Главные герои рассказа 451 градус по фаренгейту

В романе-антиутопии “451 градус по Фаренгейту” герои живут в американском городе будущего, где запрещены книги и чтение. Описание общественных порядков в городе, где проживают главные герои “451 градус по Фаренгейту”, шокирует простого читателя. Имя американского писателя входит в список гениальных антиутопистов. В своих книгах Рэй Брэдбери часто поднимает тему будущего человечества, неминуемой деградации из-за потери духовности. Произведение, как это случается с фантастикой, в чём-то предсказало будущее — от технических мелочей до моральных проблем.

Опыт работы учителем русского языка и литературы — 36 лет.

Характеристика героев “451 градус по Фаренгейту”

Главные герои

Гай Монтэг

Пожарный, мужчина средних лет.

Жизнь Гая ограничена работой и отдыхом, никаких мыслей и мечтаний, новые знания запрещены: они разрушают умы людей. Мир Гая динамичен и примитивен. Как-то он встречает соседку Клариссу, которая переворачивает его мировосприятие одним вопросом: счастлив ли он? На работе нервничают из-за его интереса к пожарным прошлого (которые тушили, а не устраивали пожары). Гай встречается с профессором Фабером, знакомится с литературой, и его жизнь обретает смысл. Преданный женой, он оказывается в розыске, бежит из города.

Милдред

Супруга Гая Монтэга, около 30 лет.

Человек без мыслей и эмоций, ограниченная, пустая. Живёт сериалами и телешоу, практически не вынимает наушники из ушей, из-за чего научилась читать по губам. Мечтает о четвёртом телевизоре-стене, чтобы постоянно смотреть его. Она абсолютно чужой человек для Гая, не понимает его, заботится о личном комфорте. У пары нет детей, потому что Милдред не хочет.

Кларисса Маклеллан

Молодая соседка семьи Монтэгов.

Девушка, непохожая на остальных. Не посещает школу (там не задают вопросов), боится беспорядков, из-за которых ученики стреляют друг в друга. Девушка никуда не спешит, умеет наслаждаться тишиной и окружающим миром. Они с Гаем часто беседуют о книгах, о природе. Девушка внезапно исчезает. Позже от жены Гай узнаёт, что она погибла в автокатастрофе и её семья переехала.

Фабер

Профессор, бывший преподаватель английского языка.

Тайно хранит литературу, изобретает книгопечатную технику. Находит в Монтэге единомышленника, они работают сообща. Перед началом войны, когда Гая объявляют в розыск, подсказывает, куда идти, чтобы спастись и встретить нужных людей.

Хитрый и начитанный человек. Несмотря на ум и рассудительность, считает, что книги вредны для людей. Он ближе к обществу потребителей. Выделяться из толпы — опасно, все должны быть равны, в этом состоит благо общества и счастье. Монтэгу приходится направить свой огнемёт на Битти, когда они сжигают дом Гая, так как из-за капитана может пострадать профессор.

Второстепенные персонажи

Подруги Милдред

В своей женской компании считают отсутствие мужа высшим благом. Находятся у неё в гостях, когда Гай предлагает им почитать книги и рассказывает о своих взглядах. Шокированные, женщины быстро покидают дом. Спустя какое-то время они или Милдред докладывают об инакомыслии Гая властям.

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История создания

Перед тем как изучать героев произведения, необходимо узнать, как именно появилась идея написать книгу, и почему оно имеет такое странное название. Американский писатель начал свою работу после просмотра нацистской кинохроники. В фильме демонстрировалось публичное сожжение книг авторов, которые своими строками противоречили социалистической идеологии.

Писателя возмущало такое обращение с книгами. По его словам, уничтожение литературы равно тому, как Гитлер убивал ни в чем не повинных людей в концлагерях. Автор еще с юношества считал, что человеческий разум и дух очень тесно связан с книгами. Именно поэтому он так относился к нацистскому произволу. Поскольку повлиять на это было невозможно, Брэдбери принялся за написание романа. Он хотел своими строками донести всю суть произвола, который длился не один год.

Основу произведения составляет рассказ «Пожарный», который, к сожалению, так и не был опубликован. Антиутопический роман Брэдбери писал, находясь в библиотеке Лос-Анджелеса. Впервые сочинение было опубликовано в 1953 году. Но перед тем как книга была издана, автору пришлось внести множество поправок. Критики утверждали, что произведение содержит ругательные слова, которые не пропускает цензура.

Смысл названия романа очень тесно связан с книгами. Дело в том, что 452 градус по Фаренгейту — это температура, при которой происходит возгорание бумаги.

Основные персонажи

Герои «451 градус по Фаренгейту» очень разные и имеют свою точку зрения. Только их характеристика дает читателю понять, какую роль они играют:

1. Гай Монтэг (Montag) — мужчина сорока лет, пожарный. Вся его жизнь заключена только в работе и отдыхе. Он не умеет мечтать и фантазировать, из-за этого мир героя стал примитивным. Однажды он встретил свою соседку, которая перевернула его взгляды на жизнь одним незамысловатым вопросом, счастлив ли он. В произведении автор представил его как обиженного мужчину, которого предала жена, и он подался в бега.
2. Милдред (Mildred) — женщина тридцати лет, жена Гая. Она живет только сериалами и обсуждениями телешоу. Ее разум не позволяет думать о прекрасном. Это пустая и ограниченная женщина, которая заботится только о себе. Между ними давно нет никакой связи. В браке детей они так и не нажили, так как героиня не хотела этого.
3. Кларисса Макленанд — молодая девушка, живущая по соседству с семьей Монтэг. Она особенная и непохожа на других. Девушка не посещает школу и боится различного рода беспорядков. У героини очень тонкая душа, она любит наслаждаться тишиной и ценит каждую прожитую минуту. С Гаем она очень часто беседовала, рассуждая о литературе и природе. Вскоре она внезапно исчезла. Монтэг через время узнал, что она погибла в аварии, а ее семья переехала.
4. Фабер — бывший учитель английского языка и профессор, положительный герой. Он втайне пытается создать книгопечатное оборудование. Кроме того, он незаконно хранит дома литературу. Познакомившись с Гаем, мужчина видит в нем единомышленника. Он помогает главному герою скрыться от преследования.
5. Битти — начальник Монтэга, хитрый и опасный человек. Несмотря на свою воспитанность и образованность, он считает, что книги очень вредны и разрушают разум.
6. Подруги Милдред — пустые и глупые женщины. Находясь в компании, они рассуждают о том, что если мужей не было, они были бы гораздо счастливее. Когда Гай начинает с ними беседовать и предлагает прочесть им несколько книг, они настораживаются и уходят. Вскоре женщины доложили властям о нарушениях героя.

Все персонажи романа имеют свои определенные черты характера, по которым можно оценить их внутренний мир. Нельзя говорить, что они все играют отрицательную роль в жизни друг друга.

Анализ текста

Произведение Брэдбери открывает острую проблему жизни общества, которая остается актуальной и по сегодняшний день. Основной темой романа является роль литературы в жизни человека. Автор без излишеств описал жизнь людей массового потребления, которые не способны самостоятельно мыслить, анализировать и делать соответствующие выводы.

Необразованными людьми легче всего управлять, и этот факт известен правительству, которое законом запрещает использовать литературу. Люди всю информацию узнают из новостей и телепередач, но, как известно, телепрограмма отупляет человека и преподносит все происходящее в выгодном ракурсе.

Описание книги «451 градус по Фаренгейту» дает возможность понять, что основной мыслью повествования является светлое будущее поколений, которое напрямую зависит от прошлого. Выбирая между книгами и телевизором, человек чаще всего предпочитает второе, тем самым подвергается деградации. Такое поведение чревато серьезными последствиями для всего народа, так как оно само себя уничтожает.

Кроме того, в тексте упоминаются следующие темы:

1. Семья.
2. Ценности.
3. Отношения между людьми.

Замыкаясь в себе и не развиваясь духовно, человек лишает себя таких чувств, как сопереживание, любовь и уважение. Эмоциональное отступление от родных людей — это прямая дорога к одиночеству.

Проблематикой романа является манипуляция обществом при помощи СМИ. Своими строками Брэдбери пытался донести лишь одну незамысловатую мысль: при отказе от литературы у общества нет будущего.

Роман «451 градус по Фаренгейту» Брэдбери написал в 1953 году. Произведение является одним из ярчайших примеров научно-фантастической антиутопии в мировой литературе. На нашем сайте вы можете прочитать краткое содержание «451 градус по Фаренгейту» по частям.

Расшифровку названия в эпиграфе дает сам Брэдбери: «451 градус по Фаренгейту — температура, при которой воспламеняется и горит бумага». В произведении автор размышляет над тем, есть ли у человечества будущее, изображая мир, в котором сжигаются книги, а люди живут только поверхностными, материальными ценностями.

Основные персонажи романа

Главные герои:

• Гай Монтэг – пожарный, который сжигал книги; после знакомства с Клариссой пересмотрел свои взгляды на жизнь.
• Кларисса Маклеллан – девушка 17-ти лет, сильно отличалась от сверстников, была любопытной, интересовалась миром; подруга Монтэга.

Другие персонажи:

• Брандмейстер Битти – начальник Монтэга.
• Милред – женщина 30-ти лет, жена Монтэга.
• Фабер – бывший профессор английского языка.

Брэдбери «451 градус по Фаренгейту» очень кратко

Краткое содержание «451 градус по Фаренгейту» Брэдбери:

Государственная власть имеет отдел пожарной охраны с функцией полиции, чьей задачей является отыскивать и сжигать книги. Пожарная бригада используется огнемет, который генерируют тепло ровное 451 градусов по Фаренгейту (232 градусов по Цельсию) — температура, при которой горит бумага.

Все люди, в этом состоянии будущей жизни, не знают угрызений совести, и моральные сомнения полностью устранены в этом обществе.

Вместо этого, население все свое свободное время посвящает примитивным, бессмысленным передачам из негабаритных телевизионных экранов с «плоскими» фильмами и тупой рекламой или, листая бессмысленные журналы, которые не имеют информативного содержания. Целью этого бесчеловечного режима являлось оглупление людей, чтобы не дать им возможность самостоятельно и критически мыслить, не говоря уже о восстании против государственной власти.

Протагонистом в этой истории является пожарный Гай Монтэг, который полностью убежден в правильности этих взглядов и с большой страстью увлечен своей сомнительной деятельностью. Она дает ему ощущение силы на работе и оказывает определенное обаяние на него в течение длительного времени. Возможности для профессиональной карьеры, вдохновляют его.

Необразованный Гай представляет собой среднее население в процессе описываемого мрачного будущего. Тем не менее, он любопытен и скептически настроен. Полностью характеристикам среднего человека соответствует его жена Милдред. Система олицетворена руководителем Гая, капитаном Битти.

Но есть люди, которые находятся в оппозиции к правилам системы и пытаются сформировать свое собственное мнение, самостоятельно определить форму интеллектуальной рефлексии. Это бывший профессор литературы Фабер и Кларисса Мак-Клеллан.

Задачей Гая и его коллег, является поиск книг и уничтожение их огнеметами. Чтение и владение книг строго запрещено государством. За несоблюдение этого требования грозит суровое наказание.

Только тогда, когда он встречает, молодую, красивую Клариссу случайно на улице, он получает первый импульс, чтобы подумать о своих действиях. Она происходит из нетрадиционной семьи, где любят природу и не боготворят гипер технологии своего времени. Кларисса является одним из членов группы диссидентов, которые изучают наизусть целые книги, и компенсируют сгоревшую литературу, слушая друг друга.

Он понимает, что Кларисса — несмотря на свою молодость — более зрелая и умная, чем его тридцатилетняя жена Милдред. Отношения между ней и ее мужем бесстрастны и холодны и ограничиваются только просмотром телевизора. Когда его жена делает попытку покончить жизнь самоубийством, Гай понимает что это не результат внутренних переживаний, а просто она находилась под впечатлением от просмотра телевизора.

После дальнейших встреч с Клариссой он начинает догадываться, что встречается с убежденным противником системы. С другой стороны, он задается вопросом, не влюблен ли он в нее. В любом случае, Кларисса дает ему новую пищу для размышлений и оказывают все большее влияние на него.

Особенно на Гая произвел поступок женщины, уличённой в хранении книг, и которая отказалась покинуть жилище, предназначенное для сожжения. Женщина облила себя керосином и погибла вместе со своими книгами.

Постепенно ход его мыслей меняется, и он решает прочитать книгу, которую надо было сжечь Он начинает читать и в его голову вкрадываются сомнения о правильности его жизни.  Его работа доставляет ему все меньше удовольствия, и он мысленно отдаляется все больше и больше от своего государства, и вскоре понимает, что это бесчеловечный режим.

Гай ищет свое место в жизни и встречает в парке старого человека по имени Фабер. Фабер становиться наставником Гая в его становлении как новой личности.

В это время, его жена сообщает о смерти Клариссы. Гай отказывается идти на работу, но его босс Битти навещает его и пытается внушить ему мысли о правильности существующей жизни и строя. После того, как Битти ушел, Гай принес домой несколько книг и попытался приобщить к ним жену и ее подруг, но безуспешно.

После того как Гай пришел на работу последовал вызов пожарной команды для того чтобы сжечь очередной дом. Когда они приезжают на вызов, то оказывается что нужно сжечь дом Гая. Его собственная жена предала его. Гай сжигает книги, и свой собственный дом, но начальник Битти находит рацию с помощью, которой Гай связывался с профессором. Что бы ни выдать профессора. Гай направляет огнемет против начальства Битти и убивает его. За ним начинается преследование как за государственным преступником.

Государство наказывает диссидентов безжалостно, сжигает их книги и дома. Пожарный отдел имеет в своем арсенале «механическую собаку» (искусственная форма жизни с полицейскими полномочиями) для погони за врагами государственной системы. Именно такую собаку и запускают в погоню за Гаем. Но собака убивает другого человека, которого принимают за Гая. По телевизору объявляют о смерти Гая, что дает ему возможность скрыться.

Он присоединяется к группе диссидентов. Грейнджер, начитанный человек, является лидером этих людей. Он сразу же интегрировал Гая в группу, и завязал с ним дружбу. Гай со своими новыми друзьями покидает город и надеются, что в будущем они будут иметь возможность построить новое общество после их возвращения.

В это время начинается война, и история заканчивается бомбардировками родного города ядерными бомбами, в результате чего он был полностью уничтожен.

Читайте также краткое содержание “Каникулы” Р. Брэдбери.

Содержание романа «451 градус по Фаренгейту»

«451 градус по Фаренгейту» Брэдбери краткое содержание:

Америка относительно недалёкого будущего, какой она виделась автору в начале пятидесятых годов, когда и писался этот роман-антиутопия.

Тридцатилетний Гай Монтэг — пожарник. Впрочем, в эти новейшие времена пожарные команды не сражаются с огнём. Совсем даже наоборот. Их задача отыскивать книги и предавать огню их, а также дома тех, кто осмелился держать в них такую крамолу. Вот уже десять лет Монтэг исправно выполняет свои обязанности, не задумываясь о смысле и причинах такого книгоненавистничества.

Встреча с юной и романтичной Клариссой Маклеланд выбивает героя из колеи привычного существования. Впервые за долгие годы Монтэг понимает, что человеческое общение есть нечто большее, нежели обмен заученными репликами. Кларисса резко выделяется из массы своих сверстников, помешанных на скоростной езде, спорте, примитивных развлечениях в «Луна-парках» и бесконечных телесериалах.

Она любит природу, склонна к рефлексиям и явно одинока. Вопрос Клариссы: «Счастливы ли вы?» заставляет Монтэга по-новому взглянуть на жизнь, которую ведёт он — а с ним и миллионы американцев. Довольно скоро он приходит к выводу, что, конечно же, счастливым это бездумное существование по инерции назвать нельзя. Он ощущает вокруг пустоту, отсутствие тепла, человечности.

Словно подтверждает его догадку о механическом, роботизированном существовании несчастный случай с его женой Милдред. Возвращаясь домой с работы, Монтэг застаёт жену без сознания. Она отравилась снотворным — не в результате отчаянного желания расстаться с жизнью, но машинально глотая таблетку за таблеткой.

Впрочем, все быстро встаёт на свои места. По вызову Монтэга быстро приезжает «скорая», и техники-медики оперативно проводят переливание крови с помощью новейшей аппаратуры, а затем, получив положенные пятьдесят долларов, удаляются на следующий вызов.

Монтэг и Милдред женаты уже давно, но их брак превратился в пустую фикцию. Детей у них нет — Милдред была против. Каждый существует сам по себе. Жена с головой погружена в мир телесериалов и теперь с восторгом рассказывает о новой затее телевизионщиков — ей прислали сценарий очередной «мыльной оперы» с пропущенными строчками, каковые должны восполнять сами телезрители.

Три стены гостиной дома Монтэгов являют собой огромные телеэкраны, и Милдред настаивает на том, чтобы они потратились и на установление четвёртой телестены, — тогда иллюзия общения с телеперсонажами будет полной.

Мимолётные встречи с Клариссой приводят к тому, что Монтэг из отлаженного автомата превращается в человека, который смущает своих коллег-пожарных неуместными вопросами и репликами, вроде того: «Были ведь времена, когда пожарники не сжигали дома, но наоборот, тушили пожары?»

Пожарная команда отправляется на очередной вызов, и на сей раз Монтэг испытывает потрясение. Хозяйка дома, уличённая в хранении запрещённой литературы, отказывается покинуть обречённое жилище и принимает смерть в огне вместе со своими любимыми книгами.

На следующий день Монтэг не может заставить себя пойти на работу. Он чувствует себя совершенно больным, но его жалобы на здоровье не находят отклика у Милдред, недовольной нарушением стереотипа. Кроме того, она сообщает мужу, что Клариссы Маклеланд нет в живых — несколько дней назад она попала под автомобиль, и её родители переехали в другое место.

В доме Монтэга появляется его начальник брандмейстер Битти.

Он почуял неладное и намерен привести в порядок забарахливший механизм Монтэга. Битти читает своему подчинённому небольшую лекцию, в которой содержатся принципы потребительского общества, какими видит их сам Брэдбери: «…Двадцатый век. Темп ускоряется. Книги уменьшаются в объёме. Сокращённое издание. Содержание. Экстракт. Не размазывать. Скорее к развязке!..

Произведения классиков сокращаются до пятнадцатиминутной передачи. Потом ещё больше: одна колонка текста, которую можно пробежать глазами за две минуты, потом ещё: десять — двадцать строк для энциклопедического словаря… Из детской прямо в колледж, а потом обратно в детскую».

Разумеется, такое отношение к печатной продукции — не цель, но средство, с помощью которого создаётся общество манипулируемых людей, где личности нет места.

«Мы все должны быть одинаковыми, — внушает брандмейстер Монтэгу. — Не свободными и равными от рождения, как сказано в Конституции, а… просто одинаковыми. Пусть все люди станут похожи друг на друга как две капли воды, тогда все будут счастливы, ибо не будет великанов, рядом с которыми другие почувствуют своё ничтожество».

Если принять такую модель общества, то опасность, исходящая от книг, становится самоочевидной: «Книга — это заряженное ружье в доме у соседа. Сжечь её. Разрядить ружье. Надо обуздать человеческий разум. Почём знать, кто завтра станет мишенью для начитанного человека».

До Монтэга доходит смысл предупреждения Битти, но он зашёл уже слишком далеко. Он хранит в доме книги, взятые им из обречённого на сожжение дома. Он признается в этом Милдред и предлагает вместе прочитать и обсудить их, но отклика не находит.

В поисках единомышленников Монтэг выходит на профессора Фабера, давно уже взятого на заметку пожарниками. Отринув первоначальные подозрения, Фабер понимает, что Монтэгу можно доверять. Он делится с ним своими планами по возобновлению книгопечатания, пока пусть в ничтожных дозах. Над Америкой нависла угроза войны — хотя страна уже дважды выходила победительницей в атомных конфликтах, — и Фабер полагает, что после третьего столкновения американцы одумаются и, по необходимости забыв о телевидении, испытают нужду в книгах.

На прощание Фабер даёт Монтэгу миниатюрный приёмник, помещающийся в ухе. Это не только обеспечивает связь между новыми союзниками, но и позволяет Фаберу получать информацию о том, что творится в мире пожарников, изучать его и анализировать сильные и слабые стороны противника.

Военная угроза становится все более реальной, по радио и ТВ сообщают о мобилизации миллионов. Но ещё раньше тучи сгущаются над домом Монтэга. Попытка заинтересовать жену и её подруг книгами оборачивается скандалом. Монтэг возвращается на службу, и команда отправляется на очередной вызов.

К своему удивлению, машина останавливается перед его собственным домом. Битти сообщает ему, что Милдред не вынесла и доложила насчёт книг куда нужно. Впрочем, её донос чуть опоздал: подруги проявили больше расторопности.

По распоряжению Битти Монтэг собственноручно предаёт огню и книги, и дом. Но затем Битти обнаруживает передатчик, которым пользовались для связи Фабер и Монтэг. Чтобы уберечь своего товарища от неприятностей, Монтэг направляет шланг огнемёта на Битти. Затем наступает черёд двух других пожарников.

С этих пор Монтэг становится особо опасным преступником. Организованное общество объявляет ему войну. Впрочем, тогда же начинается и та самая большая война, к которой уже давно готовились. Монтэгу удаётся спастись от погони.

По крайней мере, на какое-то время от него теперь отстанут: дабы убедить общественность, что ни один преступник не уходит от наказания, преследователи умерщвляют ни в чем не повинного прохожего, которого угораздило оказаться на пути страшного Механического Пса. Погоня транслировалась по телевидению, и теперь все добропорядочные граждане могут вздохнуть с облегчением.

Руководствуясь инструкциями Фабера, Монтэг уходит из города и встречается с представителями очень необычного сообщества. Оказывается, в стране давно уже существовало нечто вроде духовной оппозиции.

Видя, как уничтожаются книги, некоторые интеллектуалы нашли способ создания преграды на пути современного варварства. Они стали заучивать наизусть произведения, превращаясь в живые книги. Кто-то затвердил «Государство» Платона, кто-то «Путешествия Гулливера» Свифта, в одном городе «живёт» первая глава «Уолдена» Генри Дэвида Торо, в другом — вторая, и так по всей Америке.

Тысячи единомышленников делают своё дело и ждут, когда их драгоценные знания снова понадобятся обществу. Возможно, они дождутся своего. Страна переживает очередное потрясение, и над городом, который недавно покинул главный герой, возникают неприятельские бомбардировщики. Они сбрасывают на него свой смертоносный груз и превращают в руины это чудо технологической мысли XX столетия.

Читайте также краткое содержание “Все лето в один день” Р. Брэдбери.

Пересказ «451 градус по Фаренгейту» по частям

Р. Брэдбери «451 градус по Фаренгейту» краткое содержание с описанием каждой части:

Часть 1. Очаг и саламандра

«Жечь было наслаждением». Монтэг – пожарный, у него черный шлем с цифрой 451, он сжигает дома и книги. Возвращаясь домой, Монтэг встретил девушку. Мужчина догадался, что это его новая соседка. Девушка рассказала, что ее зовут Кларисса Маклеллан, ей семнадцать лет, и она «помешанная». Она призналась, что любит «смотреть на вещи, вдыхать их запах», бродить всю ночь на пролет до рассвета.

Монтэг рассказал девушке, что работает пожарником уже 10 лет, но не читает книг, которые сжигает, ведь это карается законом. Девушка спросила, правда ли, что раньше пожарники тушили пожары, а не разжигали их. Монтэг рассмеялся и ответил, что это неправда – дома всегда были несгораемыми.

Девушка поделилась, что ей кажется, словно те, кто ездит на ракетных автомобилях, «не знают, что такое трава и цветы», потому что проезжают мимо на слишком большой скорости. Сама же Кларисса очень редко смотрит телевизионные передачи и не ходит в парки развлечений.

Прощаясь Кларисса спросила у Монтэга, счастлив ли он, и убежала. Возвращаясь домой, мужчина думал над ее вопросом: «Конечно, я счастлив. Как же иначе? А она что думает — что я несчастлив?». Мужчина подумал, что лицо девушки похоже на зеркало. «Люди больше похожи <…> на факелы, которые полыхают во всю мочь, пока их не потушат. Но как редко на лице другого человека можно увидеть отражение <…> твоих сокровенных трепетных мыслей!».

Войдя в спальню, напоминавшую «облицованный мраморный склеп», Монтэг подумал, что на самом деле несчастен. Мужчина был женат, его жена Милред спала с наушниками в ушах – миниатюрными «Ракушками» – радиоприемниками-втулками.

Зацепив ногой пустой флакончик из-под снотворного, Монтэг понял, что жена выпила все таблетки. Он позвонил в больницу неотложной помощи. Милред промыли желудок, сделали переливание крови и плазмы. Санитар рассказал, что за последние годы подобные случаи сильно участились.

Утром Милред даже не поняла, что случилось. Женщина всегда ходила с «Ракушками» в ушах, поэтому за десять лет их знакомства научилась читать по губам. Она все дни проводит, смотря телешоу – в гостиной у них установлены три телевизорные стены, и она просит четвертую: «Если бы мы поставили четвёртую стену, эта комната была уже не только наша. В ней жили бы разные необыкновенные, занятые люди». Монтэг отмечает, что, хотя Милред 30 лет, Кларисса кажется ему гораздо старше жены.

У пожарников был механический пес с восемью лапами и высовывающейся стальной иглой с морфием или прокаином. Его обонятельную систему могли настроить на любую жертву. Монтэгу показалось, что пес пытался на него наброситься.

Монтэг и Кларисса виделись ежедневно. Мужчина поделился с девушкой, что у него нет детей, потому что Милред их не хотела. Кларисса не ходила в школу, потому что ученики там никогда не задают вопросов. Она призналась, что боится своих сверстников, которые убивают друг друга – в этом году 6 были застрелены, а 10 погибли в автокатастрофах.

Неожиданно Кларисса исчезла. Монтэг начинает думать о том, что было бы, если бы другие пожарные сожгли его дом и его книги. У него на работе висел список запрещенных книг, а также существовала «краткая история пожарных команд Америки», где было указано, что пожарные жгли книги с 1790 года.

Монтэг едет на очередной вызов – дневной. Его сильно впечатлило, когда хозяйка дома, пожилая женщина, не захотела бросать книги и сгорела вместе с ними. Незаметно для всех Монтэг украл одну книгу.

Ночью Монтэг спросил у жены, помнит ли, когда и где они встретились, но ни он, ни она не помнили.  Впрочем, они мало общались – когда бы Монтэг не зашел в гостиную, «стены разговаривали с Милред».

Милред сказала, что семья Клариссы уехала, а сама девушка умерла – попала 4 дня назад под машину.  С утра Монтэг понял, что заболел. Он поделился с женой тем, что случилось вчера: должно быть, в книгах было что-то важное, раз пожилая женщина пошла за них на смерть. Однако Милред попросила, чтобы муж оставил ее в покое.

К Монтэгу приехал брандмейстер Битти. Он рассказал, что с 19 века до реальных дней люди все меньше и меньше читали, так как темп жизни постоянно ускорялся. «Жизнь коротка. Что тебе нужно? Прежде всего работа, а после работы развлечения, а их кругом сколько угодно, на каждом шагу, наслаждайтесь».

«Больше фильмов. А пищи для ума всё меньше». «Книга — это заряженное ружьё в доме соседа. Сжечь её!». «Набивайте людям головы цифрами, начиняйте их безобидными фактами, пока их не затошнит, ничего, зато им будет казаться, что они очень образованные».

На прощание Брандмейстер отметил, что в книгах нет ничего такого, «чему стоило бы научить других».  Битти сказал, что если пожарный случайно унесет с собой книгу, то ему ничего не будет, если он сожжет ее в течение суток.

Монтэг показал жене, что за вентиляционной решеткой уже год прятал книги. Испуганная Милред хотела их сжечь. Монтэг сказал, что хочет только заглянуть в книги, и если в них действительно ничего нет, то они сожгут их вместе.

Часть 2. Сито и песок

«Весь долгий день они читали». Милред не понравились книги – люди с экранов были для нее более реальными, объемными.

Монтэг вспомнил, как год назад встретил в парке старика Фабера. Тот читал Монтэгу наизусть стихи и написал свой адрес. Монтэг пришел к Фаберу. Он поделился со стариком своей надеждой, что книги помогут стать ему счастливым. Фабер ответил, что этого не будет: «книги — только одно из вместилищ, где мы храним то, что боимся забыть».

Фабер дал Монтэгу подслушивающий аппарат – зеленую втулку, которую сам изобрел.

«В ту ночь даже небо готовилось к войне». Монтэг вернулся домой. К ним пришли две женщины – подруги Милред. Неожиданно Гай выключил экраны и спросил у них о войне. Женщины ответили, что война будет короткой – всего 48 часов, а потом все будет как раньше. Не выдержав того, насколько поверхностно рассуждали обо всем женщины, Монтэг принес книгу и начал читать им стихи. Милред пыталась всех успокоить, но женщины быстро ушли.

Фабер уговорил Монтэга пойти на пожарную станцию на смену. Во время игры в карты Битти смеялся над Монтэгом, цитируя отрывки из произведений, чем сильно взволновал мужчину. Пожарные отправились на вызов. Монтэг всю дорогу был погружен в свои мысли и только когда они приехали, понял, что Битти привез их к дому Гая.

Часть 3. Огонь горит ярко

Из дома выбежала Милред с чемоданом. Монтэг догадался, что это она вызвала пожарных. Гай по приказу Битти сам начал сжигать свой дом. «И, как и прежде, жечь было наслаждением — приятно было дать волю своему гневу».

Битти заметил в ухе Монтэга зеленую пульку – наушник Фабера, и забрал ее. Тогда Гай, не раздумывая, направил дуло огнемета на брандмейстера и сжег его. Остальных пожарных Гай оглушил. Из темноты появился механический пес и прыгнул на Монтэга. Мужчина успел выпустить на него струю пламени. Пес зацепил иглой только ногу Монтэга. Мужчина забрал уцелевшие книги, и хромая пошел прочь. Гай понял, что Битти сам хотел умереть. Монтэг вставил в ухо «Ракушку» – его уже объявили в розыск.

Зайдя в уборную на заправке, Гай услышал, что началась война. Монтэг прячась добрался до дома Фабера. Фабер посоветовал Монтэгу найти лагерь бродяг, среди которых «немало бывших питомцев Гарвардского университета». Монтэг пробежал город, добрался до реки и переплыл ее. Выбравшись на берег, мужчина оказался в лесу.

Ориентируясь по железнодорожным рельсам, Монтэг вышел к поляне, где вокруг костра сидели люди – пять стариков. «Этот огонь ничего не сжигал — он согревал». Гая заметили и позвали к костру. По телевизору они увидели, как полиция вместо Монтэга поймала кого-то другого, так как иначе погоня была бы слишком затянутой и неинтересной зрителям.< Старики у костра представились – среди них были ученые из Кембриджского, Калифорнийского, Колумбийского университета, преподобный отец, писатель.

Мужчины рассказали Монтэгу, что в стране есть люди, которые хранят книги в своей памяти. Они прочитывают книги и после этого сжигают. «Все мы — обрывки и кусочки истории, литературы, международного права». «За двадцать или более лет мы создали нечто вроде организации и наметили план действий». Они надеялись, что после окончания войны книги снова разрешат, и тогда они соберут всех этих людей и по их словам напечатают произведения на бумаге.

«— Смотрите! — воскликнул вдруг Монтэг. В это мгновенье началась и окончилась война». «Спустя несколько секунд грохот далёкого взрыва принёс Монтэгу весть о гибели города». Лежа на земле, Монтэг вспомнил главы из Экклезиаста и Откровения. Один из мужчин отметил, что человек похож на птицу Феникс – «сгорев, она всякий раз снова возрождалась из пепла».

Мужчины отправились вверх по реке на север. Идя впереди, Гай «чувствовал, что и в нём пробуждаются и тихо оживают слова».

«Всему своё время. Время разрушать и время строить. Время молчать и время говорить».

«…И по ту и по другую сторону реки древо жизни, двенадцать раз приносящее плоды, дающее каждый месяц плод свой и листья древа — для исцеления народов».

Заключение

Роман «451 градус по Фаренгейту» Рэя Брэдбери был удостоен в 1954 году премии Американской академии искусств и литературы, а также золотой медали Клуба Содружества Калифорнии.  Произведение было дважды экранизировано, по его мотивам были поставлены театральные спектакли, телеспектакль.

Читайте также краткое содержание “Вино из одуванчиков” Р. Брэдбери.

Видео краткое содержание 451 градус по Фаренгейту Брэдбери

Самая известная работа Рэя Брэдбери (1920 — 2012) «451 градуса по Фаренгейту» относится к направлению, указанному как пессимистические будущие идеи в подкатегории «антиутопия». Основной идеей романа Брэдбери, является предостережение от ожидаемых негативных последствий тогда еще такого нового в 1950‑х годах явления как просмотр телевизионных передач.

https://www.youtube.com/watch?v=ieO3M7zRJVA

https://www.youtube.com/watch?v=dpkp2u8Gx58

Fahrenheit 451

First edition cover (clothbound)
Author	Ray Bradbury
Illustrator	Joseph Mugnaini[1]
Country	United States
Language	English
Genre	Dystopian[2]
Published	October 19, 1953 (Ballantine Books)[3]
Pages	256
ISBN	978-0-7432-4722-1 (current cover edition)
OCLC	53101079
Dewey Decimal	813.54 22
LC Class	PS3503.R167 F3 2003

Fahrenheit 451 is a 1953 dystopian novel by American writer Ray Bradbury. Often regarded as one of his best works,^[4] Fahrenheit 451 presents an American society where books have been personified and outlawed and «firemen» burn any that are found.^[5] The novel follows Guy Montag, a fireman who becomes disillusioned with his role of censoring literature and destroying knowledge, eventually quitting his job and committing himself to the preservation of literary and cultural writings.

Fahrenheit 451 was written by Bradbury during the Second Red Scare and the McCarthy era, who was inspired by the book burnings in Nazi Germany and by ideological repression in the Soviet Union.^[6] Bradbury’s claimed motivation for writing the novel has changed multiple times. In a 1956 radio interview, Bradbury said that he wrote the book because of his concerns about the threat of burning books in the United States.^[7] In later years, he described the book as a commentary on how mass media reduces interest in reading literature.^[8] In a 1994 interview, Bradbury cited political correctness as an allegory for the censorship in the book, calling it «the real enemy these days … black groups want to control our thinking and you can’t say certain things. The homosexual groups don’t want you to criticize them. It’s thought control and
freedom of speech control.»^[9]

The writing and theme within Fahrenheit 451 was explored by Bradbury in some of his previous short stories. Between 1947 and 1948, Bradbury wrote «Bright Phoenix», a short story about a librarian who confronts a «Chief Censor», who burns books. An encounter Bradbury had in 1949 with the police inspired him to write the short story «The Pedestrian» in 1951. In «The Pedestrian», a man going for a nighttime walk in his neighborhood is harassed and detained by the police. In the society of «The Pedestrian», citizens are expected to watch television as a leisurely activity, a detail that would be included in Fahrenheit 451. Elements of both «Bright Phoenix» and «The Pedestrian» would be combined into The Fireman, a novella published in 1951. Bradbury was urged by Stanley Kauffmann, a publisher at Ballantine Books, to make The Fireman into a full novel. Bradbury finished the manuscript for Fahrenheit 451 in 1953, and the novel was published later that year.

Upon its release, Fahrenheit 451 was a critical success, although polarized some critics. The novel’s subject matter led to its censorship in apartheid South Africa and various schools in the United States. In 1954, Fahrenheit 451 won the American Academy of Arts and Letters Award in Literature and the Commonwealth Club of California Gold Medal.^[10][11][12] It later won the Prometheus «Hall of Fame» Award in 1984^[13] and a «Retro» Hugo Award in 2004.^[14] Bradbury was honored with a Spoken Word Grammy nomination for his 1976 audiobook version.^[15] The novel has also been adapted into films, stage plays, and video games. Film adaptations of the novel include a 1966 film directed by François Truffaut starring Oskar Werner as Guy Montag, an adaptation that was met with mixed critical reception, and a 2018 television film directed by Ramin Bahrani starring Michael B. Jordan as Montag that also received a mixed critical reception. Bradbury himself published a stage play version in 1979 and helped develop a 1984 interactive fiction video game of the same name, as well as a collection of his short stories titled A Pleasure to Burn.^[16] Two BBC Radio dramatizations were also produced.

Historical and biographical context[edit]

Shortly after the atomic bombings of Hiroshima and Nagasaki at the conclusion of World War II, the United States focused its concern on the Soviet atomic bomb project and the expansion of communism. The House Un-American Activities Committee (HUAC), formed in 1938 to investigate American citizens and organizations suspected of having communist ties, held hearings in 1947 to investigate alleged communist influence in Hollywood movie-making. These hearings resulted in the blacklisting of the so-called «Hollywood Ten»,^[17] a group of influential screenwriters and directors.

The year HUAC began investigating Hollywood is often considered the beginning of the Cold War, as in March 1947, the Truman Doctrine was announced. By about 1950, the Cold War was in full swing, and the American public’s fear of nuclear warfare and communist influence was at a feverish level. The stage was set for Bradbury to write the dramatic nuclear holocaust ending of Fahrenheit 451, exemplifying the type of scenario feared by many Americans of the time.^[18]

The government’s interference in the affairs of artists and creative types infuriated Bradbury;^[19] Bradbury was bitter and concerned about the workings of his government, and a late 1949 nighttime encounter with an overzealous police officer would inspire Bradbury to write «The Pedestrian», a short story which would go on to become «The Fireman» and then Fahrenheit 451. The rise of Senator Joseph McCarthy’s hearings hostile to accused communists, beginning in 1950, deepened Bradbury’s contempt for government overreach.^[20][21]

The Golden Age of Radio occurred between the early 1920s to the late 1950s, during Bradbury’s early life, while the transition to the Golden Age of Television began right around the time he started to work on the stories that would eventually lead to Fahrenheit 451. Bradbury saw these forms of media as a threat to the reading of books, indeed as a threat to society, as he believed they could act as a distraction from important affairs. This contempt for mass media and technology would express itself through Mildred and her friends and is an important theme in the book.^[22]

Bradbury’s lifelong passion for books began at an early age. After he graduated from high school, his family could not afford for him to attend college, so Bradbury began spending time at the Los Angeles Public Library where he educated himself.^[23] As a frequent visitor to his local libraries in the 1920s and 1930s, he recalls being disappointed because they did not stock popular science fiction novels, like those of H. G. Wells, because, at the time, they were not deemed literary enough. Between this and learning about the destruction of the Library of Alexandria,^[24] a great impression was made on Bradbury about the vulnerability of books to censure and destruction. Later, as a teenager, Bradbury was horrified by the Nazi book burnings^[25] and later by Joseph Stalin’s campaign of political repression, the «Great Purge», in which writers and poets, among many others, were arrested and often executed.^[6]

Plot summary[edit]

Fahrenheit 451 is set in an unspecified city in the year 2049 (according to Ray Bradbury’s Coda), though it is written as if set in a distant future.^{[note 1][26]} The earliest editions make clear that it takes place no earlier than the year 1960.^{[note 2][27]}

The novel is divided into three parts: «The Hearth and the Salamander,» «The Sieve and the Sand,» and «Burning Bright.»

«The Hearth and the Salamander»[edit]

Guy Montag is a fireman employed to burn outlawed books, along with the houses they are hidden in. He is married but has no children. One fall night while returning from work, he meets his new neighbor, a teenage girl named Clarisse McClellan, whose free-thinking ideals and liberating spirit cause him to question his life and his own perceived happiness. Montag returns home to find that his wife Mildred has overdosed on sleeping pills, and he calls for medical attention. Two uncaring EMTs pump Mildred’s stomach, drain her poisoned blood, and fill her with new blood. After the EMTs leave to rescue another overdose victim, Montag goes outside and overhears Clarisse and her family talking about the way life is in this hedonistic, illiterate society. Montag’s mind is bombarded with Clarisse’s subversive thoughts and the memory of his wife’s near-death. Over the next few days, Clarisse faithfully meets Montag each night as he walks home. She tells him about how her simple pleasures and interests make her an outcast among her peers and how she is forced to go to therapy for her behavior and thoughts. Montag looks forward to these meetings, and just as he begins to expect them, Clarisse goes missing. He senses something is wrong.^[28]

In the following days, while at work with the other firemen ransacking the book-filled house of an old woman and drenching it in kerosene before the inevitable burning, Montag steals a book before any of his coworkers notice. The woman refuses to leave her house and her books, choosing instead to light a match and burn herself alive. Jarred by the woman’s suicide, Montag returns home and hides the stolen book under his pillow. Later, Montag wakes Mildred from her sleep and asks her if she has seen or heard anything about Clarisse McClellan. She reveals that Clarisse’s family moved away after Clarisse was hit by a speeding car and died four days ago. Dismayed by her failure to mention this earlier, Montag uneasily tries to fall asleep. Outside he suspects the presence of «The Mechanical Hound», an eight-legged^[29] robotic dog-like creature that resides in the firehouse and aids the firemen in hunting book hoarders.

Montag awakens ill the next morning. Mildred tries to care for her husband but finds herself more involved in the «parlor wall» entertainment in the living room – large televisions filling the walls. Montag suggests that maybe he should take a break from being a fireman after what happened last night, and Mildred panics over the thought of losing the house and her parlor wall «family.» Captain Beatty, Montag’s fire chief, personally visits Montag to see how he is doing. Sensing his concerns, Beatty recounts the history of how books lost their value and how the firemen were adapted for their current role: over the course of several decades, people began to embrace new media (in this case, film and television), sports, and an ever-quickening pace of life. Books were ruthlessly abridged or degraded to accommodate short attention spans. At the same time, advances in technology resulted in nearly all buildings being made out of fireproof materials, and the traditional role of firemen in preventing fires was no longer necessary. The government instead turned the firemen into officers of society’s peace of mind: instead of putting out fires, they became responsible for starting them, specifically for the purpose of burning books, which were condemned as sources of confusing and depressing thoughts that only complicated people’s lives. After an awkward exchange between Mildred and Montag over the book hidden under Montag’s pillow, Beatty becomes suspicious and casually adds a passing threat as he leaves, telling Montag that if a fireman had a book, he would be asked to burn it within the following twenty-four hours. If he refused, the other firemen would come and burn it for him. The encounter leaves Montag shaken.

After Beatty leaves, Montag reveals to Mildred that, over the last year, he has accumulated a stash of books that he has kept hidden in the air-conditioning duct in their ceiling. In a panic, Mildred grabs a book and rushes to throw it in the kitchen incinerator. Montag subdues her and tells her that the two of them are going to read the books to see if they have value. If they do not, he promises the books will be burned and all will return to normal.

«The Sieve and the Sand»[edit]

Montag and Mildred discuss the stolen books, and Mildred refuses to go along with it, questioning why she or anyone else should care about books. Montag goes on a rant about Mildred’s suicide attempt, Clarisse’s disappearance and death, the old woman who burned herself, and the imminent threat of war that goes ignored by the masses. He suggests that perhaps the books of the past have messages that can save society from its own destruction. The conversation is interrupted by a call from Mildred’s friend, Mrs. Bowles, and they set up a date to watch the «parlor walls» that night at Mildred’s house.

Montag concedes that Mildred is a lost cause and he will need help to understand the books. He remembers an old man named Faber, an English professor before books were banned, whom he once met in a park. Montag makes a subway trip to Faber’s home along with a rare copy of the Bible, the book he stole at the woman’s house. Once there, Montag forces the scared and reluctant Faber into helping him by methodically ripping pages from the Bible. Faber concedes and gives Montag a homemade earpiece communicator so that he can offer constant guidance.

At home, Mildred’s friends, Mrs. Bowles and Mrs. Phelps arrive to watch the «parlor walls.» Not interested in this insipid entertainment, Montag turns off the walls and tries to engage the women in meaningful conversation, only for them to reveal just how indifferent, ignorant, and callous they truly are. Enraged by their idiocy, Montag leaves momentarily and returns with a book of poetry. This confuses the women and alarms Faber, who is listening remotely. Mildred tries to dismiss Montag’s actions as a tradition firemen act out once a year: they find an old book and read it as a way to make fun of how silly the past is. Montag proceeds to recite the poem Dover Beach, causing Mrs. Phelps to cry. At the behest of Faber in the earpiece, Montag burns the book. Mildred’s friends leave in disgust, while Mildred locks herself in the bathroom and attempts to kill herself again by overdosing on sleeping pills.

Montag hides his books in the backyard before returning to the firehouse late at night, where he finds Beatty playing cards with the other firemen. Montag hands Beatty a book to cover for the one he believes Beatty knows he stole the night before, which is unceremoniously tossed into the trash. Beatty tells Montag that he had a dream in which they fought endlessly by quoting books to each other. Thus Beatty reveals that, despite his disillusionment, he was once an enthusiastic reader. A fire alarm sounds and Beatty picks up the address from the dispatcher system. They drive recklessly in the fire truck to the destination: Montag’s house.

«Burning Bright»[edit]

Beatty orders Montag to destroy his house with a flamethrower, rather than the more powerful «salamander» that is usually used by the fire team, and tells him that his wife and her friends reported him after what happened the other night. Montag watches as Mildred walks out of the house, too traumatized about losing her parlor wall family to even acknowledge her husband’s existence or the situation going on around her, and catches a taxi. Montag obeys the chief, destroying the home piece by piece, but Beatty discovers Montag’s earpiece and plans to hunt down Faber. Montag threatens Beatty with the flamethrower and, after Beatty taunts him, Montag burns Beatty alive and knocks his co-workers unconscious. As Montag escapes the scene, the Mechanical Hound attacks him, managing to inject his leg with an anesthetic. He destroys the Hound with the flamethrower and limps away. Before he escapes, however, he concludes that Beatty had wanted to die a long time ago and had purposely goaded Montag as well as provided him with a weapon.

Montag runs through the city streets towards Faber’s house. On his way, he crosses a wide road as a speeding car attempts to run him over, but he manages to evade the vehicle, and realizes he almost suffered the same fate as Clarisse. Faber urges him to make his way to the countryside and contact the exiled book-lovers who live there. He mentions he will be leaving on an early bus heading to St. Louis and that he and Montag can rendezvous there later. On Faber’s television, they watch news reports of another Mechanical Hound being released to track down and kill Montag, with news helicopters following it to create a public spectacle. After wiping his scent from around the house in hopes of thwarting the Hound, Montag leaves Faber’s house. He escapes the manhunt by wading into a river and floating downstream. Montag leaves the river in the countryside, where he meets the exiled drifters, led by a man named Granger. Granger shows Montag the ongoing manhunt on a portable battery TV and predicts that “Montag” will be caught within the next few minutes; as predicted, an innocent man is then caught and killed.

The drifters are all former intellectuals. They have each memorized books should the day arrive that society comes to an end and is forced to rebuild itself anew, with the survivors learning to embrace the literature of the past. Granger asks Montag what he has to contribute to the group and Montag finds that he had partially memorized the Book of Ecclesiastes, discovering that the group has a special way of unlocking photographic memory. While learning the philosophy of the exiles, Montag and the group watch helplessly as bombers fly overhead and annihilate the city with nuclear weapons: the imminent war has begun and ended in the same night. While Faber would have left on the early bus, everyone else (possibly including Mildred) is immediately killed. Montag and the group are injured and dirtied, but manage to survive the shockwave.

The following morning, Granger teaches Montag and the others about the legendary phoenix and its endless cycle of long life, death in flames, and rebirth. He adds that the phoenix must have some relationship to mankind, which constantly repeats its mistakes, but explains that man has something the phoenix does not: mankind can remember its mistakes and try to never repeat them. Granger then muses that a large factory of mirrors should be built so that people can take a long look at themselves and reflect on their lives. When the meal is over, the exiles return to the city to rebuild society.

Characters[edit]

• Guy Montag is the protagonist and a fireman who presents the dystopian world in which he lives first through the eyes of a worker loyal to it, then as a man in conflict about it, and eventually as someone resolved to be free of it. Throughout most of the book, Montag lacks knowledge and believes only what he hears. Clarisse McClellan inspires Montag’s change, even though they don’t know each other for very long.
• Clarisse McClellan is a young girl one month short of her 17th birthday who is Montag’s neighbor.^{[note 3][30]} She walks with Montag on his trips home from work. A modern critic has described her as an example of the Manic Pixie Dream Girl,^[31] as Clarisse is an unusual sort of person compared to the others inhabiting the bookless, hedonistic society: outgoing, naturally cheerful, unorthodox, and intuitive. She is unpopular among peers and disliked by teachers for asking «why» instead of «how» and focusing on nature rather than on technology. A few days after her first meeting with Montag, she disappears without any explanation; Mildred tells Montag (and Captain Beatty confirms) that Clarisse was hit by a speeding car and that her family moved away following her death. It is implied that Beatty may have assassinated Clarisse. In the afterword of a later edition, Bradbury notes that the film adaptation changed the ending so that Clarisse (who, in the film, is now a 20-year-old schoolteacher who was fired for being unorthodox) was living with the exiles. Bradbury, far from being displeased by this, was so happy with the new ending that he wrote it into his later stage edition.
• Mildred «Millie» Montag is Guy Montag’s wife. She is addicted to sleeping pills, absorbed in the shallow dramas played on her «parlor walls» (flat-panel televisions), and indifferent to the oppressive society around her. She is described in the book as «thin as a praying mantis from dieting, her hair burnt by chemicals to a brittle straw, and her flesh like white bacon.» Despite her husband’s attempts to break her from the spell society has on her, Mildred continues to be shallow and indifferent. After Montag scares her friends away by reading Dover Beach, and finding herself unable to live with someone who has been hoarding books, Mildred betrays Montag by reporting him to the firemen and abandoning him, and presumably dies when the city is bombed.
• Captain Beatty is Montag’s boss and the book’s main antagonist. Once an avid reader, he has come to hate books due to their unpleasant content and contradicting facts and opinions. After he forces Montag to burn his own house, Montag kills him with a flamethrower. In a scene written years later by Bradbury for the Fahrenheit 451 play, Beatty invites Montag to his house where he shows him walls of books left to molder on their shelves.
• Stoneman and Black are Montag’s coworkers at the firehouse. They do not have a large impact on the story and function only to show the reader the contrast between the firemen who obediently do as they are told and someone like Montag, who formerly took pride in his job but subsequently realizes how damaging it is to society. Black is later framed by Montag for possessing books.
• Faber is a former English professor. He has spent years regretting that he did not defend books when he saw the moves to ban them. Montag turns to him for guidance, remembering him from a chance meeting in a park sometime earlier. Faber at first refuses to help Montag and later realizes Montag is only trying to learn about books, not destroy them. He secretly communicates with Montag through an electronic earpiece and helps Montag escape the city, then gets on a bus to St. Louis and escapes the city himself before it is bombed. Bradbury notes in his afterword that Faber is part of the name of a German manufacturer of pencils, Faber-Castell.
• Mrs. Ann Bowles and Mrs. Clara Phelps are Mildred’s friends and representative of the anti-intellectual, hedonistic mainstream society presented in the novel. During a social visit to Montag’s house, they brag about ignoring the bad things in their lives and have a cavalier attitude towards the upcoming war, their husbands, their children, and politics. Mrs. Phelps’ husband Pete was called in to fight in the upcoming war (and believes that he’ll be back in a week because of how quick the war will be) and thinks having children serves no purpose other than to ruin lives. Mrs. Bowles is a three-times-married single mother. Her first husband divorced her, her second died in a jet accident, and her third committed suicide by shooting himself in the head. She has two children who do not like or respect her due to her permissive, often negligent and abusive parenting; Mrs. Bowles brags that her kids beat her up, and she’s glad she can hit back. When Montag reads Dover Beach to them, he strikes a chord in Mrs. Phelps, who starts crying over how hollow her life is. Mrs. Bowles chastises Montag for reading «silly awful hurting words».
• Granger is the leader of a group of wandering intellectual exiles who memorize books in order to preserve their contents.

Title[edit]

The title page of the book explains the title as follows: Fahrenheit 451—The temperature at which book paper catches fire and burns…. On inquiring about the temperature at which paper would catch fire, Bradbury had been told that 451 °F (233 °C) was the autoignition temperature of paper.^[32][33] In various studies, scientists have placed the autoignition temperature at a range of temperatures between 424 and 475 °F (218 and 246 °C), depending on the type of paper.^[34][35]

Writing and development[edit]

Fahrenheit 451 developed out of a series of ideas Bradbury had visited in previously written stories. For many years, he tended to single out «The Pedestrian» in interviews and lectures as sort of a proto-Fahrenheit 451. In the Preface of his 2006 anthology Match to Flame: The Fictional Paths to Fahrenheit 451 he states that this is an oversimplification.^[36] The full genealogy of Fahrenheit 451 given in Match to Flame is involved. The following covers the most salient aspects.^[37]

Between 1947 and 1948,^[38] Bradbury wrote the short story «Bright Phoenix» (not published until the May 1963 issue of The Magazine of Fantasy & Science Fiction^[39][40]) about a librarian who confronts a book-burning «Chief Censor» named Jonathan Barnes.

In late 1949,^[41] Bradbury was stopped and questioned by a police officer while walking late one night.^[42][43] When asked «What are you doing?», Bradbury wisecracked, «Putting one foot in front of another.»^[42][43] This incident inspired Bradbury to write the 1951 short story «The Pedestrian».^{[note 4][42][43]}

In The Pedestrian, Leonard Mead is harassed and detained by the city’s remotely operated police cruiser (there’s only one) for taking nighttime walks, something that has become extremely rare in this future-based setting: everybody else stays inside and watches television («viewing screens»). Alone and without an alibi, Mead is taken to the «Psychiatric Center for Research on Regressive Tendencies» for his peculiar habit. Fahrenheit 451 would later echo this theme of an authoritarian society distracted by broadcast media.^[44]

Bradbury expanded the book-burning premise of «Bright Phoenix»^[45] and the totalitarian future of «The Pedestrian»^[46] into «The Fireman», a novella published in the February 1951 issue of Galaxy Science Fiction.^[47][48] «The Fireman» was written in the basement of UCLA’s Powell Library on a typewriter that he rented for a fee of ten cents per half hour.^[49] The first draft was 25,000 words long and was completed in nine days.^[50]

Urged by a publisher at Ballantine Books to double the length of his story to make a novel, Bradbury returned to the same typing room and made the story 25,000 words longer, again taking just nine days.^[49] The title «Fahrenheit 451» came to him on January 22. The final manuscript was ready in mid-August, 1953.^[51] The resulting novel, which some considered as a fix-up^[52] (despite being an expanded rewrite of one single novella), was published by Ballantine in 1953.^[53]

Supplementary material[edit]

Bradbury has supplemented the novel with various front and back matter, including a 1979 coda,^[54] a 1982 afterword,^[55] a 1993 foreword, and several introductions.

Publication history[edit]

The first U.S. printing was a paperback version from October 1953 by The Ballantine Publishing Group. Shortly after the paperback, a hardback version was released that included a special edition of 200 signed and numbered copies bound in asbestos.^[56][57][58] These were technically collections because the novel was published with two short stories: The Playground and And the Rock Cried Out, which have been absent in later printings.^[1][59] A few months later, the novel was serialized in the March, April, and May 1954 issues of nascent Playboy magazine.^[10][60]

Expurgation[edit]

Starting in January 1967, Fahrenheit 451 was subject to expurgation by its publisher, Ballantine Books with the release of the «Bal-Hi Edition» aimed at high school students.^[61][62] Among the changes made by the publisher were the censorship of the words «hell», «damn», and «abortion»; the modification of seventy-five passages; and the changing of two incidents.^[62][63]

In the first incident a drunk man was changed to a «sick man», while the second involved cleaning fluff out of a human navel, which instead became «cleaning ears» in the other.^[62][64] For a while both the censored and uncensored versions were available concurrently but by 1973 Ballantine was publishing only the censored version.^[64][65] That continued until 1979, when it came to Bradbury’s attention:^[64][65]

In 1979, one of Bradbury’s friends showed him an expurgated copy. Bradbury demanded that Ballantine Books withdraw that version and replace it with the original, and in 1980 the original version once again became available. In this reinstated work, in the Author’s Afterword, Bradbury relates to the reader that it is not uncommon for a publisher to expurgate an author’s work, but he asserts that he himself will not tolerate the practice of manuscript «mutilation».

The «Bal-Hi» editions are now referred to by the publisher as the «Revised Bal-Hi» editions.^[66]

Non-print publications[edit]

An audiobook version read by Bradbury himself was released in 1976 and received a Spoken Word Grammy nomination.^[15] Another audiobook was released in 2005 narrated by Christopher Hurt.^[67] The e-book version was released in December 2011.^[68][69]

Reception[edit]

In 1954, Galaxy Science Fiction reviewer Groff Conklin placed the novel «among the great works of the imagination written in English in the last decade or more.»^[70] The Chicago Sunday Tribune‘s August Derleth described the book as «a savage and shockingly prophetic view of one possible future way of life», calling it «compelling» and praising Bradbury for his «brilliant imagination».^[71] Over half a century later, Sam Weller wrote, «upon its publication, Fahrenheit 451 was hailed as a visionary work of social commentary.»^[72] Today, Fahrenheit 451 is still viewed as an important cautionary tale about conformity and the evils of government censorship.^[73]

When the novel was first published, there were those who did not find merit in the tale. Anthony Boucher and J. Francis McComas were less enthusiastic, faulting the book for being «simply padded, occasionally with startlingly ingenious gimmickry, … often with coruscating cascades of verbal brilliance [but] too often merely with words.»^[74] Reviewing the book for Astounding Science Fiction, P. Schuyler Miller characterized the title piece as «one of Bradbury’s bitter, almost hysterical diatribes,» while praising its «emotional drive and compelling, nagging detail.»^[75] Similarly, The New York Times was unimpressed with the novel and further accused Bradbury of developing a «virulent hatred for many aspects of present-day culture, namely, such monstrosities as radio, TV, most movies, amateur and professional sports, automobiles, and other similar aberrations which he feels debase the bright simplicity of the thinking man’s existence.»^[76]

Fahrenheit 451 was number seven on the list of «Top Check Outs OF ALL TIME» by the New York Public Library^[77]

Censorship/banning incidents[edit]

In the years since its publication, Fahrenheit 451 has occasionally been banned, censored, or redacted in some schools at the behest of parents or teaching staff either unaware of or indifferent to the inherent irony in such censorship. Notable incidents include:

• In Apartheid South Africa the book was burned along with thousands of banned publications between the 1950s and 1970s.^[78]
• In 1987, Fahrenheit 451 was given «third tier» status by the Bay County School Board in Panama City, Florida, under then-superintendent Leonard Hall’s new three-tier classification system. Third tier was meant for books to be removed from the classroom for «a lot of vulgarity.» After a resident class-action lawsuit, a media stir, and student protests, the school board abandoned their tier-based censorship system and approved all the currently used books.^[79]
• In 1992, Venado Middle School in Irvine, California, gave copies of Fahrenheit 451 to students with all «obscene» words blacked out.^[80] Parents contacted the local media and succeeded in reinstalling the uncensored copies.^[80]
• In 2006, parents of a 10th-grade high school student in Montgomery County, Texas, demanded the book be banned from their daughter’s English class reading list.^[81] Their daughter was assigned the book during Banned Books Week, but stopped reading several pages in due to what she considered the offensive language and description of the burning of the Bible. In addition, the parents protested the violence, portrayal of Christians, and depictions of firemen in the novel.^[81]

Themes[edit]

Discussions about Fahrenheit 451 often center on its story foremost as a warning against state-based censorship. Indeed, when Bradbury wrote the novel during the McCarthy era, he was concerned about censorship in the United States. During a radio interview in 1956,^[82][83] Bradbury said:

I wrote this book at a time when I was worried about the way things were going in this country four years ago. Too many people were afraid of their shadows; there was a threat of book burning. Many of the books were being taken off the shelves at that time. And of course, things have changed a lot in four years. Things are going back in a very healthy direction. But at the time I wanted to do some sort of story where I could comment on what would happen to a country if we let ourselves go too far in this direction, where then all thinking stops, and the dragon swallows his tail, and we sort of vanish into a limbo and we destroy ourselves by this sort of action.

As time went by, Bradbury tended to dismiss censorship as a chief motivating factor for writing the story. Instead he usually claimed that the real messages of Fahrenheit 451 were about the dangers of an illiterate society infatuated with mass media and the threat of minority and special interest groups to books. In the late 1950s, Bradbury recounted:

In writing the short novel Fahrenheit 451, I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap-opera cries, sleep-walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction.^[84]

This story echoes Mildred’s «Seashell ear-thimbles» (i.e., a brand of in-ear headphones) that act as an emotional barrier between her and Montag. In a 2007 interview, Bradbury maintained that people misinterpret his book and that Fahrenheit 451 is really a statement on how mass media like television marginalizes the reading of literature.^[8] Regarding minorities, he wrote in his 1979 Coda:

There is more than one way to burn a book. And the world is full of people running about with lit matches. Every minority, be it Baptist/Unitarian, Irish/Italian/Octogenarian/Zen Buddhist, Zionist/Seventh-day Adventist, Women’s Lib/Republican, Mattachine/Four Square Gospel feels it has the will, the right, the duty to douse the kerosene, light the fuse. […] Fire-Captain Beatty, in my novel Fahrenheit 451, described how the books were burned first by minorities, each ripping a page or a paragraph from this book, then that, until the day came when the books were empty and the minds shut and the libraries closed forever. […] Only six weeks ago, I discovered that, over the years, some cubby-hole editors at Ballantine Books, fearful of contaminating the young, had, bit by bit, censored some seventy-five separate sections from the novel. Students, reading the novel, which, after all, deals with censorship and book-burning in the future, wrote to tell me of this exquisite irony. Judy-Lynn del Rey, one of the new Ballantine editors, is having the entire book reset and republished this summer with all the damns and hells back in place.^[85]

Book-burning censorship, Bradbury would argue, was a side-effect of these two primary factors; this is consistent with Captain Beatty’s speech to Montag about the history of the firemen. According to Bradbury, it is the people, not the state, who are the culprit in Fahrenheit 451.^[8] Nevertheless, the role of censorship, state-based or otherwise, is still perhaps the most frequent theme explored in the work.^{[86][better source needed][87]}

A variety of other themes in the novel besides censorship have been suggested. Two major themes are resistance to conformity and control of individuals via technology and mass media. Bradbury explores how the government is able to use mass media to influence society and suppress individualism through book burning. The characters Beatty and Faber point out that the American population is to blame. Due to their constant desire for a simplistic, positive image, books must be suppressed. Beatty blames the minority groups, who would take offense to published works that displayed them in an unfavorable light. Faber went further to state that the American population simply stopped reading on their own. He notes that the book burnings themselves became a form of entertainment for the general public.^[88]

In a 1994 interview, Bradbury stated that Fahrenheit 451 was more relevant during this time than in any other, stating that, «it works even better because we have political correctness now. Political correctness is the real enemy these days. The black groups want to control our thinking and you can’t say certain things. The homosexual groups don’t want you to criticize them. It’s thought control and freedom of speech control.»^[9]

Predictions for the future[edit]

Bradbury described himself as «a preventor of futures, not a predictor of them.»^[89] He did not believe that book burning was an inevitable part of the future; he wanted to warn against its development.^[89] In a later interview, when asked if he believes that teaching Fahrenheit 451 in schools will prevent his totalitarian^[2] vision of the future, Bradbury replied in the negative. Rather, he states that education must be at the kindergarten and first-grade level. If students are unable to read then, they will be unable to read Fahrenheit 451.^[90]

On account of technology, Sam Weller notes that Bradbury «predicted everything from flat-panel televisions to earbud headphones and twenty-four-hour banking machines.»^[91]

Adaptations[edit]

Television[edit]

Playhouse 90 broadcast «A Sound of Different Drummers» on CBS in 1957, written by Robert Alan Aurthur. The play combined plot ideas from Fahrenheit 451 and Nineteen Eighty-Four. Bradbury sued and eventually won on appeal.^[92][93]

Film[edit]

A film adaptation written and directed by François Truffaut and starring Oskar Werner and Julie Christie was released in 1966.^[94][95]

A film adaptation directed by Ramin Bahrani and starring Michael B. Jordan, Michael Shannon, Sofia Boutella, and Lilly Singh was released in 2018 for HBO.^[96][97]

Theater[edit]

In the late 1970s Bradbury adapted his book into a play. At least part of it was performed at the Colony Theatre in Los Angeles in 1979, but it was not in print until 1986 and the official world premiere was only in November 1988 by the Fort Wayne, Indiana Civic Theatre. The stage adaptation diverges considerably from the book and seems influenced by Truffaut’s movie. For example, fire chief Beatty’s character is fleshed out and is the wordiest role in the play. As in the movie, Clarisse does not simply disappear but in the finale meets up with Montag as a book character (she as Robert Louis Stevenson, he as Edgar Allan Poe).^[98]

The UK premiere of Bradbury’s stage adaptation was not until 2003 in Nottingham,^[98] while it took until 2006 before the Godlight Theatre Company produced and performed its New York City premiere at 59E59 Theaters.^[99] After the completion of the New York run, the production then transferred to the Edinburgh Festival where it was a 2006 Edinburgh Festival Pick of the Fringe.^[100]

The Off-Broadway theatre The American Place Theatre presented a one man show adaptation of Fahrenheit 451 as a part of their 2008–2009 Literature to Life season.^[101]

Fahrenheit 451 inspired the Birmingham Repertory Theatre production Time Has Fallen Asleep in the Afternoon Sunshine, which was performed at the Birmingham Central Library in April 2012.^[102]

Radio[edit]

In 1982, Gregory Evans’ radio dramatization of the novel^[103][104] was broadcast on BBC Radio 4 starring Michael Pennington as Montag.^[105] It was broadcast eight more times on BBC Radio 4 Extra, twice each in 2010, 2012, 2013, and 2015.^[106]

BBC Radio’s second dramatization, by David Calcutt, was broadcast on BBC Radio 4 in 2003, starring Stephen Tomlin in the same role.^[107]

Music[edit]

In 1984 the new wave band Scortilla released the song Fahrenheit 451 inspired by the book by R. Bradbury and the film by F. Truffaut.

Computer games[edit]

In 1984, the novel was adapted into a computer text adventure game of the same name by the software company Trillium.^[108]

Comics[edit]

In June 2009, a graphic novel edition of the book was published. Entitled Ray Bradbury’s Fahrenheit 451: The Authorized Adaptation,^[109] the paperback graphic adaptation was illustrated by Tim Hamilton.^[110][111] The introduction in the novel is written by Bradbury.^[112]

Cultural references[edit]

Michael Moore’s 2004 documentary Fahrenheit 9/11 refers to Bradbury’s novel and the September 11 attacks, emphasized by the film’s tagline «The temperature where freedom burns». The film takes a critical look at the presidency of George W. Bush, the War on Terror, and its coverage in the news media, and became the highest grossing documentary of all time.^[113] Bradbury was upset by what he considered the appropriation of his title, and wanted the film renamed.^[114][115] Moore filmed a subsequent documentary about the election of Donald Trump called Fahrenheit 11/9 in 2018.^[116]

In 2015, the Internet Engineering Steering Group approved the publication of An HTTP Status Code to Report Legal Obstacles, now RFC 7725, which specifies that websites forced to block resources for legal reasons should return a status code of 451 when users request those resources.^{[117][118][119][120]}

Guy Montag (as Gui Montag), is used in the 1998 real-time strategy game Starcraft as a terran firebat hero.^[121]

See also[edit]

• Brave New World
• Dystopia
• Firefighter arson
• Nineteen Eighty-Four
• Burning of books and burying of scholars

Notes[edit]

References[edit]

Further reading[edit]

• McGiveron, R. O. (1996). «What ‘Carried the Trick’? Mass Exploitation and the Decline of Thought in Ray Bradbury’s Fahrenheit 451«. Extrapolation. Liverpool University Press. 37 (3): 245–256. doi:10.3828/extr.1996.37.3.245. ISSN 0014-5483.
• McGiveron, R. O. (1996). «Bradbury’s Fahrenheit 451«. Explicator. 54 (3): 177–180. doi:10.1080/00144940.1996.9934107. ISSN 0014-4940.
• Smolla, Rodney A. (April 2009). «The Life of the Mind and a Life of Meaning: Reflections on Fahrenheit 451» (PDF). Michigan Law Review. 107 (6): 895–912. ISSN 0026-2234.

External links[edit]

Fahrenheit 451

First edition cover (clothbound)
Author	Ray Bradbury
Illustrator	Joseph Mugnaini[1]
Country	United States
Language	English
Genre	Dystopian[2]
Published	October 19, 1953 (Ballantine Books)[3]
Pages	256
ISBN	978-0-7432-4722-1 (current cover edition)
OCLC	53101079
Dewey Decimal	813.54 22
LC Class	PS3503.R167 F3 2003

Fahrenheit 451 is a 1953 dystopian novel by American writer Ray Bradbury. Often regarded as one of his best works,^[4] Fahrenheit 451 presents an American society where books have been personified and outlawed and «firemen» burn any that are found.^[5] The novel follows Guy Montag, a fireman who becomes disillusioned with his role of censoring literature and destroying knowledge, eventually quitting his job and committing himself to the preservation of literary and cultural writings.

Fahrenheit 451 was written by Bradbury during the Second Red Scare and the McCarthy era, who was inspired by the book burnings in Nazi Germany and by ideological repression in the Soviet Union.^[6] Bradbury’s claimed motivation for writing the novel has changed multiple times. In a 1956 radio interview, Bradbury said that he wrote the book because of his concerns about the threat of burning books in the United States.^[7] In later years, he described the book as a commentary on how mass media reduces interest in reading literature.^[8] In a 1994 interview, Bradbury cited political correctness as an allegory for the censorship in the book, calling it «the real enemy these days … black groups want to control our thinking and you can’t say certain things. The homosexual groups don’t want you to criticize them. It’s thought control and
freedom of speech control.»^[9]

The writing and theme within Fahrenheit 451 was explored by Bradbury in some of his previous short stories. Between 1947 and 1948, Bradbury wrote «Bright Phoenix», a short story about a librarian who confronts a «Chief Censor», who burns books. An encounter Bradbury had in 1949 with the police inspired him to write the short story «The Pedestrian» in 1951. In «The Pedestrian», a man going for a nighttime walk in his neighborhood is harassed and detained by the police. In the society of «The Pedestrian», citizens are expected to watch television as a leisurely activity, a detail that would be included in Fahrenheit 451. Elements of both «Bright Phoenix» and «The Pedestrian» would be combined into The Fireman, a novella published in 1951. Bradbury was urged by Stanley Kauffmann, a publisher at Ballantine Books, to make The Fireman into a full novel. Bradbury finished the manuscript for Fahrenheit 451 in 1953, and the novel was published later that year.

Upon its release, Fahrenheit 451 was a critical success, although polarized some critics. The novel’s subject matter led to its censorship in apartheid South Africa and various schools in the United States. In 1954, Fahrenheit 451 won the American Academy of Arts and Letters Award in Literature and the Commonwealth Club of California Gold Medal.^[10][11][12] It later won the Prometheus «Hall of Fame» Award in 1984^[13] and a «Retro» Hugo Award in 2004.^[14] Bradbury was honored with a Spoken Word Grammy nomination for his 1976 audiobook version.^[15] The novel has also been adapted into films, stage plays, and video games. Film adaptations of the novel include a 1966 film directed by François Truffaut starring Oskar Werner as Guy Montag, an adaptation that was met with mixed critical reception, and a 2018 television film directed by Ramin Bahrani starring Michael B. Jordan as Montag that also received a mixed critical reception. Bradbury himself published a stage play version in 1979 and helped develop a 1984 interactive fiction video game of the same name, as well as a collection of his short stories titled A Pleasure to Burn.^[16] Two BBC Radio dramatizations were also produced.

Historical and biographical context[edit]

Shortly after the atomic bombings of Hiroshima and Nagasaki at the conclusion of World War II, the United States focused its concern on the Soviet atomic bomb project and the expansion of communism. The House Un-American Activities Committee (HUAC), formed in 1938 to investigate American citizens and organizations suspected of having communist ties, held hearings in 1947 to investigate alleged communist influence in Hollywood movie-making. These hearings resulted in the blacklisting of the so-called «Hollywood Ten»,^[17] a group of influential screenwriters and directors.

The year HUAC began investigating Hollywood is often considered the beginning of the Cold War, as in March 1947, the Truman Doctrine was announced. By about 1950, the Cold War was in full swing, and the American public’s fear of nuclear warfare and communist influence was at a feverish level. The stage was set for Bradbury to write the dramatic nuclear holocaust ending of Fahrenheit 451, exemplifying the type of scenario feared by many Americans of the time.^[18]

The government’s interference in the affairs of artists and creative types infuriated Bradbury;^[19] Bradbury was bitter and concerned about the workings of his government, and a late 1949 nighttime encounter with an overzealous police officer would inspire Bradbury to write «The Pedestrian», a short story which would go on to become «The Fireman» and then Fahrenheit 451. The rise of Senator Joseph McCarthy’s hearings hostile to accused communists, beginning in 1950, deepened Bradbury’s contempt for government overreach.^[20][21]

The Golden Age of Radio occurred between the early 1920s to the late 1950s, during Bradbury’s early life, while the transition to the Golden Age of Television began right around the time he started to work on the stories that would eventually lead to Fahrenheit 451. Bradbury saw these forms of media as a threat to the reading of books, indeed as a threat to society, as he believed they could act as a distraction from important affairs. This contempt for mass media and technology would express itself through Mildred and her friends and is an important theme in the book.^[22]

Bradbury’s lifelong passion for books began at an early age. After he graduated from high school, his family could not afford for him to attend college, so Bradbury began spending time at the Los Angeles Public Library where he educated himself.^[23] As a frequent visitor to his local libraries in the 1920s and 1930s, he recalls being disappointed because they did not stock popular science fiction novels, like those of H. G. Wells, because, at the time, they were not deemed literary enough. Between this and learning about the destruction of the Library of Alexandria,^[24] a great impression was made on Bradbury about the vulnerability of books to censure and destruction. Later, as a teenager, Bradbury was horrified by the Nazi book burnings^[25] and later by Joseph Stalin’s campaign of political repression, the «Great Purge», in which writers and poets, among many others, were arrested and often executed.^[6]

Plot summary[edit]

Fahrenheit 451 is set in an unspecified city in the year 2049 (according to Ray Bradbury’s Coda), though it is written as if set in a distant future.^{[note 1][26]} The earliest editions make clear that it takes place no earlier than the year 1960.^{[note 2][27]}

The novel is divided into three parts: «The Hearth and the Salamander,» «The Sieve and the Sand,» and «Burning Bright.»

«The Hearth and the Salamander»[edit]

Guy Montag is a fireman employed to burn outlawed books, along with the houses they are hidden in. He is married but has no children. One fall night while returning from work, he meets his new neighbor, a teenage girl named Clarisse McClellan, whose free-thinking ideals and liberating spirit cause him to question his life and his own perceived happiness. Montag returns home to find that his wife Mildred has overdosed on sleeping pills, and he calls for medical attention. Two uncaring EMTs pump Mildred’s stomach, drain her poisoned blood, and fill her with new blood. After the EMTs leave to rescue another overdose victim, Montag goes outside and overhears Clarisse and her family talking about the way life is in this hedonistic, illiterate society. Montag’s mind is bombarded with Clarisse’s subversive thoughts and the memory of his wife’s near-death. Over the next few days, Clarisse faithfully meets Montag each night as he walks home. She tells him about how her simple pleasures and interests make her an outcast among her peers and how she is forced to go to therapy for her behavior and thoughts. Montag looks forward to these meetings, and just as he begins to expect them, Clarisse goes missing. He senses something is wrong.^[28]

In the following days, while at work with the other firemen ransacking the book-filled house of an old woman and drenching it in kerosene before the inevitable burning, Montag steals a book before any of his coworkers notice. The woman refuses to leave her house and her books, choosing instead to light a match and burn herself alive. Jarred by the woman’s suicide, Montag returns home and hides the stolen book under his pillow. Later, Montag wakes Mildred from her sleep and asks her if she has seen or heard anything about Clarisse McClellan. She reveals that Clarisse’s family moved away after Clarisse was hit by a speeding car and died four days ago. Dismayed by her failure to mention this earlier, Montag uneasily tries to fall asleep. Outside he suspects the presence of «The Mechanical Hound», an eight-legged^[29] robotic dog-like creature that resides in the firehouse and aids the firemen in hunting book hoarders.

Montag awakens ill the next morning. Mildred tries to care for her husband but finds herself more involved in the «parlor wall» entertainment in the living room – large televisions filling the walls. Montag suggests that maybe he should take a break from being a fireman after what happened last night, and Mildred panics over the thought of losing the house and her parlor wall «family.» Captain Beatty, Montag’s fire chief, personally visits Montag to see how he is doing. Sensing his concerns, Beatty recounts the history of how books lost their value and how the firemen were adapted for their current role: over the course of several decades, people began to embrace new media (in this case, film and television), sports, and an ever-quickening pace of life. Books were ruthlessly abridged or degraded to accommodate short attention spans. At the same time, advances in technology resulted in nearly all buildings being made out of fireproof materials, and the traditional role of firemen in preventing fires was no longer necessary. The government instead turned the firemen into officers of society’s peace of mind: instead of putting out fires, they became responsible for starting them, specifically for the purpose of burning books, which were condemned as sources of confusing and depressing thoughts that only complicated people’s lives. After an awkward exchange between Mildred and Montag over the book hidden under Montag’s pillow, Beatty becomes suspicious and casually adds a passing threat as he leaves, telling Montag that if a fireman had a book, he would be asked to burn it within the following twenty-four hours. If he refused, the other firemen would come and burn it for him. The encounter leaves Montag shaken.

After Beatty leaves, Montag reveals to Mildred that, over the last year, he has accumulated a stash of books that he has kept hidden in the air-conditioning duct in their ceiling. In a panic, Mildred grabs a book and rushes to throw it in the kitchen incinerator. Montag subdues her and tells her that the two of them are going to read the books to see if they have value. If they do not, he promises the books will be burned and all will return to normal.

«The Sieve and the Sand»[edit]

Montag and Mildred discuss the stolen books, and Mildred refuses to go along with it, questioning why she or anyone else should care about books. Montag goes on a rant about Mildred’s suicide attempt, Clarisse’s disappearance and death, the old woman who burned herself, and the imminent threat of war that goes ignored by the masses. He suggests that perhaps the books of the past have messages that can save society from its own destruction. The conversation is interrupted by a call from Mildred’s friend, Mrs. Bowles, and they set up a date to watch the «parlor walls» that night at Mildred’s house.

Montag concedes that Mildred is a lost cause and he will need help to understand the books. He remembers an old man named Faber, an English professor before books were banned, whom he once met in a park. Montag makes a subway trip to Faber’s home along with a rare copy of the Bible, the book he stole at the woman’s house. Once there, Montag forces the scared and reluctant Faber into helping him by methodically ripping pages from the Bible. Faber concedes and gives Montag a homemade earpiece communicator so that he can offer constant guidance.

At home, Mildred’s friends, Mrs. Bowles and Mrs. Phelps arrive to watch the «parlor walls.» Not interested in this insipid entertainment, Montag turns off the walls and tries to engage the women in meaningful conversation, only for them to reveal just how indifferent, ignorant, and callous they truly are. Enraged by their idiocy, Montag leaves momentarily and returns with a book of poetry. This confuses the women and alarms Faber, who is listening remotely. Mildred tries to dismiss Montag’s actions as a tradition firemen act out once a year: they find an old book and read it as a way to make fun of how silly the past is. Montag proceeds to recite the poem Dover Beach, causing Mrs. Phelps to cry. At the behest of Faber in the earpiece, Montag burns the book. Mildred’s friends leave in disgust, while Mildred locks herself in the bathroom and attempts to kill herself again by overdosing on sleeping pills.

Montag hides his books in the backyard before returning to the firehouse late at night, where he finds Beatty playing cards with the other firemen. Montag hands Beatty a book to cover for the one he believes Beatty knows he stole the night before, which is unceremoniously tossed into the trash. Beatty tells Montag that he had a dream in which they fought endlessly by quoting books to each other. Thus Beatty reveals that, despite his disillusionment, he was once an enthusiastic reader. A fire alarm sounds and Beatty picks up the address from the dispatcher system. They drive recklessly in the fire truck to the destination: Montag’s house.

«Burning Bright»[edit]

Beatty orders Montag to destroy his house with a flamethrower, rather than the more powerful «salamander» that is usually used by the fire team, and tells him that his wife and her friends reported him after what happened the other night. Montag watches as Mildred walks out of the house, too traumatized about losing her parlor wall family to even acknowledge her husband’s existence or the situation going on around her, and catches a taxi. Montag obeys the chief, destroying the home piece by piece, but Beatty discovers Montag’s earpiece and plans to hunt down Faber. Montag threatens Beatty with the flamethrower and, after Beatty taunts him, Montag burns Beatty alive and knocks his co-workers unconscious. As Montag escapes the scene, the Mechanical Hound attacks him, managing to inject his leg with an anesthetic. He destroys the Hound with the flamethrower and limps away. Before he escapes, however, he concludes that Beatty had wanted to die a long time ago and had purposely goaded Montag as well as provided him with a weapon.

Montag runs through the city streets towards Faber’s house. On his way, he crosses a wide road as a speeding car attempts to run him over, but he manages to evade the vehicle, and realizes he almost suffered the same fate as Clarisse. Faber urges him to make his way to the countryside and contact the exiled book-lovers who live there. He mentions he will be leaving on an early bus heading to St. Louis and that he and Montag can rendezvous there later. On Faber’s television, they watch news reports of another Mechanical Hound being released to track down and kill Montag, with news helicopters following it to create a public spectacle. After wiping his scent from around the house in hopes of thwarting the Hound, Montag leaves Faber’s house. He escapes the manhunt by wading into a river and floating downstream. Montag leaves the river in the countryside, where he meets the exiled drifters, led by a man named Granger. Granger shows Montag the ongoing manhunt on a portable battery TV and predicts that “Montag” will be caught within the next few minutes; as predicted, an innocent man is then caught and killed.

The drifters are all former intellectuals. They have each memorized books should the day arrive that society comes to an end and is forced to rebuild itself anew, with the survivors learning to embrace the literature of the past. Granger asks Montag what he has to contribute to the group and Montag finds that he had partially memorized the Book of Ecclesiastes, discovering that the group has a special way of unlocking photographic memory. While learning the philosophy of the exiles, Montag and the group watch helplessly as bombers fly overhead and annihilate the city with nuclear weapons: the imminent war has begun and ended in the same night. While Faber would have left on the early bus, everyone else (possibly including Mildred) is immediately killed. Montag and the group are injured and dirtied, but manage to survive the shockwave.

The following morning, Granger teaches Montag and the others about the legendary phoenix and its endless cycle of long life, death in flames, and rebirth. He adds that the phoenix must have some relationship to mankind, which constantly repeats its mistakes, but explains that man has something the phoenix does not: mankind can remember its mistakes and try to never repeat them. Granger then muses that a large factory of mirrors should be built so that people can take a long look at themselves and reflect on their lives. When the meal is over, the exiles return to the city to rebuild society.

Characters[edit]

• Guy Montag is the protagonist and a fireman who presents the dystopian world in which he lives first through the eyes of a worker loyal to it, then as a man in conflict about it, and eventually as someone resolved to be free of it. Throughout most of the book, Montag lacks knowledge and believes only what he hears. Clarisse McClellan inspires Montag’s change, even though they don’t know each other for very long.
• Clarisse McClellan is a young girl one month short of her 17th birthday who is Montag’s neighbor.^{[note 3][30]} She walks with Montag on his trips home from work. A modern critic has described her as an example of the Manic Pixie Dream Girl,^[31] as Clarisse is an unusual sort of person compared to the others inhabiting the bookless, hedonistic society: outgoing, naturally cheerful, unorthodox, and intuitive. She is unpopular among peers and disliked by teachers for asking «why» instead of «how» and focusing on nature rather than on technology. A few days after her first meeting with Montag, she disappears without any explanation; Mildred tells Montag (and Captain Beatty confirms) that Clarisse was hit by a speeding car and that her family moved away following her death. It is implied that Beatty may have assassinated Clarisse. In the afterword of a later edition, Bradbury notes that the film adaptation changed the ending so that Clarisse (who, in the film, is now a 20-year-old schoolteacher who was fired for being unorthodox) was living with the exiles. Bradbury, far from being displeased by this, was so happy with the new ending that he wrote it into his later stage edition.
• Mildred «Millie» Montag is Guy Montag’s wife. She is addicted to sleeping pills, absorbed in the shallow dramas played on her «parlor walls» (flat-panel televisions), and indifferent to the oppressive society around her. She is described in the book as «thin as a praying mantis from dieting, her hair burnt by chemicals to a brittle straw, and her flesh like white bacon.» Despite her husband’s attempts to break her from the spell society has on her, Mildred continues to be shallow and indifferent. After Montag scares her friends away by reading Dover Beach, and finding herself unable to live with someone who has been hoarding books, Mildred betrays Montag by reporting him to the firemen and abandoning him, and presumably dies when the city is bombed.
• Captain Beatty is Montag’s boss and the book’s main antagonist. Once an avid reader, he has come to hate books due to their unpleasant content and contradicting facts and opinions. After he forces Montag to burn his own house, Montag kills him with a flamethrower. In a scene written years later by Bradbury for the Fahrenheit 451 play, Beatty invites Montag to his house where he shows him walls of books left to molder on their shelves.
• Stoneman and Black are Montag’s coworkers at the firehouse. They do not have a large impact on the story and function only to show the reader the contrast between the firemen who obediently do as they are told and someone like Montag, who formerly took pride in his job but subsequently realizes how damaging it is to society. Black is later framed by Montag for possessing books.
• Faber is a former English professor. He has spent years regretting that he did not defend books when he saw the moves to ban them. Montag turns to him for guidance, remembering him from a chance meeting in a park sometime earlier. Faber at first refuses to help Montag and later realizes Montag is only trying to learn about books, not destroy them. He secretly communicates with Montag through an electronic earpiece and helps Montag escape the city, then gets on a bus to St. Louis and escapes the city himself before it is bombed. Bradbury notes in his afterword that Faber is part of the name of a German manufacturer of pencils, Faber-Castell.
• Mrs. Ann Bowles and Mrs. Clara Phelps are Mildred’s friends and representative of the anti-intellectual, hedonistic mainstream society presented in the novel. During a social visit to Montag’s house, they brag about ignoring the bad things in their lives and have a cavalier attitude towards the upcoming war, their husbands, their children, and politics. Mrs. Phelps’ husband Pete was called in to fight in the upcoming war (and believes that he’ll be back in a week because of how quick the war will be) and thinks having children serves no purpose other than to ruin lives. Mrs. Bowles is a three-times-married single mother. Her first husband divorced her, her second died in a jet accident, and her third committed suicide by shooting himself in the head. She has two children who do not like or respect her due to her permissive, often negligent and abusive parenting; Mrs. Bowles brags that her kids beat her up, and she’s glad she can hit back. When Montag reads Dover Beach to them, he strikes a chord in Mrs. Phelps, who starts crying over how hollow her life is. Mrs. Bowles chastises Montag for reading «silly awful hurting words».
• Granger is the leader of a group of wandering intellectual exiles who memorize books in order to preserve their contents.

Title[edit]

The title page of the book explains the title as follows: Fahrenheit 451—The temperature at which book paper catches fire and burns…. On inquiring about the temperature at which paper would catch fire, Bradbury had been told that 451 °F (233 °C) was the autoignition temperature of paper.^[32][33] In various studies, scientists have placed the autoignition temperature at a range of temperatures between 424 and 475 °F (218 and 246 °C), depending on the type of paper.^[34][35]

Writing and development[edit]

Fahrenheit 451 developed out of a series of ideas Bradbury had visited in previously written stories. For many years, he tended to single out «The Pedestrian» in interviews and lectures as sort of a proto-Fahrenheit 451. In the Preface of his 2006 anthology Match to Flame: The Fictional Paths to Fahrenheit 451 he states that this is an oversimplification.^[36] The full genealogy of Fahrenheit 451 given in Match to Flame is involved. The following covers the most salient aspects.^[37]

Between 1947 and 1948,^[38] Bradbury wrote the short story «Bright Phoenix» (not published until the May 1963 issue of The Magazine of Fantasy & Science Fiction^[39][40]) about a librarian who confronts a book-burning «Chief Censor» named Jonathan Barnes.

In late 1949,^[41] Bradbury was stopped and questioned by a police officer while walking late one night.^[42][43] When asked «What are you doing?», Bradbury wisecracked, «Putting one foot in front of another.»^[42][43] This incident inspired Bradbury to write the 1951 short story «The Pedestrian».^{[note 4][42][43]}

In The Pedestrian, Leonard Mead is harassed and detained by the city’s remotely operated police cruiser (there’s only one) for taking nighttime walks, something that has become extremely rare in this future-based setting: everybody else stays inside and watches television («viewing screens»). Alone and without an alibi, Mead is taken to the «Psychiatric Center for Research on Regressive Tendencies» for his peculiar habit. Fahrenheit 451 would later echo this theme of an authoritarian society distracted by broadcast media.^[44]

Bradbury expanded the book-burning premise of «Bright Phoenix»^[45] and the totalitarian future of «The Pedestrian»^[46] into «The Fireman», a novella published in the February 1951 issue of Galaxy Science Fiction.^[47][48] «The Fireman» was written in the basement of UCLA’s Powell Library on a typewriter that he rented for a fee of ten cents per half hour.^[49] The first draft was 25,000 words long and was completed in nine days.^[50]

Urged by a publisher at Ballantine Books to double the length of his story to make a novel, Bradbury returned to the same typing room and made the story 25,000 words longer, again taking just nine days.^[49] The title «Fahrenheit 451» came to him on January 22. The final manuscript was ready in mid-August, 1953.^[51] The resulting novel, which some considered as a fix-up^[52] (despite being an expanded rewrite of one single novella), was published by Ballantine in 1953.^[53]

Supplementary material[edit]

Bradbury has supplemented the novel with various front and back matter, including a 1979 coda,^[54] a 1982 afterword,^[55] a 1993 foreword, and several introductions.

Publication history[edit]

The first U.S. printing was a paperback version from October 1953 by The Ballantine Publishing Group. Shortly after the paperback, a hardback version was released that included a special edition of 200 signed and numbered copies bound in asbestos.^[56][57][58] These were technically collections because the novel was published with two short stories: The Playground and And the Rock Cried Out, which have been absent in later printings.^[1][59] A few months later, the novel was serialized in the March, April, and May 1954 issues of nascent Playboy magazine.^[10][60]

Expurgation[edit]

Starting in January 1967, Fahrenheit 451 was subject to expurgation by its publisher, Ballantine Books with the release of the «Bal-Hi Edition» aimed at high school students.^[61][62] Among the changes made by the publisher were the censorship of the words «hell», «damn», and «abortion»; the modification of seventy-five passages; and the changing of two incidents.^[62][63]

In the first incident a drunk man was changed to a «sick man», while the second involved cleaning fluff out of a human navel, which instead became «cleaning ears» in the other.^[62][64] For a while both the censored and uncensored versions were available concurrently but by 1973 Ballantine was publishing only the censored version.^[64][65] That continued until 1979, when it came to Bradbury’s attention:^[64][65]

In 1979, one of Bradbury’s friends showed him an expurgated copy. Bradbury demanded that Ballantine Books withdraw that version and replace it with the original, and in 1980 the original version once again became available. In this reinstated work, in the Author’s Afterword, Bradbury relates to the reader that it is not uncommon for a publisher to expurgate an author’s work, but he asserts that he himself will not tolerate the practice of manuscript «mutilation».

The «Bal-Hi» editions are now referred to by the publisher as the «Revised Bal-Hi» editions.^[66]

Non-print publications[edit]

An audiobook version read by Bradbury himself was released in 1976 and received a Spoken Word Grammy nomination.^[15] Another audiobook was released in 2005 narrated by Christopher Hurt.^[67] The e-book version was released in December 2011.^[68][69]

Reception[edit]

In 1954, Galaxy Science Fiction reviewer Groff Conklin placed the novel «among the great works of the imagination written in English in the last decade or more.»^[70] The Chicago Sunday Tribune‘s August Derleth described the book as «a savage and shockingly prophetic view of one possible future way of life», calling it «compelling» and praising Bradbury for his «brilliant imagination».^[71] Over half a century later, Sam Weller wrote, «upon its publication, Fahrenheit 451 was hailed as a visionary work of social commentary.»^[72] Today, Fahrenheit 451 is still viewed as an important cautionary tale about conformity and the evils of government censorship.^[73]

When the novel was first published, there were those who did not find merit in the tale. Anthony Boucher and J. Francis McComas were less enthusiastic, faulting the book for being «simply padded, occasionally with startlingly ingenious gimmickry, … often with coruscating cascades of verbal brilliance [but] too often merely with words.»^[74] Reviewing the book for Astounding Science Fiction, P. Schuyler Miller characterized the title piece as «one of Bradbury’s bitter, almost hysterical diatribes,» while praising its «emotional drive and compelling, nagging detail.»^[75] Similarly, The New York Times was unimpressed with the novel and further accused Bradbury of developing a «virulent hatred for many aspects of present-day culture, namely, such monstrosities as radio, TV, most movies, amateur and professional sports, automobiles, and other similar aberrations which he feels debase the bright simplicity of the thinking man’s existence.»^[76]

Fahrenheit 451 was number seven on the list of «Top Check Outs OF ALL TIME» by the New York Public Library^[77]

Censorship/banning incidents[edit]

In the years since its publication, Fahrenheit 451 has occasionally been banned, censored, or redacted in some schools at the behest of parents or teaching staff either unaware of or indifferent to the inherent irony in such censorship. Notable incidents include:

• In Apartheid South Africa the book was burned along with thousands of banned publications between the 1950s and 1970s.^[78]
• In 1987, Fahrenheit 451 was given «third tier» status by the Bay County School Board in Panama City, Florida, under then-superintendent Leonard Hall’s new three-tier classification system. Third tier was meant for books to be removed from the classroom for «a lot of vulgarity.» After a resident class-action lawsuit, a media stir, and student protests, the school board abandoned their tier-based censorship system and approved all the currently used books.^[79]
• In 1992, Venado Middle School in Irvine, California, gave copies of Fahrenheit 451 to students with all «obscene» words blacked out.^[80] Parents contacted the local media and succeeded in reinstalling the uncensored copies.^[80]
• In 2006, parents of a 10th-grade high school student in Montgomery County, Texas, demanded the book be banned from their daughter’s English class reading list.^[81] Their daughter was assigned the book during Banned Books Week, but stopped reading several pages in due to what she considered the offensive language and description of the burning of the Bible. In addition, the parents protested the violence, portrayal of Christians, and depictions of firemen in the novel.^[81]

Themes[edit]

Discussions about Fahrenheit 451 often center on its story foremost as a warning against state-based censorship. Indeed, when Bradbury wrote the novel during the McCarthy era, he was concerned about censorship in the United States. During a radio interview in 1956,^[82][83] Bradbury said:

I wrote this book at a time when I was worried about the way things were going in this country four years ago. Too many people were afraid of their shadows; there was a threat of book burning. Many of the books were being taken off the shelves at that time. And of course, things have changed a lot in four years. Things are going back in a very healthy direction. But at the time I wanted to do some sort of story where I could comment on what would happen to a country if we let ourselves go too far in this direction, where then all thinking stops, and the dragon swallows his tail, and we sort of vanish into a limbo and we destroy ourselves by this sort of action.

As time went by, Bradbury tended to dismiss censorship as a chief motivating factor for writing the story. Instead he usually claimed that the real messages of Fahrenheit 451 were about the dangers of an illiterate society infatuated with mass media and the threat of minority and special interest groups to books. In the late 1950s, Bradbury recounted:

In writing the short novel Fahrenheit 451, I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap-opera cries, sleep-walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction.^[84]

This story echoes Mildred’s «Seashell ear-thimbles» (i.e., a brand of in-ear headphones) that act as an emotional barrier between her and Montag. In a 2007 interview, Bradbury maintained that people misinterpret his book and that Fahrenheit 451 is really a statement on how mass media like television marginalizes the reading of literature.^[8] Regarding minorities, he wrote in his 1979 Coda:

There is more than one way to burn a book. And the world is full of people running about with lit matches. Every minority, be it Baptist/Unitarian, Irish/Italian/Octogenarian/Zen Buddhist, Zionist/Seventh-day Adventist, Women’s Lib/Republican, Mattachine/Four Square Gospel feels it has the will, the right, the duty to douse the kerosene, light the fuse. […] Fire-Captain Beatty, in my novel Fahrenheit 451, described how the books were burned first by minorities, each ripping a page or a paragraph from this book, then that, until the day came when the books were empty and the minds shut and the libraries closed forever. […] Only six weeks ago, I discovered that, over the years, some cubby-hole editors at Ballantine Books, fearful of contaminating the young, had, bit by bit, censored some seventy-five separate sections from the novel. Students, reading the novel, which, after all, deals with censorship and book-burning in the future, wrote to tell me of this exquisite irony. Judy-Lynn del Rey, one of the new Ballantine editors, is having the entire book reset and republished this summer with all the damns and hells back in place.^[85]

Book-burning censorship, Bradbury would argue, was a side-effect of these two primary factors; this is consistent with Captain Beatty’s speech to Montag about the history of the firemen. According to Bradbury, it is the people, not the state, who are the culprit in Fahrenheit 451.^[8] Nevertheless, the role of censorship, state-based or otherwise, is still perhaps the most frequent theme explored in the work.^{[86][better source needed][87]}

A variety of other themes in the novel besides censorship have been suggested. Two major themes are resistance to conformity and control of individuals via technology and mass media. Bradbury explores how the government is able to use mass media to influence society and suppress individualism through book burning. The characters Beatty and Faber point out that the American population is to blame. Due to their constant desire for a simplistic, positive image, books must be suppressed. Beatty blames the minority groups, who would take offense to published works that displayed them in an unfavorable light. Faber went further to state that the American population simply stopped reading on their own. He notes that the book burnings themselves became a form of entertainment for the general public.^[88]

In a 1994 interview, Bradbury stated that Fahrenheit 451 was more relevant during this time than in any other, stating that, «it works even better because we have political correctness now. Political correctness is the real enemy these days. The black groups want to control our thinking and you can’t say certain things. The homosexual groups don’t want you to criticize them. It’s thought control and freedom of speech control.»^[9]

Predictions for the future[edit]

Bradbury described himself as «a preventor of futures, not a predictor of them.»^[89] He did not believe that book burning was an inevitable part of the future; he wanted to warn against its development.^[89] In a later interview, when asked if he believes that teaching Fahrenheit 451 in schools will prevent his totalitarian^[2] vision of the future, Bradbury replied in the negative. Rather, he states that education must be at the kindergarten and first-grade level. If students are unable to read then, they will be unable to read Fahrenheit 451.^[90]

On account of technology, Sam Weller notes that Bradbury «predicted everything from flat-panel televisions to earbud headphones and twenty-four-hour banking machines.»^[91]

Adaptations[edit]

Television[edit]

Playhouse 90 broadcast «A Sound of Different Drummers» on CBS in 1957, written by Robert Alan Aurthur. The play combined plot ideas from Fahrenheit 451 and Nineteen Eighty-Four. Bradbury sued and eventually won on appeal.^[92][93]

Film[edit]

A film adaptation written and directed by François Truffaut and starring Oskar Werner and Julie Christie was released in 1966.^[94][95]

A film adaptation directed by Ramin Bahrani and starring Michael B. Jordan, Michael Shannon, Sofia Boutella, and Lilly Singh was released in 2018 for HBO.^[96][97]

Theater[edit]

In the late 1970s Bradbury adapted his book into a play. At least part of it was performed at the Colony Theatre in Los Angeles in 1979, but it was not in print until 1986 and the official world premiere was only in November 1988 by the Fort Wayne, Indiana Civic Theatre. The stage adaptation diverges considerably from the book and seems influenced by Truffaut’s movie. For example, fire chief Beatty’s character is fleshed out and is the wordiest role in the play. As in the movie, Clarisse does not simply disappear but in the finale meets up with Montag as a book character (she as Robert Louis Stevenson, he as Edgar Allan Poe).^[98]

The UK premiere of Bradbury’s stage adaptation was not until 2003 in Nottingham,^[98] while it took until 2006 before the Godlight Theatre Company produced and performed its New York City premiere at 59E59 Theaters.^[99] After the completion of the New York run, the production then transferred to the Edinburgh Festival where it was a 2006 Edinburgh Festival Pick of the Fringe.^[100]

The Off-Broadway theatre The American Place Theatre presented a one man show adaptation of Fahrenheit 451 as a part of their 2008–2009 Literature to Life season.^[101]

Fahrenheit 451 inspired the Birmingham Repertory Theatre production Time Has Fallen Asleep in the Afternoon Sunshine, which was performed at the Birmingham Central Library in April 2012.^[102]

Radio[edit]

In 1982, Gregory Evans’ radio dramatization of the novel^[103][104] was broadcast on BBC Radio 4 starring Michael Pennington as Montag.^[105] It was broadcast eight more times on BBC Radio 4 Extra, twice each in 2010, 2012, 2013, and 2015.^[106]

BBC Radio’s second dramatization, by David Calcutt, was broadcast on BBC Radio 4 in 2003, starring Stephen Tomlin in the same role.^[107]

Music[edit]

In 1984 the new wave band Scortilla released the song Fahrenheit 451 inspired by the book by R. Bradbury and the film by F. Truffaut.

Computer games[edit]

In 1984, the novel was adapted into a computer text adventure game of the same name by the software company Trillium.^[108]

Comics[edit]

In June 2009, a graphic novel edition of the book was published. Entitled Ray Bradbury’s Fahrenheit 451: The Authorized Adaptation,^[109] the paperback graphic adaptation was illustrated by Tim Hamilton.^[110][111] The introduction in the novel is written by Bradbury.^[112]

Cultural references[edit]

Michael Moore’s 2004 documentary Fahrenheit 9/11 refers to Bradbury’s novel and the September 11 attacks, emphasized by the film’s tagline «The temperature where freedom burns». The film takes a critical look at the presidency of George W. Bush, the War on Terror, and its coverage in the news media, and became the highest grossing documentary of all time.^[113] Bradbury was upset by what he considered the appropriation of his title, and wanted the film renamed.^[114][115] Moore filmed a subsequent documentary about the election of Donald Trump called Fahrenheit 11/9 in 2018.^[116]

In 2015, the Internet Engineering Steering Group approved the publication of An HTTP Status Code to Report Legal Obstacles, now RFC 7725, which specifies that websites forced to block resources for legal reasons should return a status code of 451 when users request those resources.^{[117][118][119][120]}

Guy Montag (as Gui Montag), is used in the 1998 real-time strategy game Starcraft as a terran firebat hero.^[121]

See also[edit]

• Brave New World
• Dystopia
• Firefighter arson
• Nineteen Eighty-Four
• Burning of books and burying of scholars

Notes[edit]

References[edit]

Further reading[edit]

• McGiveron, R. O. (1996). «What ‘Carried the Trick’? Mass Exploitation and the Decline of Thought in Ray Bradbury’s Fahrenheit 451«. Extrapolation. Liverpool University Press. 37 (3): 245–256. doi:10.3828/extr.1996.37.3.245. ISSN 0014-5483.
• McGiveron, R. O. (1996). «Bradbury’s Fahrenheit 451«. Explicator. 54 (3): 177–180. doi:10.1080/00144940.1996.9934107. ISSN 0014-4940.
• Smolla, Rodney A. (April 2009). «The Life of the Mind and a Life of Meaning: Reflections on Fahrenheit 451» (PDF). Michigan Law Review. 107 (6): 895–912. ISSN 0026-2234.

External links[edit]

Город ненаступившего времени в США, где нет возможностей и времени для чтения книг, — именно в таком месте развиваются события романа-антиутопии «451 градус по Фаренгейту». Характеристика главных героев книги Рэя Брэдбери может удивлять читателя. Поражает и обрисовка социальных норм в месте, где живут ключевые персонажи знаменитого произведения.

Гай Монтэг и Милдред

Американский автор, написавший этот роман, входит в число самых знаменитых писателей, работающих в этом жанре. Рэй Брэдбери в своих произведениях наиболее часто затрагивает тему неизбежного падения человечества из-за утраты религиозности. В какой-то мере его роман предвещает будущее: от самых ничтожных моментов до поднятия проблемы моральности современного общества.

Герои «451 градуса по Фаренгейту» своеобразные, но в целом соответствуют той среде, где им приходится жить. Гай Монтэг — мужчина 40—45 лет, пожарный по профессии. Его обязательства сводятся к уничтожению книг в огне. Этот персонаж:

• обеспечен;
• не имеет никаких планов;
• ни о чем не мечтает.

Все, что он делает, — отдыхает и выполняет свою работу. Цель жизни ему удается определить только после встречи с профессором Фабером.

После знакомства с героиней романа Клариссой Монтэг меняет свою точку зрения. Он начинает активно заниматься чтением книг, старается тянуться к нравственным ценностям. Персонажу удается пережить предательство жены. Он бежит, после чего его объявляют в розыск.

Следующая героиня романа — пропащая тридцатилетняя женщина, главной мечтой которой является покупка большого телевизора для просмотра любимых сериалов и передач. Милдред думает только о себе, при этом не обращает внимания на своего мужа. С ним их давно ничто не связывает. У них нет общих интересов и тем для разговоров. Они просто живут в одном доме.

Кларисса и Фабер

Кларисса — молодая жизнерадостная девушка, живущая по соседству с супругами. Она никогда не посещала занятия в школе. У нее есть страх перед стрельбой, которую могут устроить ученики школы. Она быстро находит общие темы для разговоров с Гаем. Они беседуют об окружающем мире и литературе. С Клариссы и начинается толчок в нравственном развитии Гая, но вдруг она исчезает. Затем становится известно, что она попала в аварию и погибла.

Умный и рассудительный управляющий Гая Фабер считает, что книги не приносят людям пользы. Он думает, что люди должны быть равными и никаким образом не привлекать к себе лишнего внимания. Монтэг вынужден навести свое оружие на Битти в момент уничтожения жилища Гая. По этой причине возникает ситуация, когда из-за командира может пострадать ученый.

Битти и прочие персонажи

Битти — персонаж, который погиб от выстрела огнемета Гая. Он был начальником Гая, приспособленным и очень рассудительным человеком. Как и Фабер, герой ненавидит книги.

Подруга Милдред — женщина, которая доносит обо всех преступлениях Гая властям совместно с его супругой. Сама она не замужем.

Произведение показывает мир, который полон необычных событий. Все кругом утопает в безумии. Живущим в нем людям строго запрещается прикасаться к книгам. Решившийся нарушить запрет получает наказание. Работники пожарных служб тоннами уничтожают книги в огне, чтобы ни у кого не возникло желания их взять в руки и прочитать. Спасение людей из горящих домов отходит на задний план. Мир в романе описан, как нечто страшное. Нелепость и безумные вещи происходят в нем постоянно.

Жанровая принадлежность

Это уникальное произведение, вошедшее в золотой фонд мировой фантастики. Оно написано Рэем Дугласом Брэдбери и отнесено к жанру повести. Мир в книге показан таким, каким, по мнению автора, он будет через несколько столетий. Он:

• полностью пропитан научными и техническими инновациями;
• попал в бездну нелепых замыслов, которые породили не менее глупые поступки;
• состоит из страшных вещей и явлений.

Примечательно, что внешности персонажей в романе почти не уделено внимания, тогда как их действия приобретают ключевую важность. Это наглядно видно по обзору, приведенному в Википедии.

Мир, согласно описанию книги «451 градус по Фаренгейту», утопает в сумасшествии. Все в нем автоматизировано. Чтение под запретом для всех без исключения, а нарушивший это предписание строго наказывается властями. Его могут отправить в больницу для душевнобольных людей. Вместо спасения сгорающих зданий и тушения пожара огнеборцы занимаются уничтожением книг. Для них первоначальной задачей является недопущение попадания любого источника печатной информации в руки людей.