[For the previous Dark Carnival post, click here.]
“The Man Upstairs” (1947)
Eleven-year-old Douglas Spaulding is immediately unnerved when Mr. Koberman, a “tall strange man” with “cold gray eyes” rents a room at the boarding house run by Douglas’s grandparents. Koberman has an unfriendly demeanor, and a dark aura that seems to suck the color and warmth from the room. He also exhibits some curious behavioral quirks: the man has a strong aversion to silver (he tips in copper pennies and eats his meals with wooden utensils), is out all night and sleeps like the dead during the day. The enmity between Koberman and Douglas continues to grow, especially after the former frames Douglas for the breaking of a multicolored glass window (through which Douglas had been able to catch glimpse of Koberman’s true nature). Clever Douglas, though, gets the last laugh. Emulating the culinary efforts of his Grandma when she guts/stuffs a chicken, Douglas vivisects the resting Koberman (removing his weirdly-shaped, gelatinous organs) and fills the chest cavity of this inhuman, vampiric creature (who had been preying on local woman) with lethal silver dimes from Douglas’s piggy bank.
Like much of Bradbury’s fantastic fiction, “The Man Upstairs” is rooted in the author’s own childhood experiences (the colored glass window so integral to the plot here mirrors the one that captured a young Bradbury’s fancy). As a Douglas Spaulding story, “The Man Upstairs” (like “The Night” before it in Bradbury’s debut collection) clearly prefigures Dandelion Wine. With its mix of nostalgia and the macabre, it also links with From the Dust Returned, Bradbury’s expansion of Dark Carnival narratives such as “Homecoming” and Uncle Einar” (in which the author’s own beloved relatives are positively recast as Halloween monsters). Perhaps most intriguingly, the story (in which a young boy faces off against a sinister figure in human guise, a peripatetic predator who disruptively appears in the boy’s Midwestern hometown) anticipates Something Wicked This Way Comes. A terrifically imaginative and blackly humorous piece in its own right, “The Man Upstairs” is noteworthy as an early map of the shadowy paths Bradbury would travel down in future, classic works.