Danse Macabre (53 page)

Bradbury has continued to publish fantasy throughout his career, and although the
Christian
Science Monitor
called
Something Wicked This Way Comes
a "nightmarish allegory," Bradbury really settles for allegory only in his science fiction. In his fantasy, his preoccupation has been with theme, character, symbol . . . and that fantastic rush that comes to the writer of fantasy when he puts the pedal to the metal, yanks back on the steering wheel, and drives his jalopy straight up into the black night of unreality.

Bradbury relates it this way: "[`Black Ferris' became] a screenplay in 1958 the night I saw Gene Kelly's
Invitation to the Dance
and so much wanted to work for and with him [that] I rushed home, finished up an outline of
Dark Carnival
( its then title) and ran it over to his house. Kelly flipped, said he would direct it, went off to Europe to find money, never found any, came back discouraged, gave me back my screen treatment, some eighty pages or more, and told me Good Luck. I said to hell with it and sat down and spent two years, off and on, finishing
Something Wicked
. Along the way, I said all and everything, just about, that I would ever want to say about my younger self and how I felt about that terrifying thing: Life, and that other terror: Death, and the exhilaration of both.

"But, above all, I did a loving thing without knowing it. I wrote a paean to my father. I didn't realize it until one night in 1965, a few years after the novel had been published. Sleepless, I got up and prowled my library, found the novel, reread certain portions, burst into tears. My father was locked into the novel, forever, as the father in the book! I wish he had lived to read himself there and be proud of his bravery in behalf of his loving son.

"Even writing this, I am touched again to remember with what a burst of joy and agony I found that my Dad was there, forever, forever for me anyway, locked on paper, kept in print, and beautiful to behold.

"I don't know what else to say. I loved every minutes of writing it. I took six months off between drafts. I never tire myself. I just let my subconscious throw up when it feels like it.

"I love the book best of all the things I have ever written. I will love it, and the people in it, Dad and Mr. Electrico, and Will and Jim, the two halves of myself sorely tired and tempted, until the end of my days."

Maybe the first thing we notice in
Something Wicked This Way Comes
is Bradbury's splitting of those two halves of himself. Will Halloway, the "good" boy (well, both of them are good, but Will's friend Jim goes astray for awhile), is born on October 30, a minute before midnight. Jim Nightshade is born two minutes later . . . a minute past midnight on Halloween morning. Will is Apollonian, a creature of reason and plan, a believer (mostly) in the status quo and the norm. Jim Nightshade, as his name implies, is the Dionysian half, a creature of emotion, something of a nihilist, hellbent for destruction, ready to spit in the devil's face just to see if the spittle will steam and sizzle running down the Dark Lord's cheek. When the lightning rod salesman comes to town at the beginning of Bradbury's fabulous tale ( "running just ahead of the storm") and tells the boys that lightning will strike Jim's house, Will has to persuade Jim to put the lightning rod up. Jim's initial reaction is "Why spoil the fun?" The symbolism of the times of birth is large, crude, and apparent; so is the symbolism of the lightning rod salesman, who arrives as a harbinger of bad times. Bradbury pulls it off nonetheless, mostly out of sheer fearlessness. He deals his archetypes large, like those bridge-sized cards.

In Bradbury's story an ancient carnival, marvelously named Cooger and Dark's Pandemonium Shadow Show, arrives in Green Town, bringing misery and horror under the guise of pleasure and wonder. Will Halloway and Jim Nightshade—and later, Will's father, Charles, as well—wise up to exactly what this particular carnival is all about. The tale eventually narrows down to the struggle for a single soul, that of Jim Nightshade. To call it an allegory would be wrong, but to call it a moral horror tale—much in the manner of those E.C. horror tales which foreran it—would be exactly right. In effect, what happens to Jim and Will is not so much different from Pinocchio's scary encounter on Pleasure Island, where boys who indulge their baser desires ( smoking cigars and shooting snooker, for instance) are turned into donkeys. Bradbury in writing here of carnal enticements—not just sexual carnality, but carnality in its broadest forms and manifestations—the pleasures of the flesh run as wild as the tattooed illustrations which cover Mr. Dark's body.*

*The one reference to sexual carnality here occurs during the business of the Theater, which Bradbury declined to discuss in his letter to me, although I asked him if he would be so kind as to elaborate a bit. It remains one of the book's most tantalizing episodes. Jim and Will discover the Theater, Bradbury says, on the upper floor of a house "while they were monkey-climbing for the sourest apples." Bradbury tells us that looking into the Theater changed everything, including the taste of the fruit, and while I have a tendency to bolt at the first stench of graduate-school analysis like a horse smelling good water polluted with alkali, the apple-and-Eden metaphor here is too strong to be denied. What exactly is going on in this second-or third-floor room, this "Theater" that changed the taste of the apples, that so fascinates Jim of the dark name and his friend, whose Christian name is so associated with our supposed ability (our supposed
Christian
ability) to consciously command goodness in any given situation? Bradbury suggests that the Theater is one room in a whorehouse. The people inside are naked; they "let fall clothes to the rug, stood raw and animalcrazy, naked, like shivering horses . . ." If so, it is the book's most telling foreshadowing of the carnal deviation from the norm which so strongly attracts Jim Nightshade as he stands on the threshold of adolescence.

What saves Bradbury's novel from being merely a "nightmarish allegory" or a simplistic fairy story is its grasp of story and style. Bradbury's style, so attractive to me as an adolescent, now seems a bit oversweet. But it still wields a considerable power. Here is one of the passages which seems oversweet to me—

And Will? Why, he's the last peach, high on a summer tree. Some boys walk by and you cry, seeing them. They feel good, they look good, they are good. Oh, they're not above peeing off a bridge, or stealing an occasional dime-store pencil-sharpener; it's not that. It's just, you know, seeing them pass, that's how they'll be all their life; they'll get hit, hurt, cut, bruised, and always wonder why, why does it happen?

—and one that seems just right:

The wails of a lifetime were gathered in [that trainwhistle] from other nights in other slumbering years; the howls of moon-dreamed dogs, the sleep of river-cold winds through January porch screens which stopped the blood, a thousand fire-sirens weeping, or worse!

the outgone shreds of breath, the protests of a billion people dead or dying, not wanting to be dead, their groans, their sighing, burst over the earth!

Man, that's a train whistle! I want to tell you!

More clearly than any other book discussed here,
Something Wicked This Way Comes
reflects the differences between the Apollonian life and the Dionysian. Bradbury's carnival, which creeps inside the town limits and sets up shop in a meadow at three o'clock in the morning ( Fitzgerald's dark night of the soul, if you like), is a symbol of everything that is abnormal, mutated, monstrous . . . Dionysian. I've always wondered if the appeal of the vampire myth for children doesn't lie partly in the simple fact that vampires get to sleep all day and stay up all night ( vampires never have to miss Creature Features at midnight because of school the next day). Similarly, we know that part of this carnival's attraction for Jim and Will (sure, Will feels its pull too, although not as strongly as his friend Jim feels it; even Will's father is not entirely immune from its deadly siren song) is that there will be no set bedtimes, no rules and regulations, no dull and boring small town day after day, no "eat your broccoli, think of the people starving in China," no school. The carnival is chaos, it is the taboo land made magically portable, traveling from place to place and even from time to time with its freight of freaks and its glamorous attractions.

The boys (sure, Jim too) represent just the opposite. They are normal, not mutated, not monstrous. They live their lives by the rules of the sunlit world, Will willingly, Jim impatiently. Which is exactly why the carnival wants them. The essence of evil, Bradbury suggests, is its need to compromise and corrupt that delicate passage from innocence to experience that all children must make. In the rigid moral world of Bradbury's fiction, the freaks who populate the carnival have taken on the outward shapes of their inward vices. Mr. Cooger, who has lived for thousands of years, pays for his life of dark degeneracy by becoming a Thing even more ancient, ancient almost beyond our ability to comprehend, kept alive by a steady flow of electricity. The Human Skeleton is paying for miserliness of feeling; the fat lady for physical or emotional gluttony; the dust witch for her gossipy meddling in the lives of others. The carnival has done to them what the undertaker in that old Bradbury horror story did to his victims after they had died.

On its Apollonian side, the book asks us to recall and reexamine the facts and myths of our own childhoods, most specifically our small-town American childhoods. Written in a semipoetic style that seems to suit such concerns perfectly, Bradbury examines these childhood concerns and comes to the conclusion that only children are equipped to deal with childhood's myths and terrors and exhalations. In his midfifties story "The Playground," a man who returns magically to childhood is propelled into a world of lunatic horror which is only, after all, the corner playground with its sandboxes and its slippery slide.

In
Something Wicked This Way Comes
, Bradbury interconnects this small-town American boyhood motif with most of the ideas of the new American gothic which we have already discussed to some extent. Will and Jim are essentially okay, essentially Apollonian, riding easy in their childhoods and used to looking at the world from their shorter height. But when their teacher, Miss Foley, returns .to childhood—the first of the carnival's Green Town victims—she enters a world of monotonous, unending horror which is not much different from that experienced by the protagonist of "The Playground." The boys discover Miss Foley—or what remains of her—under a tree .

. . . and there was the little girl, crouched, face buried in her hands, weeping as if the town were gone and the people in it and herself lost in a terrible woods. And at last Jim came edging up and stood at the edge of the shadow and said, "Who is it?"

"I don't know." But Will felt tears start to his eyes, as if some part of him guessed.

"It's not jenny Holdridge, is it?"

"No."

"Jane Franklin?"

"No." His mouth felt full of novocaine, his tongue merely stirred in his numb lips. ". . . no . . ."

The little girl wept feeling them near, but not looking up yet.

“. . . me . . . help me . . . nobody'll help me . . . me . . . me . . . I don't
like
this . . . somebody must help me . . . someone must help
her
. . ." she mourned as for one dead, ". .

. someone must help her . . . nobody will . . . nobody has . . . terrible . . . terrible . . .”

The carnival "attraction" which has accomplished this malign trick is one that both Narcissus and Eleanor Vance could relate to: Miss Foley has been trapped in the carnival's mirror maze, imprisoned by her own reflection. Forty or fifty years have been jerked out from under her and she has been tumbled back into her own childhood . . . just what she thought she wanted. She had not considered the possibility of the nameless little girl weeping under the tree. Jim and Will avoid this fate—barely—and even manage to rescue Miss Foley on her first foray into the mirror maze. One supposes it is not the maze itself but the carousel that has actually accomplished her doubling back in time; the mirrors in the maze show you a time of life you think you'd like to have again, and the carousel actually accomplishes it. The carousel can add a year to your age each time you go around forward or make you a year younger for every circle you make on it going backward. The carousel is Bradbury's interesting and workable metaphor for
all
of life's passages, and the fact that he darkens this ride, which is often associated with the sunniest pleasure we know as children, to fit the motif of this particular black carnival, causes other uneasy associations to come to mind. When we see the innocent merry-go-round with its prancing horses in this nether light, it may suggest to us that if time's passages are to be compared to a merry-go-round ride, then we see that each year's revolution is essentially the same as the last; it perhaps causes us to remember how fleeting and ephemeral such a ride is; and most of all it reminds us that the brass ring, which we have all tried so hard and fruitlessly to catch, is kept deliberately, tauntingly, out of reach. In terms of the new American gothic, we can see that the mirror maze is the catch-trap, the place where too much self-examination and morbid introspection persuades Miss Foley to step over the line into abnormality. In Bradbury's world—the world of Cooger and Dark's Pandemonium Shadow Show—there are no options: first caught in the glass of Narcissus, you then find yourself riding a dangerous carousel charger backwards into an untenable past or forward into an untenable future. Shirley Jackson uses the conventions of the new American gothic to examine character under extreme psychological—or perhaps occult—pressure; Peter Straub uses them to examine the effects of an evil past upon the present; Anne Rivers Siddons uses them to examine social codes and social pressures; Bradbury uses these self-same conventions in order to offer us a moral judgment. In describing Miss Foley's terror and grief in attaining the childhood she so desired, Bradbury goes far toward defusing the potential flood of sticky-sweet romanticism that might have destroyed his tale . . . and I think this defusing reinforces the moral judgments he makes. In spite of imagery that sometimes swamps us instead of uplifting us, he manages to retain his own clear point of view. This isn't to say Bradbury doesn't make a romantic myth of childhood, because he sure does. Childhood itself is a myth for almost all of us. We think we remember what happened to us when we were kids, but we don't. The reason is simple: we were crazy then. Looking back into this well of insanity as adults who are, if not totally insane, then at least neurotic instead of out-and-out psychotic, we attempt to make sense of things which made no sense, read importance into things which had no importance, and remember motivations which simply didn't exist. This is where the process of myth making begins.*