Fahrenheit 451 | Critical Essay by Diane S. Wood

This literature criticism consists of approximately 7 pages of analysis & critique of Fahrenheit 451.
This section contains 1,957 words
(approx. 7 pages at 300 words per page)
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Critical Essay by Diane S. Wood

SOURCE: "Bradbury and Atwood: Exile as Rational Decision," in The Literature of Emigration and Exile, edited by James Whitlark and Wendall Aycock, Texas Tech University Press, 1992, pp. 131-42.

In the following essay, Wood compares Fahrenheit 451 with Margaret Atwood's The Handmaid's Tale, focusing on their historical context and respective treatment of conformity and institutionalized repression.

Ray Bradbury's Fahrenheit 451 and Margaret Atwood's The Handmaid's Tale depict the rational decision to go into exile, to leave one's native land, that is, the pre-exile condition. These novels present horrifying views of the near future where societal pressures enforce rigid limitations on individual freedom. Their alienated characters find their circumstances repugnant. Justice and freedom are denied them, along with the possibility for enriching their lives through intellectual pursuits. These speculative novels like Orwell's 1984 are dystopian in nature, showing how precarious are today's constitutional rights and how necessary it is to preserve these liberties for future generations. They depict ordinary people, caught in circumstances that they cannot control, people who resist oppression at the risk of their lives and who choose exile because it has to be better than their present, unbearable circumstances. Voluntary exile necessitates a journey into the unknown as an alternative to the certain repression of the present.

Both novels offer a bleak possible future for the United States. Bradbury, writing in the McCarthy era of the 1950s, envisions a time when people choose to sit by the hour watching television programs and where owning books is a crime. Atwood, in the 1980s, foresees a time when, in the wake of changes begun during the Reagan Administration, women are denied even the most basic rights of working and owning property. Both novels thus present "political" stances in the widest sense of the word….

In his 1966 Introduction to Fahrenheit 451, Bradbury expresses moral outrage concerning bookburning: "when Hitler burned a book I felt it as keenly, please forgive me, as his killing a human, for in the long sum of history they are one and the same flesh. Mind or body, put to the oven, is a sinful practice…." He sees the necessity to guard constantly against such practices:

For while Senator McCarthy has long been dead, the Red Guard in China comes alive and idols are smashed, and books, all over again, are thrown into the furnace. So it will go, one generation printing, another generation burning, yet another remembering what is good to remember so as to print again….

The novels by Bradbury and Atwood examine the personal response of an individual who is in conflict with the majority in his society and whose occupation is abhorrent to him. Fahrenheit 451 centers upon the personal crisis of Montag, a young fireman whose job consists of burning books. He finds his life increasingly meaningless and eventually comes to reject the too-simple, cliched values of his milieu. He experiences loneliness in a society where people are constantly entertained without time given to reflexion and personal development, activities often associated with the reading process. The more complicated nuances of the world of books are available to him only when he leaves his reductionistic society….

In both novels the population is strictly regulated and the conduct of individuals is highly regimented. Indeed, in these repressive circumstances, it is not surprising that the protagonists would wish to flee, especially since, by the end of the novels, they have broken laws which would bring the death penalty if they were apprehended. "Mechanical Hounds" use scent to hunt down lawbreakers in Bradbury's fiction. The hounds tear apart their prey. Montag narrowly escapes this fate but the police do not admit being outwitted. They stage his death for the benefit of the huge television audience which follows the developing story of his evasion. The authorities murder an innocent derelict in Montag's place, so as not to disappoint the viewers and appear ineffectual. The authorities are motivated by the desire to maintain power at any cost and blatantly violate human rights….

The major task of both Bradbury and Atwood is to portray convincingly in their futuristic novels how the abridgement of freedom evolved in the United States. As such, the novels are strong political statements warning of the consequences of what seem dangerous trends to the authors. One has only to look at the statistics for television watching, witness the decline of interest in reading among our students, and read current reports about ecological damage to verify the gravity of the dangers this country faces at the present time. In the world of Fahrenheit 451 people have given up thinking for mindless pursuits. No revolution or coup d'etat brings about the loss of freedom. Rather, individual laziness precipitates a gradual erosion. This evolution takes place long before the birth of Montag, who grows up in a society where books are proscribed. His superior, a fireman, explains the trend of increasing simplification as the result of the influence of the mass media: "Things began to have mass…. And because they had mass, they became simpler…. Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. In a vast generalization which is itself a simplification, he tells how the modern era brought a movement to speed up and condense everything:

Then, in the twentieth, century, speed up your camera. Books cut shorter. Condensations. Digests. Tabloids. Everything boils down to the gag, the snap ending…. Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume…. Do you see? Out of the nursery into the college and back to the nursery; there's your intellectual pattern for the past five centuries or more.

The rich value of books is thus denied when they are reduced to brief summaries. Happiness to this fireman comes from eliminating all dissension, especially that caused by books: "'Colored people don't like Little Black Sambo. Burn it. White people don't feel good about Uncle Tom's Cabin. Burn it. Someone's written a book on tobacco and cancer of the lungs? The cigarette people are weeping? Burn the book. Serenity, Montag. Peace, Montag. Take your fight outside. Better yet, into the incinerator.'" Yet this society does not produce happiness. Montag is perpetually lonely and his wife attempts suicide.

Whereas Atwood's society ceremonializes violence, in Bradbury's book the society eliminates all cause for unhappiness and sweeps unpleasantness away, including those which are an integral part of the human condition: "'Funerals are unhappy and pagan? Eliminate them, too. Five minutes after a person is dead he's on his way to the Big Flue, the Incinerators serviced by helicopters all over the country. Ten minutes after death a man's a speak of black dust. Let's not quibble over individuals with memoriams. Forget them. Burn all, burn everything. Fire is bright and fire is clean.'" Television concerns itself with the ephemeral present and thus follows the trend toward forgetting the past. Books by their very essence preserve and memorialize those who have lived before. Bradbury would probably agree with Atwood's comments that all repressive governments eliminate authors because they are so dangerous. The fireman views fire as a means of purging and cleansing emotions in his society. Political dissension is eliminated by giving only one side of the argument. War is not even talked about. People are reduced to thinking about simple facts, meaningless data: "Cram them full of noncombustible data, chock them so full of 'facts' they feel stuffed, but absolutely 'brilliant' with information. Then they'll feel they're thinking, they'll get a sense of motion without moving. And they'll be happy, because facts of that sort don't change. Don't give them any slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy." Through simplifying and reducing ideas, he feels that the firemen produce happiness for the society: "we're the Happiness Boys, the Dixie Duo, you and I and the others. We stand against the small tide of those who want to make everyone unhappy with conflicting theory and thought. We have our fingers in the dike. Hold steady. Don't let the torrent of melancholy and drear philosophy drown our world.'"

Balancing this reductionist apology are the views of another character in the novel, a retired English professor who "had been thrown out upon the world forty years ago when the last liberal arts college shut for lack of students and patronage." He traces the lack of reading to apathy: "Remember, the firemen are rarely necessary. The public itself stopped reading of its own accord. Your firemen provide a circus now and then at which buildings are set off and crowds gather for the pretty blaze, but it's a small sideshow indeed, and hardly necessary to keep things in line. So few want to be rebels anymore. And out of those few, most, like myself, scare easily." The professor's personal experience bears witness to the gradual nature of the transition from a reading to a non-reading culture. One day, there are simply no more students:

That was a year I came to class at the start of the new semester and found only one student to sign up for Drama from Aeschylus to O'Neill. You see? How like a beautiful statue of ice it was, melting in the sun. I remember the newspapers dying like huge moths. No one wanted them back. No one missed them. And then the Government, seeing how advantageous it was to have people reading only about passionate lips and the fist in the stomach, circled the situation with your fire-eaters….

In both novels books represent important artifacts of the past and the act of reading becomes a heroic gesture. This is not surprising since both authors are avid readers and have described the importance of books in their lives. In fact, Fahrenheit 451 was written in the UCLA library. One of the most crucial passages in the novel shows a woman willing to die for her books. Montag is stunned when she sets fire to her library and immolates herself along with her precious volumes. This experience causes Montag to question what there is in books that is worth dying for and ultimately leads to his becoming a preserver of books instead of a destroyer….

Each novel ends with the protagonist's escape and the beginning of his exile from repression. There is some ambiguity, however, since the alter native order is not elaborated on. Montag watches his city being destroyed by a nuclear explosion. He joins a group of vagabonds who memorize the books with which they have escaped. No attempt is made to follow his further development in these difficult circumstances or to predict the course the future holds for society or the survivors. The implication is clear, however, that intellectual freedom is worth the inconvenience of life outside the modem city. Because he left, Montag survives the death of the mindless masses who stayed behind….

The appeal of these two highly acclaimed novels stems from the main characters' difficult situation in a repressive future United States. The plausible explanations given by both Bradbury and Atwood for the ghastly turn taken by American society in the futures they portray serves as a vivid reminder that freedom must be vigilantly guarded in order to be maintained. Apathy and fear create unlivable societies from which only a few courageous souls dare escape. "Ordinary" says one of the cruel Aunts of The Handmaid's Tale "is what you are used to." The main characters never are able to accept the "ordinariness" of the repression which surrounds them. They are among the few who are willing to risk the difficult path of exile.

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This section contains 1,957 words
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Critical Essay by Diane S. Wood from Literature Criticism Series. ©2005-2006 Thomson Gale, a part of the Thomson Corporation. All rights reserved.