Fifty-seven years after its first publication, Ray Bradbury’s Something Wicked This Way Comes remains a perennial October re-read. One key to the book’s lasting popularity is the poetry infusing Bradbury’s prose. The author uses his unparalleled gift for description to immerse his audience in the autumnal scene. Virtually every page of the novel features instances of haunting imagery and captivating language, but here below are my choices for the ten most memorable passages.
(All quotes are taken from the October 2017 Simon & Schuster trade paperback, a definitive edition recommended not just for the text of Bradbury’s novel itself, but also for the extensive “History, Context and Criticism” section appended to it.)
1.A Frost Maiden on Display:
And in the window, like a great coffin boat of star-colored glass, beached on two sawhorses lay a chunk of Alaska Snow Company ice chopped to a size great enough to flash in a giant’s ring. (p. 40)
There, on the precipice of earth, a small steam feather uprose like the first of a storm cloud yet to come.
The train itself appeared, link by link, engine, coal-car, and numerous and numbered all-asleep-and-slumbering-dreamfilled cars that followed the firefly-sparked churn, chant, drowsy autumn hearthfire roar. Hellfires flushed the stunned hills. Even at this remote view, one imagined men with buffalo-haunched arms shoveling black meteor falls of coal into the open boilers of the engine. (p. 44)
3.The Very Antithesis of Merry:
They peered in at the merry-go-round which lay under a dry rattle and roar of wind-tumbled oak trees. Its horses, goats, antelopes, zebras, speared through their spines with brass javelins, hung contorted as in a death rictus, asking mercy with their fright-colored eyes, seeking revenge with their panic-colored teeth. (p. 69)
His vest was the color of flesh blood. His eyebrows, his hair, his suit were licorice black, and the sun-yellow gem which stared from the tie pin thrust in his cravat was the same unblinking shade and bright crystal as his eyes. But in this instant, swiftly, and with utter clearness, it was the suit which fascinated Will. for it seemed woven of boar-bramble, clock-spring hair, bristle, and a sort of ever-trembling, ever-glistening dark hemp. The suit caught light and stirred like a bed of black tweed-thorns, interminably itching, covering the man’s long body with motion so it seemed he should excruciate, cry out, and tear the clothes free. (p. 70)
5.A Fiery Rehearsal:
And there the Lava Sipper, Vesuvio of the chafed tongue, of the scalded teeth, who spun scores of fireballs up, hissing in a ferris of flame which streaked shadows along the tent roof.
Nearby, in booths, another thirty freaks watched the fires fly until the Lava Sipper glanced, saw intruders, and let his universe fall. The suns drowned in a a water tub. (p. 101)
6.Hearkening in the Dark:
What sort of noise does a balloon make, adrift?
No, not quite. It noises itself, it soughs, like the wind billowing your curtains all white as breaths of foam. Or it makes a sound like the stars turning over in your sleep. Or it announces itself like moonrise and moonset. That last is best: like the moon sailing the universal deeps, so rides a balloon. (p.130-131)
7.Mr. Halloway Monologue:
“The stuff of nightmare is their plain bread. They butter it with pain. They set their clocks by death-watch beetles, and thrive the centuries. They were the men with the leather-ribbon whips who sweated up the pyramids seasoning it with other people’s salt and other people’s cracked hearts. They coursed Europe on the White Horses of the Plague. They whispered to Caesar that he was mortal, then sold daggers at half-price in the grand March sale. Some must have been lazing clowns, foot props for emperors, princes, and epileptic popes. Then out on the road, Gypsies in time, their populations grew as the world grew, spread, and there was more delicious variety of pain to thrive on. The train put wheels under them and here they run down the long road out of the Gothic and baroque; look at their wagons and coaches, the carving like medieval shrines, all of it stuff once drawn by horses, mules, or, maybe, men.” (p. 182-183)
8.Horripilating Skin Show:
Mr. Dark came carrying his panoply of friends, his jewel-case assortment of calligraphical reptiles which lay sunning themselves at midnight on his flesh. With him strode the stitch-inked Tyrannosaurus rex, which lent to his haunches a machined and ancient wellspring mineral-oil glide. As the thunder lizard strode, all glass-bead pomp, so strode Mr. Dark, armored with vile lightning scribbles of carnivores and sheep blasted by that thunder and arun before storms of juggernaut flesh. It was the pterodactyl kite and scythe which raised his arms almost to fly the marbled vaults. And with the inked and stencilled flashburnt shapes of pistoned or bladed doom came his usual crowd of hangers-on, spectators gripped to each limb, seated on shoulder blades, peering from his jungled chest, hung upside down in microscopic millions in his armpit vaults screaming bat-screams for encounters, ready for the hunt and if need be the kill. Like a black tidal wave upon a bleak shore, a dark tumult infilled with phosphorescent beauties and badly spoiled dreams, Mr. Dark sounded and hissed his feet, his legs, his body, his sharp face forward. (p. 196-197)
9.Plying Her Craft:
The Witch toppled forward with her seamed black wax sewn-shut iguana eyelids and her great proboscis with the nostrils caked like tobacco-blackened pipe bowls, her fingers tracing, weaving a silent plinth of symbols on the mind.
The boys stared.
Her fingernails fluttered, darted, feathered cold winter-water air. Her pickled green frog’s breath crawled their flesh in pimples as she sang softly, mewing, humming, glistering her babes, her boys, her friends of the slick snail-tracked roof, the straight-flung arrow, the stricken and sky-drowned balloon. (p. 204)
10.The Show Can’t Go On:
Then at last, the Freak Tent, the great melancholy mothering reptile bird, after a moment of indecision, sucked in a Niagara of blizzard air, broke loose three hundred hempen snakes, crack-rattled its black side-poles so they fell like teeth from a cyclopean jaw, slammed the air with acres of moldered wing as if trying to kite away but, earth-tettered, must succumb to plain and most simple gravity, must be crushed by its own locked bulk.
Now this greatest tent staled out hot raw breaths of earth, confetti that was ancient when the canals of Venice were not yet staked, and wafts of pink cotton candy like tired feather boas. In rushing downfalls, the tent shed skin; grieved, soughed as flesh fell away until at last the tall museum timbers at the spine of the discarded monster dropped with three cannon roars. (p. 252-253)