Ray Bradbury - Ray Bradbury 3-Book Collection - Fahrenheit 451, The Martian Chronicles, The Illustrated Man

Some of my early stories tell of librarians and book burners and people in small towns finding ways to memorize the books so that if they were burned they had some sort of immortality.

The main surprise for the book occurred when I wrote the short story ‘The Pedestrian’ in 1949.

I had been accosted by the police one night while I walked on a Los Angeles street with a friend. The police wanted to know what we were doing, when walking was our aim and talking occupied us.

I was so irritated by being stopped and asked about walking that I went home and wrote the story, ‘The Pedestrian’, concerning a future where pedestrians were arrested for using the sidewalks.

Sometime later, I took the Pedestrian for a walk and when he turned a corner he encountered a young girl named Clarisse McClellan who took a deep breath and said, ‘I know who you are from the smell of kerosene. You’re the man who burns books.’

Nine days later the novel was finished.

What a wonderful experience it was to be in the library basement to dash up and down the stairs reinvigorating myself with the touch and the smell of books that I knew and books that I did not know until that moment.

When the first version of the novel was finished, I hardly knew what I had done. I knew that it was crammed with metaphors, but the word metaphor had not occurred to me at that time in my life. It was only later in time when I got to know the word and realized that my capacity for collecting metaphors was so complete.

In the years of writing my two-act play and the opera that followed, I let my characters tell me things about their lives that were not in the book.

I have been tempted to go back and insert these truths in the old text, but this is a dangerous practice which writers must refuse. These truths, while important, could ruin a work done years before.

In writing the play my Fire Chief, Beatty, told me why he had become a burner of books.

He had once been a wanderer of libraries and a lover of the finest literature in history. But when real life diminished him, when friends died, when a love failed, when there were too many deaths and accidents surrounding him, he discovered that his faith in books had failed because they could not help him when he needed the help.

Turning on them, he lit a match.

So that is one of the fine things that came out of the play and the opera. I’m glad to be able to speak of it now and tell you what Beatty had in his background.

After the book was published, in the following years I’ve had hundreds of letters from readers asking me what became of Clarisse McClellan. They were so intrigued with this fascinating, strange and quixotic girl that they wanted to believe that somewhere out in the wilderness with the book people she had somehow survived.

I resisted the temptation to bring her back to life in future editions of my novel.

I left it to François Truffaut in his film version of Fahrenheit 451 in 1966 to give Clarisse a return to life, even though he had changed her name and given her extra years of maturity, which at the time I thought was a great mistake. But she did survive to the end of the film and at that time I decided that Truffaut was correct.

When I wrote the first version of the play I allowed Clarisse to survive among the book people in the wilderness. The same practice occurred when I wrote the opera.

She was too wonderful a character to be allowed to die and I realize now that I should have allowed her to appear at the end of my book.

That being said, the book is complete and untouched. I will not go back and revise anything. I have a great respect for the young man that I was when I sat down in that basement room with a bag of dimes and plunged into the passionate activity that resulted in the final work.

So here, after fifty years, is Fahrenheit 451 . I didn’t know what I was doing, but I’m glad that it was done.

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