Plus Ca Change, Plus C'est La Meme Chose

Those French. Always eloquent, always pessimistic, and almost always right. Listen to this:

“It was all so enchanting at first,” muses our protagonist. “They were almost toys, to be played with, but the people got too involved, went too far, and got wrapped up in a pattern of social behavior and couldn’t get out, couldn’t admit they were in, even.”

When was this written? Last week? No, fifty years ago, by Ray Bradbury.

Most of all, Mr. Bradbury knew how the future would feel: louder, faster, stupider, meaner, increasingly inane and violent. Collective cultural amnesia, anhedonia, isolation. The hysterical censoriousness of political correctness. Teenagers killing one another for kicks. Grown-ups reading comic books. A postliterate populace. “I remember the newspapers dying like huge moths,” says the fire captain in “Fahrenheit,” written in 1953. “No one wanted them back. No one missed them.” Civilization drowned out and obliterated by electronic chatter. The book’s protagonist, Guy Montag, secretly trying to memorize the Book of Ecclesiastes on a train, finally leaps up screaming, maddened by an incessant jingle for “Denham’s Dentifrice.” A man is arrested for walking on a residential street. Everyone locked indoors at night, immersed in the social lives of imaginary friends and families on TV, while the government bombs someone on the other side of the planet. Does any of this sound familiar?

No? How about these:

  • "Today is August 4, 2026," said a second voice from the kitchen ceiling, "in the city of Allendale, California." It repeated the date three times for memory's sake. "Today is Mr. Featherstone's birthday. Today is the anniversary of Tilita's marriage. Insurance is payable, as are the water, gas, and light bills." Somewhere in the walls, relays clicked, memory tapes glided under electric eyes. (There Will Come Soft Rains, 1950)
  • "I remember the newspapers dying like huge moths. No one wanted them back. No one missed them." (Fahrenheit 451, 1953)
  • "The more I see of the mess we've put ourselves in, the more it sickens me. We've been contemplating our mechanical, electronic navels for too long. My God, how we need a breath of honest air!" (The Veldt, 1950)
  • "There sat all the tired commuters with their wrist radios, talking to their wives, saying 'Now I'm at Forty-third, now I'm at Forty-fourth, here I am at Forty-ninth, now turning at Sixty-first." (The Murderer, 1953)

Bradbury was known for his aversion to technology, refusing to use computers or fly in planes. But, in this excellent homage to his life's work, Tim Kreider explains that Bradbury was more than just a troglodyte.

But it was more complicated than that; his objections were not so much reactionary or political as they were aesthetic. He hated ugliness, noise and vulgarity. He opposed the kind of technology that deadened imagination, the modernity that would trash the past, the kind of intellectualism that tried to centrifuge out awe and beauty. 

I've been a Bradbury fan since reading The Illustrated Man in high school, but I only read his masterpiece a few years ago. He was such an inspiration, for his strong work ethic and idyllic family life as much as for his uncannily prophetic writing. I only hope that, as a society, we can start to take some of his lessons to heart.