HomeGroupsTalkZeitgeist
Hide this

Results from Google Books

Click on a thumbnail to go to Google Books.

Fahrenheit 451 by Ray Bradbury
Loading...

Fahrenheit 451 (original 1953; edition 2008)

by Ray Bradbury

MembersReviewsPopularityAverage ratingConversations / Mentions
33,61865220 (4.04)1 / 1125
Member:fuzzi
Title:Fahrenheit 451
Authors:Ray Bradbury
Info:Ballantine Books (2008), Mass Market Paperback, 208 pages
Collections:SciFi Fantasy, Couldn't Finish
Rating:**
Tags:None

Work details

Fahrenheit 451 by Ray Bradbury (1953)

  1. 902
    1984 by George Orwell (readafew, Booksloth, rosylibrarian, moietmoi, haraldo, BookshelfMonstrosity)
    readafew: Both books are about keeping the people in control and ignorant.
    BookshelfMonstrosity: A man's romance-inspired defiance of menacing, repressive governments in bleak futures are the themes of these compelling novels. Control of language and monitors that both broadcast to and spy on people are key motifs. Both are dramatic, haunting, and thought-provoking.… (more)
  2. 672
    Brave New World by Aldous Huxley (phoenix7g, meggyweg, Babou_wk, haraldo)
    Babou_wk: Contre-utopie, société future où l'unique but de la vie est le bonheur. Toute pratique requérant de la réflexion est bannie.
  3. 304
    The Giver by Lois Lowry (thekoolaidmom)
  4. 231
    Slaughterhouse-Five by Kurt Vonnegut (Smiler69)
  5. 222
    The Martian Chronicles by Ray Bradbury (jpers36, moietmoi)
  6. 233
    The Handmaid's Tale by Margaret Atwood (ateolf)
  7. 172
    Match to Flame: The Fictional Paths to Fahrenheit 451 by Ray Bradbury (grizzly.anderson)
    grizzly.anderson: A great study of how Bradbury came to write Fahrenheit 451 as a progress through his own short stories, letters and drafts. A similar collection of stories but without some of the other material is also available as "A Pleasure To Burn"
  8. 153
    A Canticle for Leibowitz by Walter M. Miller Jr. (goodiegoodie, kristenn)
  9. 72
    The October Country by Ray Bradbury (Booksloth)
  10. 62
    A Gift Upon the Shore by M. K. Wren (lquilter)
    lquilter: "A Gift Upon the Shore" is a post-apocalyptic world; some people seek to preserve books and knowledge, but they are seen as a danger to others. Beautifully written.
  11. 40
    Something Wicked This Way Comes by Ray Bradbury (Morteana)
  12. 1411
    The Hunger Games by Suzanne Collins (SandSing7)
  13. 63
    The Medium is the Massage by Marshall McLuhan (bertilak)
  14. 96
    Planet of the Apes by Pierre Boulle (allenmichie)
  15. 53
    A Universal History of the Destruction of Books: From Ancient Sumer to Modern-day Iraq by Fernando Báez (bertilak)
  16. 53
    Feed by M. T. Anderson (jlynno84)
  17. 75
    Oryx and Crake by Margaret Atwood (andja)
  18. 20
    The Acolyte by Craig Davidson (ShelfMonkey)
  19. 10
    Shadowlife by Martin Grzimek (spiphany)
  20. 21
    Too loud a solitude by Bohumil Hrabal (edwinbcn)

(see all 27 recommendations)

1950s (1)
Read (40)
Loading...

Sign up for LibraryThing to find out whether you'll like this book.

English (601)  Spanish (17)  Italian (10)  Finnish (5)  French (4)  German (4)  Swedish (2)  Catalan (2)  Dutch (1)  Vietnamese (1)  Hebrew (1)  Portuguese (1)  Greek (1)  All languages (650)
Showing 1-5 of 601 (next | show all)
Ray Bradbury

Fahrenheit 451

Del Rey, Paperback [2003?]

12mo. 192 pp. Afterword (1982), Coda (1979), and A Conversation with Ray Bradbury (2003) [167-190].

First published, 1953.
This edition (presumably) first published, 2003.

Contents

Part One: The Hearth and the Salamander
Part Two: The Sieve and the Sand
Part Three: Burning Bright

Afterword
Coda
A Conversation with Ray Bradbury

=============================================

It is unfair to compare this book with Brave New World (1932) and Nineteen Eighty-Four (1949). This is not so much like comparing apples with oranges as bicycles with motorcycles. It is plain stupid to lump the three novels together in a sort of Holy Trinity of dystopian fiction (or the Four Apostles, if you wish to include Zamyatin’s We).

Bradbury has neither the superb style of Orwell, nor the brilliantly prescient mind of Huxley. Guy Montag is the usual young man dissatisfied with the system, but he is far less substantial than Winston Smith or even Bernard Marx. Never does he come alive for a single paragraph. The other characters are no more characters than Primrose Hill is Everest. Strictly speaking, Fahrenheit 451 is not even a dystopian novel, for this type of fiction includes a relatively detailed description of a future society. This is not Bradbury’s way. You won’t find anything more than a few vague hints what kind of world stands behind his characters. This is a chamber piece, not a symphonic one. Most surprising of all, the writing is rather poor. Consider these two passages which, to me, sound like a schoolboy after his first Creative Writing Workshop:

The bombers crossed the sky and crossed the sky over the house, gasping, murmuring, whistling like an immense, invisible fan, circling in emptiness.

Beatty smiled his smile which showed the candy pinkness of his gums and tiny candy whiteness of his teeth.


As a prose stylist, Bradbury gives me the impression of somebody trying to write poetically without having any talent for it. Awkward similes abound in his descriptions, for example helicopters like “butterflies puzzled by autumn” or eyes that are “two miraculous bits of violet amber”. In my book, such writing is called affected and pretentious. It’s a chore to read page after page of it. Nor is Bradbury any better when it comes to a general narrative. As a rule, pace a very occasional exception, his writing is rambling, confused, and repetitious, sometimes culminating in ridiculous sentences like “He put out his legs as far as they would go and down and then far out again and down and back and out and down and back.” Only in the dialogue does one sense a writer who actually knows his craft. This is why the play based on the novel, and quoted extensively in the Afterword, may be a better work.

The best I can say about this unusually overhyped classic is that its main message is still relevant, probably more so than it was in 1953. I don’t mean the use of firemen for burning books or brainwashing devices like the “parlor families”; these ideas may be original, but if you’re looking for state-induced terror or bliss, Orwell’s Big Brother and Huxley’s soma, respectively, are more powerful concepts, not to mention much better developed. No, Bradbury’s true originality is the frightening idea that books may be rejected by the people on their own accord, without any pressure from the State. In other words, books can be “burned” by moronic TV and radio shows that intoxicate and suffocate the stupid brains of the people. The firemen burning books came later: they merely ratified the status quo. As Captain Beatty beautifully explains:

There you have it, Montag. It didn’t come from the government down. There was no dictum, no declaration, no censorship, to start with, no! Technology, mass exploitation, and minority pressure carried the trick, thank God. Today, thanks to them, you can stay happy all the time, you are allowed to read comics, the good old confessions, or trade journals.

In these times of – that phrase! – political correctness, the reference to the minorities is horrendously modern. This issue is discussed further in the novel and in the wonderful interview at the end of this edition (Bradbury speaks much better than he writes). “The bigger your market, Montag, the less you handle controversy, remember that!” The Captain is right. Just about every book can be accused by the bigots of this or that minority that it “offends” them, “misrepresents” them, etc. If the minority is powerful enough, or if it happens to be the majority in certain parts of the world, the book’s burned, or at least banned. Captain Beatty is a wise man. He does have a point, too, when he enlightens Montag that books tell nothing (original emphasis), although one can argue, as did Huxley with his Shakespeare-obsessed Savage, that it’s the quality of the reader, not the quality of the book, that matters. Still, the Captain is fun:

Well, Montag, take my word for it, I’ve had to read a few in my time, to know what I was about, and the books say nothing! Nothing you can teach or believe. They’re about non-existent people, figments of imagination, if they’re fiction. And if they’re non-fiction, it’s worse, one professor calling another an idiot, one philosopher screaming down another’s gullet. All of them running about, putting out the stars and extinguishing the sun. You come away lost.

Passages like these could be developed into a nice speculative essay. That’s what Bradbury should have written in the first place – instead of wasting them in a poor novel.

That said, there are five other really good things about this book. Here they are:

1) The title.
2) The first sentence.
3) The short length.
4) The excerpt from Matthew Arnold’s “Dover Beach” (1867).
5) A quote from Alexander Pope’s An Essay on Criticism (1711):

Words are like leaves; and where they most abound,
Much fruit of sense beneath is rarely found.


Fahrenheit 451 has aged better than Nineteen Eighty-Four, but nowhere near as well as Brave New World (which is 21 years older to begin with). As a novel, meaning plot and characters, it is vastly inferior to either of them. As an exercise in dystopian world-building, even more so. By all means read it, at least to see what all the hype is about. I’m glad I read it. I’ll be gladder never to re-read it. The most important thing it made me think about is one eternal question. What makes a classic, timeless value or hereditary hype? ( )
1 vote Waldstein | Jun 18, 2016 |
When I hear people at work talking more about the newest house fix-up or the latest couple on a bachelor program, I begin to wonder where we are in this world of books burning. When there is one bookstore chain deciding what will be displayed, and one large book distributor deciding what even gets published, it's almost like we've bypassed this future world that Bradbury so vividly describes and we've gone straight into books not even being printed, so how can they be memorized?

And people wonder why I buy books, even if I haven't read them. ( )
3 vote threadnsong | Jun 18, 2016 |
3.5 stars

“Don't ask for guarantees. And don't look to be saved in any one thing, person, machine, or library. Do your own bit of saving, and if you drown, at least die knowing you were heading for shore.”

Before I start this review, let's be clear that I can't spell Fahrenheit to save my life. Every freaking time I have to see it to type it out. Grrr. 'Tis a difficult word.

This bizarre little book speaks intensely without using words to do it about how sad life's state can get when people become so cut off via slow censorship. When I was reading this book it felt like my mind was mentally all over the place, almost in some strange psychotic trance; heady stuff. It must be the authors style that did it, a talented man who can really alter perception with his writing. This alone helps illustrate the importance of this book's theme.

Reading this made me think heavily about what could happen slowly to civilization as all books disappeared. We would be stuck to news and social media through the TV and internet only, without books in there of course. Popular opinions would be limited to media that was slowly corrupted and not published to shock or alter society opinion, no differing views all over the place stating reasoning of their decisions in clear, concise, checklist ways. No more poetry for young lovers to read to one another when dining, wining, and romanticizing their lives and hearts before life shatters it. No more empathy learned, developed, and nurtured by reading about the points of views of others through their eyes and living their shoes this way.

The world Bradbury weaved is psychologically twisted and strange - a nice place to study, but you wouldn't want to even VISIT there. The grimness and blah seeps off the pages and it seems everyone wants to die after awhile, where life is through the motions. The saddest thing is most don't even know that, they think they're happy of sorts but they're so brain-dead it's inevitable most of their "soul" had faded off before their body did.

The ending was...well, very odd too. I don't want to provide spoilers, and I knew there was a war looming, but didn't expect THAT. The big machine thing was just disturbing, particularly a certain person's death. There's no telling whatever ended up happening to the survivors, we can only assume. The memory of the books being held and retold when occasion warranted in the men's minds pleased me -- instead of ink being typed into pages and preserved, it seems that once read the words soaked into their brains somewhere to come out when needed again.

Why then only 3.5 stars? Despite the creative genius story behind the book, the talent of the maker, the book just kept losing me. It's bizarreness was loosely held together and following it was a bit of a chore as the hero was so imbalanced and wishy washy in thought.

The best thing about the book was the end. Bradbury provided a few pages about the book and then ranted on censorship. Folks, he seemed incredible. His words were heartfelt, not held back, and just awesome. They inspire, heat, and ignite. Because of the authors words at the end more than this surreal book, makes me want to read more from him and only hope there is an autobiography somewhere out there he penned.

I started reading this one a week after the author's death in tribute, and also it was on my TBR list for awhile as a classic I meant to get to. R.I.P. Ray Bradbury, may your memory forever remain!
( )
  ErinPaperbackstash | Jun 14, 2016 |
Impressed me when I was young and reading everything by Bradbury because I'd loved Dandelion Wine so much, and also impressed me when I read it because our library was promoting it as a community read. ( )
  Cheryl_in_CC_NV | Jun 6, 2016 |
A quick and stimulating read, Fahrenheit 451 nevertheless didn't really impress as much as I expected it to. As fiction, I found the characters and the plot to be rather sketchy. I was interested to learn, when reading background information on the novel's genesis (as I often like to do), that this was originally a short story that author Ray Bradbury expanded to novel length only on the urging of his publisher. It took him just nine days. Unfortunately, it shows at times. I wasn't particularly invested in the characters or their feelings of isolation in the world, and the parameters of the dystopian world itself were rather underdeveloped. This dystopian regime never really feels oppressive or threatening to the reader. And robot dogs? Huh? In this respect at least, it pales in comparison with similarly-fêted dystopian novels like George Orwell's Nineteen Eighty-Four.

That said, I enjoyed the ideas that Bradbury put forward and the book is rightly hailed as a classic of the genre. Like all great science-fiction writers, he saw where the future might be heading and warned against it. Its views on censorship dominate analysis of the novel, of course, because of its title and its plot, and certainly Bradbury does talk up the importance of literature to a civilised society rather well. But what impressed me the most were his views on mass media, which are remarkably prescient; Bradbury laments the arrival of the 'age of the disposable' (pg. 24), with its high-pace, high-pressure, never-stand-still societies and highways full of crowds going somewhere, somewhere, somewhere, nowhere." (pp60-61). He reasons that, with this new way of life, jobs will become overriding (consequently, "why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?" (pg. 59)) and learning and thinking will fall by the wayside. We will de-evolve and become a "gibbering pack of tree-apes that said nothing, nothing, nothing and said it loud, loud, loud." (pg. 48). Anyone who has encountered people completely consumed by their jobs (or even experienced it themselves), the inanity and sameness of their conversations, or even just heard the inane whooping on The X-Factor blasting from a nearby TV, will appreciate Bradbury's message. Even the point made about forcing everyone to be intellectually equal, so no-one felt inferior and had "no mountains to make them cower" (pg. 62) reminded me of modern politically-correct education practices, in which there are no losers and every child wins a prize. These are salient points, even when the warning about censorship becomes a lesser concern (but still a concern nonetheless) than it was in the post-Nuremberg and peri-McCarthyite era in which Bradbury wrote.

And, for all the bleakness of dystopian worlds, I found Fahrenheit 451 to have rather an uplifting message. We are told that the world has become this way because people place 'happiness', or rather the illusion of happiness, above all; no need to feel inferior, only the desire to be entertained and kept docile. But we need the unhappiness to keep up striving forwards; we need the restlessness in order to aspire and keep moving. As Bradbury says in a beautiful phrase, the submissive humans in this dystopian world are "flowers… trying to live on flowers, instead of growing on good rain and black loam." (pg. 83). We take the bad stuff in the world and try to forge our own happiness out of it; we have to work for it and it's damn hard sometimes, to be sure, but it's the only way. "Don't look to be saved in any one thing, person, machine, or library. Do your own bit of saving, and if you drown, at least die knowing you were headed for shore." (pg. 86). Shake off your complacency: it is this, rather than the bad stuff, which causes unhappiness because it leads one to not even try to eke out some happiness. In a telling passage on page 61, Bradbury notes how the movement behind book-burning didn't come from the government on down – this wasn't a crackdown or a power grab – it was the people themselves who let it happen by falling into the trap of thinking life should be easy. Above all, Bradbury's message is that, going forward, complacency is our greatest enemy. I wish the nuts and bolts of the story were stronger, but the ideas stimulated by Fahrenheit 451 are well worth engaging with." ( )
  MikeFutcher | Jun 3, 2016 |
Showing 1-5 of 601 (next | show all)
Ray Bradbury, escritor americano (1920), alcançou sucesso basicamente em 1950, com suas Crônicas Marcianas. Embora não seja um bestseller, Bradbury tem um alto conceito nos meios literário, educacional e de entretenimento dos Estados Unidos como "consultor de idéias", dramaturgo, poeta e ensaísta. Atua também como roteirista de cinema desde 1953, tendo recebido um Oscar pelo roteiro de Moby Dick, filme dirigido por John Huston (? - 1987).

Fahrenheit 451 (1953), que se chamaria The Fire Man, nos fala de um mundo onde os livros foram abolidos, sendo proibido até possuí-los. As pessoas se contentam em passar os dias vendo programas de televisão - cujos aparelhos ocupam as quatro paredes dos cômodos da sala de estar - e seu único interesse é comentar os programas, novelas ou comerciais, cantando seus jingles e seus bordões em todos os lugares, metrô, praças e onde quer que vão [não sei, mas ultimamente tenho ouvido exatamente isso sobre o BBB]. Esses jingles são daquele tipo de música que se fixam em nossas cabeças e não conseguimos desligar – alguma semelhança com nossa cultura atual?

Em 1966, François Truffaut colocou nas telas a história de Bradbury, que segundo o próprio, foi bastante modificada para sanar alguns mistérios que o livro deixou pendentes. Porém, na re-edição, ele mesmo se explica no posfácio, decidiu deixar o texto original, mesmo que isso inquietasse alguns de seus leitores mais antigos, inconformados com as lacunas na história ou mesmo com o destino final de alguns personagens.

O livro passa a sensação de que o autor, já em 1953, visualizava os desdobramentos de uma cultura massificada, na qual idéias originais, a observação crítica do mundo, dos costumes e o questionamento do status quo, têm cada vez menos espaço.

O mais lamentável é que os habitantes desse mundo se autoalienaram. Não houve sequer a necessidade das autoridades convencê-los ou mesmo forçá-los a deixar os livros de lado. Porém, uma vez que eles abandonaram o hábito da leitura de livre e espontânea vontade, começou um movimento repressivo e de caça aos resistentes, teimosos em achar a leitura algo importante para a vida. A repressão era executada pelos bombeiros através de incêndios de pilhas de livros. A razão dos moradores da cidade (ela não tem nome) deixarem de ler foi a verificação de que ficavam mais felizes sem as idéias que os livros traziam. Os livros faziam pensar, pensar fazia sofrer, enxergar o mundo de muitas formas e pontos de vista. O indivíduo se dava conta, então, da dor do outro no mundo. E afinal por que alguém gostaria de ser infeliz?

O paradoxo é que os bombeiros já não apagavam mais incêndios, pois todas as edificações eram cobertas com uma camada de material não inflamável. Sua tarefa agora era queimar o maior número de livros, todo e qualquer remanescente de bibliotecas públicas ou particulares.

Bradbury (2003, p.79) nos mostra o vazio de um mundo imagético, midiático e hedonista. Através do diálogo do personagem Beatty, chefe dos bombeiros, com Montag, o bombeiro que começa a questionar o mundo em que vive, o autor explica que o mundo passou a ser todo resumido, pois as pessoas não têm mais paciência de ler:

“Clássicos reduzidos para se adaptarem a programas de rádio de quinze minutos, depois reduzidos novamente para uma coluna de livro de dois minutos de leitura, e, por fim, encerrando-se num dicionário, num verbete de dez a doze linhas [...] o Hamlet não passava de um resumo de uma página num livro que proclamava: Agora você finalmente pode ler todos os clássicos; faça como seus vizinhos.”

E vai mais longe em algumas reflexões, que a mim parecem muito com o tipo de educação média que temos hoje – pelo menos no Brasil:

“A escolaridade é abreviada, a disciplina relaxada, as filosofias, as histórias e as línguas são abolidas, gramática e ortografia pouco a pouco negligenciadas, e, por fim, quase totalmente ignoradas. A vida é imediata, o emprego é o que conta, o prazer está por toda parte depois do trabalho. Por que aprender alguma coisa além de apertar botões, acionar interruptores, ajustar parafusos e porcas?” (Bradbury, 2003, p.80).

Sobre a questão de maiorias x minorias, demonstra a complexidade da questão. Existe um ditado que diz “que toda maioria é burra”, mas já refletimos sobre as minorias? Falo aqui de minorias que querem impor seus pontos de vista, modos de vida e idéias à maioria, sem deixar que outras minorias dentro da maioria tenham sua própria voz. Diz Bradbury (2003, p.82):

“Agora tomemos as minorias de nossa civilização, certo? Quanto maior a população, mais minorias. Não pise no pé dos amigos dos cães, dos amigos dos gatos, dos médicos, advogados, comerciantes, patrões, mórmons, batistas, unitaristas, chineses de segunda geração, suecos, italianos, alemães, texanos, gente do Brooklyn, irlandeses, imigrantes do Oregon ou do México. [Eu acrescentaria, para atualizar, os muçulmanos]. Os personagens desse livro, dessa peça, desse seriado de tevê não pretendem representar pintores, cartógrafos, engenheiros reais. [...] quanto maior seu mercado, menos você controla a controvérsia! Todas as menores das menores minorias querem ver seus próprios umbigos, bem limpos. Autores cheios de maus pensamentos, tranquem suas máquinas de escrever! [para atualizar, seus PCs e notebooks].

E assim, não se pode escrever (ou falar) sobre quase mais nada, pois se tem sobre a cabeça uma espada de um processo de calúnia e difamação, ou ser taxado de preconceituoso – lembrando que preconceitos sempre têm dois lados. Essa é a democracia atual no Ocidente e que no livro já se entrevê. Um amigo disse um dia, que qualquer pessoa pode dizer o que quiser, o problema é quando o atingido se ressente e age de uma forma rancorosa. Eis o problema. Se eu disser que você é gordo, feio, negro, homossexual, prostituta, de esquerda, de direita, etc. posso ser presa ou processada. Mas como evitar? Somos humanos, nada mais que humanos. Existe solução para as diferenças individuais? Ou nos tornaremos todos iguais, como no livro Henfil na China (1984, desculpem, mas sou dessa geração), vestindo as mesmas roupas, recitando os mesmos mestres (Mao, Lênin, Stalin) e pensando, fazendo, lendo e assistindo só o quê e indo só aonde é permitido pelo partido, ou pela ditadura do politicamente correto e do eufemismo? Será que algum tipo de transgressão na mesmice não é nem um pouco salutar?

Mas sempre existem sim alguns transgressores. Não existe unanimidade na espécie humana, a divergência é algo esperado porque renova e inova. É o motor da mudança social. Na página 100, Montag conversa com Faber, um professor de inglês aposentado, que há quarenta anos fora descartado, “quando a última faculdade de ciências humanas foi fechada por falta de alunos e patrocínio” [não sei porque, mas tenho uma sensação de déjà vu]. Como ele, outros intelectuais foram dispensados, pois eram o veículo para a infelicidade humana, afinal questionavam as coisas e não deixavam que as pessoas esquecessem que nem elas, nem o mundo eram perfeitos. E isso é muito perigoso.

Mas em um mundo em que ler também é muito perigoso, talvez a atitude mais prudente seja a dada por Beatty, o Chefe dos Bombeiros, no fim fictício que Bradbury colocou no posfácio do livro. Depois de tantos anos incendiando livros, ele revela a Montag uma grande biblioteca escondida em sua casa. Montag pergunta: - Mas o senhor é o Queimador-Chefe! Não pode ter livros em sua casa! Beatty responde: - O crime não é ter livros, Montag, o crime é lê-los! Sim, é isso mesmo. Eu tenho livros, mas não os leio.

Bem, mesmo que nós adquiramos livros com maior velocidade do os lemos, só nos resta esperar ter tempo de vida suficiente para ler a maior quantidade possível e não transformar nossa sociedade no mundo de Montag.
added by mcrbarreto | editPessoal, Cristina Barreto (Feb 2, 2010)
 
Classique parmi les classiques, Fahrenheit 451 est à la SF ce que le Dracula de Stocker est au fantastique. Cette œuvre est une contre-utopie à la mesure du Meilleur des mondes de Huxley ou à 1984 de Orwell. C’est dire…
 
This intriguing idea might well serve as a foundation on which to build a worst of all possible worlds. And to a certain extent it does not seem implausible. Unfortunately, Bradbury goes little further than his basic hypothesis. The rest of the equation is jerry-built.
 
Ray Bradbury has more than ideas, and that is what sets him apart from most writers who try to be original. He is fantastic, and human. He never looks at anything with a jaded eye; he is a storyteller every minute of the time, and he is definitely his own kind of storyteller.
added by Shortride | editLos Angeles Times, Don Guzman (pay site) (Oct 25, 1953)
 

» Add other authors (17 possible)

Author nameRoleType of authorWork?Status
Bradbury, Rayprimary authorall editionsconfirmed
Aguilar, Julia OsunaTranslatorsecondary authorsome editionsconfirmed
Aldiss, Brian W.Forewordsecondary authorsome editionsconfirmed
Škvorecký, JosefTranslatorsecondary authorsome editionsconfirmed
Brick, ScottNarratorsecondary authorsome editionsconfirmed
Buddingh', CeesTranslatorsecondary authorsome editionsconfirmed
Chambon, JacquesTranslatorsecondary authorsome editionsconfirmed
Crespo, AlfredoTranslatorsecondary authorsome editionsconfirmed
Emmerová, JarmilaTranslatorsecondary authorsome editionsconfirmed
Güttinger, FritzTranslatorsecondary authorsome editionsconfirmed
Hoye, StephenNarratorsecondary authorsome editionsconfirmed
Hurt, ChristopherNarratorsecondary authorsome editionsconfirmed
Kayalıoğlu, KorkutTranslatorsecondary authorsome editionsconfirmed
Kayalıoğlu, ZerrinTranslatorsecondary authorsome editionsconfirmed
Keyser, GawieForewordsecondary authorsome editionsconfirmed
Knipel, CidTranslatorsecondary authorsome editionsconfirmed
Monicelli, GiorgioTranslatorsecondary authorsome editionsconfirmed
Moorcock, MichaelIntroductionsecondary authorsome editionsconfirmed
Mugnaini, Joseph A.Cover artistsecondary authorsome editionsconfirmed
Nordin, SivTranslatorsecondary authorsome editionsconfirmed
Pennington, BruceCover artistsecondary authorsome editionsconfirmed
Pepper, BobCover artistsecondary authorsome editionsconfirmed
Prichard, MichaelNarratorsecondary authorsome editionsconfirmed
Robbins, TimNarratorsecondary authorsome editionsconfirmed
Robillot, HenriTranslatorsecondary authorsome editionsconfirmed
Stangl, KatrinIllustratorsecondary authorsome editionsconfirmed
Weber, SamIllustratorsecondary authorsome editionsconfirmed

Is contained in

Contains

Has the adaptation

Has as a reference guide/companion

Has as a student's study guide

You must log in to edit Common Knowledge data.
For more help see the Common Knowledge help page.
Series (with order)
Canonical title
Original title
Alternative titles
Original publication date
People/Characters
Important places
Important events
Related movies
Awards and honors
Epigraph
"If they give you ruled paper,
write the other way."
Juan Ramón Jiménez
FAHRENHEIT 451:
the temperature at which
book-paper catches fire and burns
Dedication
This one, with gratitude,
is for
Don Congdon
First words
It was a pleasure to burn.
Quotations
It doesn't matter what you do, he said, so long as you change something from the way it was before you touched it into something that's like you after you take your hands away.
But that's the wonderful things about man; he never gets so discouraged or disgusted that he gives up doing it all over again, because he knows very well it is important and worth the doing.
But remember that the Captain belongs to the most dangerous enemy of truth and freedom, the solid unmoving cattle of the majority. Oh, God, the terrible tyranny of the majority.
I'm afraid of children my own age. they kill each other. Did it always use to be that way? My uncle says no. Six of my firends have been shot in the last year alone. Ten of them died in car wrecks. I'm afraid of them and they don't like me because I'm afraid. My uncle says his grandfather remembered when children didn't kill each other. But that was a long time ago when they had things different. They believed in responsibility, my uncle says. Do you know, I'm responsible. I was spanked when I needed it, years ago. And I do all the shopping and housecleaning by hand.
The same infinite detail and awareness could be projected through the radios and televisors, but are not. No, no, it's not books at all you're looking for! Take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type of receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us. Of course you couldn't know this, of course you still can't understand what I mean when I say all this.
Last words
Disambiguation notice
This is the original novel by Ray Bradbury, not the 1966 film directed by François Truffaut or any other adaptation.
Publisher's editors
Blurbers
Publisher series
Original language

References to this work on external resources.

Wikipedia in English (3)

Book description
"The system was simple. Everyone understood it. Books were for burning... along with the houses in which they were hidden." Fahrenheit 451 is an enlightening story that is almost daunting. In a place where firemen build fires to burn books, this story is somewhat forboding because although it may seem extreme, it causes the reader to look at how much we take books and freedom for granted. Guy Montag goes outside the norm of a society where relationships are based on material things in order to try to discover how life would be if one were to actually think and live for themselves instead of being told what to do and how to behave.

AR level 5.2, 7 pts
Haiku summary

Amazon.com Amazon.com Review (ISBN 0345342968, Mass Market Paperback)

In Fahrenheit 451, Ray Bradbury's classic, frightening vision of the future, firemen don't put out fires--they start them in order to burn books. Bradbury's vividly painted society holds up the appearance of happiness as the highest goal--a place where trivial information is good, and knowledge and ideas are bad. Fire Captain Beatty explains it this way, "Give the people contests they win by remembering the words to more popular songs.... Don't give them slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy."

Guy Montag is a book-burning fireman undergoing a crisis of faith. His wife spends all day with her television "family," imploring Montag to work harder so that they can afford a fourth TV wall. Their dull, empty life sharply contrasts with that of his next-door neighbor Clarisse, a young girl thrilled by the ideas in books, and more interested in what she can see in the world around her than in the mindless chatter of the tube. When Clarisse disappears mysteriously, Montag is moved to make some changes, and starts hiding books in his home. Eventually, his wife turns him in, and he must answer the call to burn his secret cache of books. After fleeing to avoid arrest, Montag winds up joining an outlaw band of scholars who keep the contents of books in their heads, waiting for the time society will once again need the wisdom of literature.

Bradbury--the author of more than 500 short stories, novels, plays, and poems, including The Martian Chronicles and The Illustrated Man--is the winner of many awards, including the Grand Master Award from the Science Fiction Writers of America. Readers ages 13 to 93 will be swept up in the harrowing suspense of Fahrenheit 451, and no doubt will join the hordes of Bradbury fans worldwide. --Neil Roseman

(retrieved from Amazon Thu, 12 Mar 2015 18:18:59 -0400)

(see all 8 descriptions)

Fireman Guy Montag is a fireman whose job it is to start fires. And he loves to rush to a fire and watch books burn, along with the houses in which they were hidden. Then he meets a seventeen-year old girl who tells him of a past when people were not afraid, and a professor who tells him of a future where people can think. And Guy Montag knows what he has to do ...… (more)

(summary from another edition)

» see all 26 descriptions

Quick Links

Swap Ebooks Audio
37 avail.
904 wanted
9 pay42 pay

Popular covers

Rating

Average: (4.04)
0.5 13
1 85
1.5 42
2 411
2.5 117
3 1688
3.5 474
4 3749
4.5 510
5 3445

Audible.com

12 editions of this book were published by Audible.com.

See editions

Tantor Media

An edition of this book was published by Tantor Media.

» Publisher information page

Is this you?

Become a LibraryThing Author.

 

Help/FAQs | About | Privacy/Terms | Blog | Store | Contact | LibraryThing.com | APIs | WikiThing | Common Knowledge | Legacy Libraries | Early Reviewers | 106,888,417 books! | Top bar: Always visible