of summer and Clarisse with her face all sunburnt by late afternoon.

“Why is it,” he said, one time, at the subway entrance, “I feel I’ve known you so many years?”

“Because I like you,” she said, “and I don’t want anything from you. And because we know each other.”

“You make me feel very old and very much like a father.”

“Now you explain,” she said, “why you haven’t any daughters like me, if you love children so much?”

“I don’t know.” “You’re joking!” “I mean—” He stopped and shook his head. “Well, my

wife, she . . . she just never wanted any children at all.” The girl stopped smiling. “I’m sorry. I really thought

you were having fun at my expense. I’m a fool.” “No, no” he said. “It was a good question. It’s been a

long time since anyone cared enough to ask. A good question.”

“Let’s talk about something else. Have you ever smelled old leaves? Don’t they smell like cinnamon? Here. Smell.”

“Why, yes, it is like cinnamon in a way.” She looked at him with her clear dark eyes. “You

always seem shocked.” “It’s just I haven’t had time—” “Did you look at the stretched-out billboards like I told

you?” “I think so. Yes.” He had to laugh.

“Your laugh sounds much nicer than it did.” “Does it?” “Much more relaxed.” He felt at ease and comfortable. “Why aren’t you in

school? I see you every day wandering around.” “Oh, they don’t miss me,” she said. “I’m antisocial,

they say. I don’t mix. It’s so strange. I’m very social indeed. It all depends on what you mean by social, doesn’t it? Social to me means talking to you about things like this.” She rattled some chestnuts that had fallen off the tree in the front yard. “Or talking about how strange the world is. Being with people is nice. But I don’t think it’s social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most don’t; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film-teacher. That’s not social to me at all. It’s a lot of funnels and a lot of water poured down the spout and out the bottom, and them telling us it’s wine when it’s not. They run us so ragged by the end of the day we can’t do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to

lampposts, playing ‘chicken’ and ‘knock hubcaps.’ I guess I’m everything they say I am, all right. I haven’t any friends. That’s supposed to prove I’m abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?”

“You sound so very old.” “Sometimes I’m ancient. I’m afraid of children my own

age. They kill each other. Did it always use to be that way? My uncle says no. Six of my friends have been shot in the last year alone. Ten of them died in car wrecks. I’m afraid of them and they don’t like me because I’m afraid. My uncle says his grandfather remembered when children didn’t kill each other. But that was a long time ago when they had things different. They believed in responsibility, my uncle says. Do you know, I’m responsible. I was spanked when I needed it, years ago. And I do all the shopping and housecleaning by hand.

“But most of all,” she said, “I like to watch people. Sometimes I ride the subway all day and look at them and listen to them. I just want to figure out who they are and what they want and where they’re going. Sometimes I even go to the Fun Parks and ride in the jet cars when they race on the edge of town at midnight and the police don’t care as long as they’re insured. As long as everyone has ten thousand insurance everyone’s happy. Sometimes I sneak

around and listen in subways. Or I listen at soda fountains, and do you know what?”

“What?” “People don’t talk about anything.” “Oh, they must!” “No, not anything. They name a lot of cars or clothes or

swimming pools mostly and say how swell! But they all say the same things and nobody says anything different from anyone else. And most of the time in the cafés they have the joke-boxes on and the same jokes most of the time, or the musical wall lit and all the colored patterns running up and down, but it’s only color and all abstract. And at the museums, have you ever been? All abstract. That’s all there is now. My uncle says it was different once. A long time back sometimes pictures said things or even showed people.”

“Your uncle said, your uncle said. Your uncle must be a remarkable man.”

“He is. He certainly is. Well, I got to be going. Goodbye, Mr. Montag.”

“Goodbye.” “Goodbye. . . .”

º º º One two three four five six seven days: the firehouse.

“Montag, you shin that pole like a bird up a tree.” Third day.

“Montag, I see you came in the back door this time. The Hound bother you?”

“No, no.” Fourth day. “Montag, a funny thing. Heard tell this morning.

Fireman in Seattle, purposely set a Mechanical Hound to his own chemical complex and let it loose. What kind of suicide would you call that?”

Five, six, seven days. And, then, Clarisse was gone. He didn’t know what

there was about the afternoon, but it was not seeing her somewhere in the world. The lawn was empty, the trees empty, the street empty, and while at first he did not even know he missed her or was even looking for her, the fact was that by the time he reached the subway, there were vague stirrings of dis-ease in him. Something was the matter, his routine had been disturbed. A simple routine, true, established in a short few days, and yet . . . ? He almost turned back to make the walk again, to give her time to appear. He was certain if he tried the same route, everything would work out fine. But it was late, and the arrival of his train put a stop to his plan.

º º º The flutter of cards, motion of hands, of eyelids, the drone of the time-voice in the firehouse ceiling “. . . one thirty- five, Thursday morning, November 4th, . . . one thirty-

six . . . one thirty-seven A.M. . . .” The tick of the playing cards on the greasy table top, all the sounds came to Montag, behind his closed eyes, behind the barrier he had momentarily erected. He could feel the firehouse full of glitter and shine and silence, of brass colors, the colors of coins, of gold, of silver. The unseen men across the table were sighing on their cards, waiting. “. . . one forty- five. . . .” The voice clock mourned out the cold hour of a cold morning of a still colder year.

“What’s wrong, Montag?” Montag opened his eyes. A radio hummed somewhere. “. . . war may be

declared any hour. This country stands ready to defend its . . .”

The firehouse trembled as a great flight of jet planes whistled a single note across the black morning sky.

Montag blinked. Beatty was looking at him as if he were a museum statue. At any moment, Beatty might rise and walk about him, touching, exploring his guilt and self- consciousness. Guilt? What guilt was that?

“Your play, Montag.” Montag looked at these men whose faces were sunburnt

by a thousand real and ten thousand imaginary fires, whose work flushed their cheeks and fevered their eyes. These men who looked steadily into their platinum igniter flames as they lit their eternally burning black pipes. They and their charcoal hair and soot-colored brows and bluish-

ash-smeared cheeks where they had shaven close; but their heritage showed. Montag started up, his mouth opened. Had he ever seen a fireman that didn’t have black hair, black brows, a fiery face, and a blue-steel shaved but unshaved look? These men were all mirror images of himself! Were all firemen picked then for their looks as well as their proclivities? The color of cinders and ash about them, and the continual smell of burning from their pipes. Captain Beatty there, rising in thunderheads of tobacco smoke. Beatty opening a fresh tobacco packet, crumpling the cellophane into a sound of fire.

Montag looked at the cards in his own hands. “I—I’ve been thinking. About the fire last week. About the man whose library we fixed. What happened to him?”

“They took him screaming off to the asylum.” “He wasn’t insane.” Beatty arranged his cards quietly. “Any man’s insane

who thinks he can fool the government and us.” “I’ve tried to imagine,” said Montag, “just how it

would feel. I mean, to have firemen burn our houses and our books.”

“We haven’t any books.” “But if we did have some.” “You got some?” Beatty blinked slowly. “No.” Montag gazed beyond them to the wall with the

typed lists of a million forbidden books. Their names leapt

in fire, burning down the years under his axe and his hose which sprayed not water but kerosene. “No.” But in his mind, a cool wind started up and blew out the ventilator grill at home, softly, chilling his face. And, again, he saw himself in a green park talking to an old man, a very old man, and the wind from the park was cold, too.

Montag hesitated. “What—was it always like this? The firehouse, our work? I mean, well, once upon a time. . . .”

“Once upon a time!” Beatty said. “What kind of talk is that?”

Fool, thought Montag to himself, you’ll give it away. At the last fire, a book of fairy tales, he’d glanced at a single line. “I mean,” he said, “in the old days, before homes were completely fireproofed—” Suddenly it seemed a much younger voice was speaking for him. He opened his mouth and it was Clarisse McClellan saying, “Didn’t firemen prevent fires rather than stoke them up and get them going?”

“That’s rich!” Stoneman and Black drew forth their rule books, which also contained brief histories of the Firemen of America, and laid them out where Montag, though long familiar with them, might read:

Established, 1790, to burn English-influenced books in the Colonies. First Fireman: Benjamin Franklin.

RULE 1. Answer the alarm quickly. 2. Start the fire swiftly.

3. Burn everything. 4. Report back to firehouse immediately. 5. Stand alert for other Alarms.

Everyone watched Montag. He did not move. The alarm sounded. The bell in the ceiling kicked itself two hundred times.

Suddenly there were four empty chairs. The cards fell in a flurry of snow. The brass pole shivered. The men were gone.

Montag sat in his chair. Below, the orange dragon coughed to life.

Montag slid down the pole like a man in a dream. The Mechanical Hound leapt up in its kennel, its eyes

all green flame. “Montag, you forgot your helmet!” He seized it off the wall behind him, ran, leapt, and

they were off, the night wind hammering about their siren scream and their mighty metal thunder!

º º º It was a flaking three-story house in the ancient part of the city, a century old if it was a day, but like all houses it had been given a thin fireproof plastic sheath many years ago, and this preservative shell seemed to be the only thing holding it in the sky.

“Here we are!”

The engine slammed to a stop. Beatty, Stoneman and Black ran up the sidewalk, suddenly odious and fat in their plump fireproof slickers. Montag followed.

They crashed the front door and grabbed at a woman, though she was not running; she was not trying to escape. She was only standing, weaving from side to side, her eyes fixed upon a nothingness in the wall, as if they had struck her a terrible blow upon the head. Her tongue was moving in her mouth, and her eyes seemed to be trying to remember something and then they remembered and her tongue moved again:

“ ‘Play the man, Master Ridley; we shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out.’ ”

“Enough of that!” said Beatty. “Where are they?” He slapped her face with amazing objectivity and

repeated the question. The old woman’s eyes came to a focus upon Beatty. “You know where they are or you wouldn’t be here,” she said.

Stoneman held out the telephone alarm card with the complaint signed in telephone duplicate on the back:

“Have reason to suspect attic; 11 No. Elm, City. E. B.” “That would be Mrs. Blake, my neighbor,” said the

woman, reading the initials. “All right, men, let’s get ’em!” Next thing they were up in musty blackness swinging

silver hatchets at doors that were, after all, unlocked,

tumbling through like boys all rollick and shout. “Hey!” A fountain of books sprang down upon Montag as he climbed shuddering up the sheer stairwell. How inconvenient! Always before it had been like snuffing a candle. The police went first and adhesive-taped the victim’s mouth and bandaged him off into their glittering beetle cars, so when you arrived you found an empty house. You weren’t hurting anyone, you were hurting only things! And since things really couldn’t be hurt, since things felt nothing, and things don’t scream or whimper, as this woman might begin to scream and cry out, there was nothing to tease your conscience later. You were simply cleaning up. Janitorial work, essentially. Everything to its proper place. Quick with the kerosene! Who’s got a match!

But now, tonight, someone had slipped. This woman was spoiling the ritual. The men were making too much noise, laughing, joking, to cover her terrible accusing silence below. She made the empty rooms roar with accusation and shake down a fine dust of guilt that was sucked in their nostrils as they plunged about. It was neither cricket nor correct. Montag felt an immense irritation. She shouldn’t be here, on top of everything!

Books bombarded his shoulders, his arms, his upturned face. A book lit, almost obediently, like a white pigeon, in his hands, wings fluttering. In the dim, wavering light, a page hung open and it was like a snowy feather, the words delicately painted thereon. In all the rush and fervor,

Montag had only an instant to read a line, but it blazed in his mind for the next minute as if stamped there with fiery steel. “Time has fallen asleep in the afternoon sunshine.” He dropped the book. Immediately, another fell into his arms.

“Montag, up here!” Montag’s hand closed like a mouth, crushed the book

with wild devotion, with an insanity of mindlessness to his chest. The men above were hurling shovelfuls of magazines into the dusty air. They fell like slaughtered birds and the woman stood below, like a small girl, among the bodies.

Montag had done nothing. His hand had done it all, his hand, with a brain of its own, with a conscience and a curiosity in each trembling finger, had turned thief. Now, it plunged the book back under his arm, pressed it tight to sweating armpit, rushed out empty, with a magician’s flourish! Look here! Innocent! Look!

He gazed, shaken, at that white hand. He held it way out, as if he were farsighted. He held it close, as if he were blind.

“Montag!” He jerked about. “Don’t stand there, idiot!” The books lay like great mounds of fishes left to dry.

The men danced and slipped and fell over them. Titles glittered their golden eyes, falling, gone.

“Kerosene!” They pumped the cold fluid from the numeraled 451

tanks strapped to their shoulders. They coated each book, they pumped rooms full of it.

They hurried downstairs, Montag staggering after them in the kerosene fumes.

“Come on, woman!” The woman knelt among the books, touching the

drenched leather and cardboard, reading the gilt titles with her fingers while her eyes accused Montag.

“You can’t ever have my books,” she said. “You know the law,” said Beatty. “Where’s your

common sense? None of those books agree with each other. You’ve been locked up here for years with a regular damned Tower of Babel. Snap out of it! The people in those books never lived. Come on now!”

She shook her head. “The whole house is going up,” said Beatty. The men walked clumsily to the door. They glanced

back at Montag, who stood near the woman. “You’re not leaving her here?” he protested. “She won’t come.” “Force her, then!” Beatty raised his hand in which was concealed the

igniter. “We’re due back at the House. Besides, these fanatics always try suicide; the pattern’s familiar.”

Montag placed his hand on the woman’s elbow. “You can come with me.”

“No,” she said. “Thank you, anyway.” “I’m counting to ten,” said Beatty. “One. Two.” “Please,” said Montag. “Go on,” said the woman. “Three. Four.” “Here.” Montag pulled at the woman. The woman replied quietly, “I want to stay here.” “Five. Six.” “You can stop counting,” she said. She opened the

fingers of one hand slightly and in the palm of the hand was a single slender object.

An ordinary kitchen match. The sight of it rushed the men out and down away from

the house. Captain Beatty, keeping his dignity, backed slowly through the front door, his pink face burnt and shiny from a thousand fires and night excitements. God, thought Montag, how true! Always at night the alarm comes. Never by day! Is it because fire is prettier by night? More spectacle, a better show? The pink face of Beatty now showed the faintest panic in the door. The woman’s hand twitched on the single matchstick. The fumes of kerosene bloomed up about her. Montag felt the hidden book pound like a heart against his chest.

“Go on,” said the woman, and Montag felt himself back away and away out the door, after Beatty, down the steps,

across the lawn, where the path of kerosene lay like the track of some evil snail.

On the front porch where she had come to weigh them quietly with her eyes, her quietness a condemnation, the woman stood motionless.

Beatty flicked his fingers to spark the kerosene. He was too late. Montag gasped. The woman on the porch reached out with contempt to

them all, and struck the kitchen match against the railing. People ran out of houses all down the street.

º º º They said nothing on their way back to the firehouse.

Nobody looked at anyone else. Montag sat in the front seat with Beatty and Black. They did not even smoke their pipes. They sat there looking out the front of the great Salamander as they turned a corner and went silently on.

“Master Ridley,” said Montag a last. “What?” said Beatty. “She said, ‘Master Ridley.’ She said some crazy thing

when we came in the door. ‘Play the man,’ she said, ‘Master Ridley.’ Something, something, something.”

“ ‘We shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out,’ ” said Beatty. Stoneman glanced over at the Captain, as did Montag, startled.

Beatty rubbed his chin. “A man named Latimer said that to a man named Nicholas Ridley, as they were being burnt alive at Oxford, for heresy, on October 16, 1555.”

Montag and Stoneman went back to looking at the street as it moved under the engine wheels.

“I’m full of bits and pieces,” said Beatty. “Most fire captains have to be. Sometimes I surprise myself. Watch it, Stoneman!”

Stoneman braked the truck. “Damn!” said Beatty. “You’ve gone right by the corner

where we turn for the firehouse.”

º º º “Who is it?”

“Who would it be?” said Montag, leaning back against the closed door in the dark.

His wife said, at last, “Well, put on the light.” “I don’t want the light.” “Come to bed.” He heard her roll impatiently; the bedsprings squealed. “Are you drunk?” she said. So it was the hand that started it all. He felt one hand

and then the other work his coat free and let it slump to the floor. He held his pants out into an abyss and let them fall into darkness. His hands had been infected, and soon it would be his arms. He could feel the poison working up his wrists and into his elbows and his shoulders, and then

the jump-over from shoulder blade to shoulder blade like a spark leaping a gap. His hands were ravenous. And his eyes were beginning to feel hunger, as if they must look at something, anything, everything.

His wife said, “What are you doing?” He balanced in space with the book in his sweating

cold fingers. A minute later she said, “Well, just don’t stand there in

the middle of the floor.” He made a small sound. “What?” she asked. He made more soft sounds. He stumbled toward the

bed and shoved the book clumsily under the cold pillow. He fell into bed and his wife cried out, startled. He lay far across the room from her, on a winter island separated by an empty sea. She talked to him for what seemed a long while and she talked about this and she talked about that and it was only words, like the words he had heard once in a nursery at a friend’s house, a two-year-old child building word patterns, talking jargon, making pretty sounds in the air. But Montag said nothing and after a long while when he only made the small sounds, he felt her move in the room and come to his bed and stand over him and put her hand down to feel his cheek. He knew that when she pulled her hand away from his face it was wet.

º º º

Late in the night he looked over at Mildred. She was awake. There was a tiny dance of melody in the air, her Seashell was tamped in her ear again and she was listening to far people in far places, her eyes wide and staring at the fathoms of blackness above her in the ceiling.

Wasn’t there an old joke about the wife who talked so much on the telephone that her desperate husband ran out to the nearest store and telephoned her to ask what was for dinner? Well, then, why didn’t he buy himself an audio- Seashell broadcasting station and talk to his wife late at night, murmur, whisper, shout, scream, yell. But what would he whisper, what would he yell? What could he say?

And suddenly she was so strange he couldn’t believe he knew her at all. He was in someone else’s house, like those other jokes people told of the gentleman, drunk, coming home late late at night, unlocking the wrong door, entering a wrong room, and bedding with a stranger and getting up early and going to work and neither of them the wiser.

“Millie . . . ?” he whispered. “What?” “I didn’t mean to startle you. What I want to know

is . . .” “Well?” “When did we meet? And where?”

“When did we meet for what?” she asked. “I mean—originally.” He knew she must be frowning in the dark. He clarified it. “The first time we ever met, where was

it, and when?” “Why, it was at—” She stopped. “I don’t know,” she said. He was cold. “Can’t you remember?” “It’s been so long.” “Only ten years, that’s all, only ten!” “Don’t get excited, I’m trying to think.” She laughed an

odd little laugh that went up and up. “Funny, how funny, not to remember where or when you met your husband or wife.”

He lay massaging his eyes, his brow, and the back of his neck, slowly. He held both hands over his eyes and applied a steady pressure there as if to crush memory into place. It was suddenly more important than any other thing in a lifetime that he know where he had met Mildred.

“It doesn’t matter.” She was up, in the bathroom now, and he heard the water running, and the swallowing sound she made.

“No, I guess not,” he said. He tried to count how many times she swallowed and

he thought of the visit from the two zinc-oxide-faced men with the cigarettes in their straight-lined mouths and the

Electronic-Eyed Snake winding down into the layer upon layer of night and stone and stagnant spring water, and he wanted to call out to her, how many have you taken tonight! the capsules! how many will you take later and not know? and so on, every hour! or maybe not tonight, tomorrow night! And me not sleeping tonight or tomorrow night or any night for a long while, now that this has started. And he thought of her lying on the bed with the two technicians standing straight over her, not bent with concern, but only standing straight, arms folded. And he remembered thinking then that if she died, he was certain he wouldn’t cry. For it would be the dying of an unknown, a street face, a newspaper image, and it was suddenly so very wrong that he had begun to cry, not at death but at the thought of not crying at death, a silly empty man near a silly empty woman, while the hungry snake made her still more empty.

How do you get so empty? he wondered. Who takes it out of you? And that awful flower the other day, the dandelion! It had summed up everything, hadn’t it? “What a shame! You’re not in love with anyone!” And why not?

Well, wasn’t there a wall between him and Mildred, when you came down to it? Literally not just one wall but, so far, three! And expensive, too! And the uncles, the aunts, the cousins, the nieces, the nephews, that lived in those walls, the gibbering pack of tree-apes that said nothing, nothing, nothing and said it loud, loud, loud. He

had taken to calling them relatives from the very first. “How’s Uncle Louis today?” “Who?” “And Aunt Maude?” The most significant memory he had of Mildred, really, was of a little girl in a forest without trees (how odd!) or rather a little girl lost on a plateau where there used to be trees (you could feel the memory of their shapes all about) sitting in the center of the “living room.” The living room; what a good job of labeling that was now. No matter when he came in, the walls were always talking to Mildred.

“Something must be done!” “Yes, something must be done!” “Well, let’s not stand and talk!” “Let’s do it!” “I’m so mad I could spit!” What was it all about? Mildred couldn’t say. Who was

mad at whom? Mildred didn’t quite know. What were they going to do? Well, said Mildred, wait around and see.

He had waited around to see. A great thunderstorm of sound gushed from the walls.

Music bombarded him at such an immense volume that his bones were almost shaken from their tendons; he felt his jaw vibrate, his eyes wobble in his head. He was a victim of concussion. When it was all over he felt like a man who had been thrown from a cliff, whirled in a centrifuge and spat out over a waterfall that fell and fell into emptiness and emptiness and never—quite—touched—bottom— never—never—quite—no not quite—touched—

bottom . . . and you fell so fast you didn’t touch the sides either . . . never . . . quite . . . touched . . . anything.

The thunder faded. The music died. “There,” said Mildred. And it was indeed remarkable. Something had

happened. Even though the people in the walls of the room had barely moved, and nothing had really been settled, you had the impression that someone had turned on a washing machine or sucked you up in a gigantic vacuum. You drowned in music and pure cacophony. He came out of the room sweating and on the point of collapse. Behind him, Mildred sat in her chair and the voices went on again:

“Well, everything will be all right now,” said an “aunt.”

“Oh, don’t be too sure,” said a “cousin.” “Now, don’t get angry!” “Who’s angry?” “You are!” “I am?” “You’re mad!” “Why would I be mad!” “Because!” “That’s all very well,” cried Montag, “but what are

they mad about? Who are these people? Who’s that man and who’s that woman? Are they husband and wife, are they divorced, engaged, what? Good God, nothing’s connected up.”

“They—” said Mildred—“well, they—they had this fight, you see. They certainly fight a lot. You should listen. I think they’re married. Yes, they’re married. Why?”

And if it was not the three walls soon to be four walls and the dream complete, then it was the open car and Mildred driving a hundred miles an hour across town, he shouting at her and she shouting back and both trying to hear what was said, but hearing only the scream of the car. “At least keep it down to the minimum!” he yelled. “What?” she cried. “Keep it down to fifty-five, the minimum!” he shouted. “The what?” she shrieked. “Speed!” he shouted. And she pushed it up to one hundred and five miles an hour and tore the breath from his mouth.

When they stepped out of the car, she had the Seashells stuffed in her ears.

Silence. Only the wind blowing softly. “Mildred.” He stirred in bed. He reached over and pulled the tiny musical insect out