The Illustrated Man

To call Bradbury a science fiction author is insufficient; it conveys an impression of fascination for technology which he lacks. Bradbury's prose contains a bucolic note, a nostalgia for a rural world long lost, one never known to the science fiction readers playing stick ball on the streets of New York. In this corpus, Mars is not so much a physical place as it is a metaphysical Faerie, and the fear, hatred, and misunderstanding of women by his male protagonists a reflection of an old-fashioned but stunted model of masculinity. The science takes a back seat to verbal magic.

The first story in The Illustrated Man, "The Veldt," is an effective evocation of the savagery in the infantile breast. "Kaleidoscope" suffers from the impotency of the characters (I hesitate to call them protagonists, since they do not and cannot effect any change.) "The Other Front" has some rhetorical power, but suffers from the attenuation of historical change - in this case, the elimination of Jim Crow. Perhaps this story would resonate more strongly for contemporary minorities. "The Highway" displays a nice prose style, but depends too much on the context of the era in which Bradbury wrote it. "The Man" displays the pros and cons of any mid-20th century story involving religion (always Midwest Christian, of course). The idea of the cosmic Christ is intriguing, but all writers who attempt it are too coy for the original audience and too obscure for the current audience. "The Long Rain," set on a Venus which serves as a complement to Bradburian Mars, is a depressing, if compelling, narrative, whose characters slowly decline in the fashion of military stories. "The Rocket Man" illustrates Bradbury's theme of emotional alienation, but may contain the truth of a sea widow's life. "The Last Night of the World" is a mood piece. "The Exiles" features a literal literary Mars. It shows Bradbury's use of Mars as The Other Place, an Aristotelian rather than Platonic externalization of censorship fears. "No Particular Night Or Morning" is the most extreme example of the theme of alienation - the protagonist cannot create emotional attachment to his past self or even what he has made. This ends as well as one might expect. "The Fox and the Forest" is a solid but not extraordinary fugitives-in-time tale, and does not cater to Bradbury's main strengths.

"The Visitor," once again set on Mars, this time a futuristic leper colony, shows the destructive impulse of forsaken men. The gynophobia of many of Bradbury's characters appears clearly here when the William's unusual talent becomes an analog for both food and sex and Williams himself is called "a wife," which means (in in-universe terms) he must be dominated and cannot be shared. "The Concrete Mixer" features an atypical Martian invasion, but I have yet to understand the theme. "Marionettes, Inc." is a fine horror story - I believe it was adapted for The Twilight Zone. "The City" is an effective Cold War-era horror story about revenge and death. The distance, however, is out of proportion to the theme, and might encourage the impression that science fiction writers have no sense of scale.

"Zero Hour" is a tale of children's sight where adults are blind. It is a warm and fuzzy tale with a cold underbelly. "The Rocket" is a bittersweet story of a father's love for his family and the sacrifice of his greatest dream. The last story in the collection, "The Illustrated Man," did not engage me - it is a rather weak framing device for stories that are considerably better and more effective.