[For the previous Dark Carnival post, click here.]
“The Coffin” (1947)
Mr. Charles Braling is a “badly dying” man of 70, feverishly engages in “a carnival of labor”: constructing an unusual version of a burial casket. His lazy, grasping, scheming younger brother Richard, meanwhile, scoffs at Charles’s bizarre efforts. When Charles drops dead upon completion of the coffin, Richard vindictively orders for his brother to be buried in a meager pine coffin instead of the “Braling Economy Casket.” But this is exactly what Charles had expected of his wretched sibling. When Richard gets into Charles’s creation (believing that Charles has hidden his riches somewhere inside it), he discovers that the coffin has been designed to entrap him. Charles has married robotics with mortuary science: the Braling Economy Casket begins to replace Richard’s blood with formaldehyde. It conveniently conducts (via organ music and Charles’s voice recording) a funeral sermon. Eschewing pallbearers, the coffin transports itself out into the yard, and then completes the proceedings by digging a grave and burying itself underground.
Drawing upon Poe’s favorite theme of premature burial, Bradbury offers a clever variation on the tale of comeuppance. This Dark Carnival story (which combines elements of horror, crime, and even science fiction, with its futuristic coffin) also furnishes early proof of the versatility of Bradbury, a writer destined to transcend the shudder pulps.