McDougal Littell Literature Connections: Fahrenheit 451 Student Editon

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Overview

Internationally acclaimed with more than 5 million copies in print, Fahrenheit 451 is Ray Bradbury's classic novel of censorship and defiance, as resonant today as it was when it was first published nearly 50 years ago.

Guy Montag was a fireman whose job it was to start fires...

The system was simple. Everyone understood it. Books were for burning...along with the houses in which they were hidden.

Guy Montag enjoyed his job. He had been a fireman for ten years, and he had never questioned the pleasure of the midnight runs nor the joy of watching pages consumed by flames...never questioned anything until he met a seventeen-year-old girl who told him of a past when people were not afraid.

Then he met a professor who told him of a future in which people could think...and Guy Montag suddenly realized what he had to do!

First published in 1953, Fahrenheit 451 is a classic novel set in the future when books forbidden by a totalitarian regime are burned. The hero, a book burner, suddenly discovers that books are flesh and blood ideas that cry out silently when put to the torch.

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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
Fahrenheit 451 is set in a grim alternate-future setting ruled by a tyrannical government in which firemen as we understand them no longer exist: Here, firemen don't douse fires, they ignite them. And they do this specifically in homes that house the most evil of evils: books.

Books are illegal in Bradbury's world, but books are not what his fictional -- yet extremely plausible -- government fears: They fear the knowledge one pulls from books. Through the government's incessant preaching, the inhabitants of this place have come to loathe books and fear those who keep and attempt to read them. They see such people as eccentric, dangerous, and threatening to the tranquility of their state.

But one day a fireman named Montag meets a young girl who demonstrates to him the beauty of books, of knowledge, of conceiving and sharing ideas; she wakes him up, changing his life forever. When Montag's previously held ideology comes crashing down around him, he is forced to reconsider the meaning of his existence and the part he plays. After Montag discovers that "all isn't well with the world," he sets out to make things right.

A brilliant and frightening novel, Fahrenheit 451 is the classic narrative about censorship; utterly chilling in its implications, Ray Bradbury's masterwork captivates thousands of new readers each year. (Andrew LeCount)

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Product Details

Meet the Author

The author of more than thirty books, Ray Bradbury is one of the most celebrated fiction writers of our time. Among his best-known works are Fahrenheit 451, The Martian Chronicles, The Illustrated Man, Dandelion Wine, and Something Wicked This Way Comes. He has written for the theater and the cinema, including the screenplay for John Huston's classic film adaptation of Moby Dick, and was nominated for an Academy Award. He adapted sixty-five of his stories for television's The Ray Bradbury Theater, and won an Emmy for his teleplay of The Halloween Tree. In 2000, Mr. Bradbury was honored by the National Book Foundation with a medal for Distinguished Contribution to American Letters. Among his most recent books are the novel From the Dust Returned—selected as one of the Best Books of the Year by the Los Angeles TimesThe Cat's Pajamas, a new story collection, and Bradbury Speaks, a collection of essays on the past, the future, and everything in between. Mr. Bradbury lives in Los Angeles.

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Read an Excerpt

Chapter 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.

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.

"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.

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 forth. 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 riveting stream toward morning.

"I don't know anything any more." he said, and let a sleep lozenge dissolve on his tongue.

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.

In the late aftenoon 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.

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 lavers."

"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 meant 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

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted August 14, 2006

    Review of Fahrenheit 451

    Fahrenheit 451 is essentially about a man named Guy Montag who is a fireman, but not the type that you¿re thinking of instead of putting out fires he starts them. He sets books on fire in a world where books are illegal. He then finds an interest in them when he meets a young girl who asks him if he has ever read the books he burns, and begins collecting and reading them. It being illegal to read or have books, this obviously creates problems for him, in his marriage and at work. He can¿t help but be curious and read more and more and crave for knowledge. This is also the theme of the book is it better to live in ignorance, as the society and government tells him to in this book, or to gain knowledge. I think this is the message that Bradbury wanted to get across, while this was a major life or death decision in Montag¿s life it is a simple everyday decision for us. Every single day we make the decision to learn or to live in ignorance. He wanted us to go find out which we prefer, hoping I think that we would chose knowledge over ignorence. Although I loved the plot and theme of the book the way it was written totally through it off of my taste. I think it was because it was written in such a different time period is why it lost my interest so easily. And though it¿s called a science fiction which it is, it didn¿t have much of a science fiction feel that I really enjoy. There was good character development I felt which enhanced the feeling of the story. Also though it was the story of this one man you can clearly see the theme to society throughout the story. I also think that the end of the book was not good. It felt like it was just an easy way to end the story, there was no real thought behind it. I don¿t know if he was rushed to print or if he felt like he got his point across and needed a way out, but what ever it was he definitely could have done a much better job. I did enjoy pieces of this book, like the original thought behind it and the characters, but all together it simply wasn¿t my taste.

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  • Anonymous

    Posted August 26, 2006

    Fahrenheit 451 Review

    Guy Montag is a fireman, but not just any fireman. It is the future, and rather than putting out fires, it is this man¿s job to start them to burn books that people own illegally. Assuming he¿s content with his job and personal life, Montag lives as if nothing is wrong with the twisted world in which he resides, only to be proven wrong when a teenaged girl, Clarisse, helps him realize how messed up things really are. The head of the station where Montag works, Captain Beatty, who you quickly learn to hate, loves nothing more than destroying banned books. Beatty¿s passion for this destruction along with his attitude toward others causes Montag to build up a strong resentment toward him, as do the readers of this novel, including myself. Montag smuggled a book home after seeing a woman burn along with her books during a fire. Throughout the story, he is having inner conflict as to how he should handle the fact that he likes books, or if he should let anyone in on his secret. He often thinks about his situation, and feels like questioning authority. No one but perhaps his boss suspects Montag to have anything to do with the banned literature¿He is the fireman after all, out to burn these masterpieces of hard-working authors. After many struggles, Montag succeeds in freeing himself from his boss, and decides he¿d be happier around people that also enjoy books, and he wishes to escape from where he was. Leaving his wife behind, Montag hit the streets and wandered away from the city, and along the way, discovers some answers he had been searching for for quite a while. This book gives the reader many ideas and morals to consider. I learned that one should not be deprived of literature, knowledge, and a better way of thinking. I also learned that questioning authority is not always bad, if you have a just cause. Just spreading knowledge can make a world of difference. It takes much patience and a lot of thinking in order to comprehend this book. There¿s so much to the story, and you almost have to read in between the lines to figure out the point Ray Bradbury is trying to get across in this novel. If you enjoy a well thought out story with great detail, characters that develop over time, and just reading in general, then this book is definitely for you.

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