Ray Bradbury, like the picturesque old libraries or city halls found in many a marginalized American small town, was so ubiquitous that I often felt he was taken for granted. He was such a fixture of the literary landscape for so long, lauded as one of our great prose stylists and narrative dreamers so often, that it was easy to forget he was there. Comfy old chair-like ubiquity aside, Mr. Bradbury's work remained moving, vital, and fresh right until the very end.

Something Wicked This Way Comes has been a favorite novel of mine since my early twenties, when I finally got around to reading it. On the surface, Bradbury's nostalgiac Middle American nightmare is simply a dark and evocative fable of childhood; a precursor to every evil-threatens-a-small-town novel written by Stephen King or Dean Koontz or anyone who followed in their footsteps. It is the story of two boys--Will Halloway and Jim Nightshade--twelve years old, on the cusp of adulthood, suddenly faced with temptation and damnation when a devilish autumn carnival invades their picturesque little Midwest town. Little by little, Will and Jim discover that the delights promised by the carnival (led by the sinister Mr. Dark, covered in moving tattoos representing the many souls he's dragged to perdition) are thorny roses to say the least, wishes granted with terrible fine print folded into their infernal contracts.

In deft, evocative, poetic prose, Bradbury paints a vivid and memorable portrait of a serene if static world invaded by a malign and alien influence, insidious precisely because it uses the all-too-human frailties of the townsfolk against them. Perhaps most impressive is the master's ability to entice the reader with nostalgia, then use those very objects of nostalgia to instill pity and terror equal to any Greek tragedy. For a man renowned for his love of autumn, carnivals, and Halloween with all its funhouse trappings, Bradbury succeeds magnificently in turning the objects of his affection (and ours) into vessels of fear. This is, perhaps, a central aspect of Something Wicked's success: by turning the objects of nostalgia and affection into devil's snares for our fragile, aging souls, Bradbury reminds us that what we love can damn us as well as redeem us. The difference between one and the other often balances on a knife's edge between ecstatic self-destruction and ascetic, self-punishing virtuousness.

Folded into Bradbury's meditation on childhood fears and adult regrets, one also finds a simple, elegant consideration of how goodness and happiness rarely walk hand in hand. Telling his father that he considers him a good man, and learning that Charles sees himself that way as well, Will is forced to ask, "Then, Dad, why aren't you happy?"

Charles's response: "Since when did you think being good meant being happy?"

Seeing that his son doesn't understand, Charles tries to elaborate on just what trying to be good has cost him. "I was so busy wrestling myself two falls out of three," Charles says, "I figured I couldn't marry until I had licked myself good and forever... Too late, I found you can't wait to become perfect, you got to go out and fall down and get up with everybody else... [but] you take a man half-bad and a woman half-bad and put their two good halves together and you got one human all good to share between. That's you, Will..."

If anyone's ever written a better paen to marriage and child-rearing, I don't know what it is. Will's conversation with his father, and the revelations both share, strike me as beautiful and true.

And that, ladies and gentlemen, is why Ray Bradbury was a national treasure. Although he created a vast and beautiful body of work, in this simple, lovely, spooky little novel, made up of barely 80,000 words, he not only encapsulated the terrible moments that portend adulthood--the realization that grown-ups are fragile and flawed; the reality of one's own, eventual death--but also their obverse: the moment in our adulthood when we finally realize just how far behind us childhood, safety, and dreams without regrets lie. Two boys realize that a world of compromise and moral hazard awaits them, followed by death; an old man realizes that death is nearer than ever before, and that the compromises and moral hazards left in his wake make its approach all the more tragic.

And yet, in the midst of all this darkness, hope endures. That it never comes across as a cloying, false, or flashy hope is further evidence of the late master's genius. The silver lining to Bradbury's thunderclouds is simple laughter; a willful outpouring of joy and delight, to light the darkness and defy the doldrums of inexorable time and lurking mortality. "Everything that happens before Death is what counts" Bradbury tells us, and we can only believe him. From the realization that we're all in the same boat--that we all suffer the same doubts, the same regrets, the same self-deceptions--we draw some small measure of strength, and find some small measure of hope, even in the face of oblivion. As the book's Moby Dick-derived epigraph proclaims: "I know not what lies ahead, but whatever it is, I'll go to it laughing."

This book is part of Bradbury's loosely constructed Green Town trilogy (there's also a collection of related short stories). A sort of classic tale in its telling, the story unfolds as a nostalgic coming of age yarn mixed with horror involving two young boys. The main struggle explored by the author is that of desire and temptation. Chiefly this evolves between the contrasting main characters. The protagonists, Will and Jim, are best friends, with the main difference being that Will is a bit more cautious and Jim is a bit more adventurous with a slightly edgier worldview than his friend. Will's father (another main character), is old--to put it simply. Charles has come into fatherhood later in life and doesn't know how to make amends with that, as the youth of his son seems only to be a constant reminder of how aged he is. This dynamic sets the stage for things to come. Enter the horror.

Bradbury's language is flowery, purple-colored prose from an older time. In looking at other reviews, it seems that this style is off-putting to some readers. Bradbury does not take a "window pane" approach to describing things (as author Brandon Sanderson might describe the style). His words fall from the abstract and are more akin to poetry. The author paints the scene with notes and chords and melody. The wording is thick and may take some chewing, depending on your mood or frame of reference. It's is rife with allusion. That's not to say that the story is not there--nor is it boring or stylized. There is real tension and suspense. But, Bradbury coats the story in vivid hues to invoke tone, mood and perhaps the nostalgia he must have been thinking of when he wrote this. Indeed, the story itself is inspired by the author's own real life childhood experience from when a carnival came to his hometown.

Still, no matter the author's style, there is a clear framework of a story. At times, it may seem a bit long--but not much. It's easy to see how other authors (like Stephen King for instance) were inspired by someone like Bradbury, when you have scenes involving sewer hideaways and sideshow freaks stalking through town on ill intent missions to find the two pesky young boys. Each time the protagonists escape the clutches of the Carnival, a new struggle ensues with solid reversals of fortune. And there is also the ever-present worry, that nobody will ever believe what is really go on here.

Another thing to note of Bradbury's style is his use of the language to construct scenes. His prose may be purpled--but it is not so verbose. He has a wonderful way of describing these evil things lurking about the town as they tangle with the protagonists, and he does this without resorting to overwrought, visceral descriptions of violence. I felt particularly creeped out by the Dust Witch, Mr. Dark and even the eviscerated Mr. Electro who drolled out stoic declarations like a half-dead toad. All the characters of this dark Carnival had a presence, though not described in complete physical detail-I still had a sense of them. I could feel the mood, the fear they put into the protagonists.

The story is a tad romanticized, and perhaps the voice of the young boys feels out of age at times. Yet, it pretty much works. All the capers the two get into seem realistic enough and appropriate for their age. The evil of the Carnival provides a stark contrast to the idyllic air around the boys, which keeps the nostalgia from going overboard.

Also wonderful is the way that Bradbury creates problems between the boys, who are the best of friends in every sense of the word (at times they seem like they are right out of a 1950's sitcom). However, the absence of Jim's father coupled with his curious and more daring side give him a darker edge and we are genuinely worried about him--just as Will is. This also rings true for Charles (Will's father) who starts off as a nice fellow, but weak. We get to know Charles and understand his feeling of helplessness and struggle through this with him as he must put aside all his neurotic worrying about getting old, embrace life, and understand that his age is what it is (and that it is not even close to as bad as he has convinced himself it is).

This story started out as a short story first (check out the slightly darker version called "Black Ferris") and then morphed into a screenplay which Bradbury hoped his friend Gene Kelly would produce. That never happened so Bradbury took the time to turn the treatment into a full novel--which is what we have here.

The book is a story of boyish adventure, yet Bradbury's style makes the stakes much grander. The Carnival is not just some group of street criminals meant to rip off the good townspeople. There is something more sinister at work. Jim, Will, Charles and the citizens of Greentown come face to face with the physical manifestations of evil of the world and learn that even their small idyllic town is not safe. The struggle is eternal, for today's struggle will be yesterday's battle. The war lasts a lifetime. Yet, it's not so heavy as all that, when the protagonists learn that they must trust to life's good graces to keep evil at bay. They find the necessary strength within themselves to arm against the evil "Autumn People" of the world.

Lastly, the elixir of life plot device, which Bradbury plays with in this story, is also refreshingly simple and yet a wonderfully unique take on this common trope. What dangerous consequences lie behind the glorious promises of a fountain of youth? Read and find out.

A heartfelt tale through and through.

Podcast: If you enjoy my review (or this topic) this book and the movie based on it were further discussed/debated in a lively discussion on my podcast: "No Deodorant In Outer Space". The podcast is available on iTunes or our website.

Ray Bradbury is a bit polarizing in my opinion. People either love his work or hate it. As a writer myself I am a fan of his work. I watched the movie many many years before I cracked open the book and I have to say the movie doesn't follow the book very closely. I would go out on a limb and say a fan of the book may be disappointed in the movie and a fan of the movie may be left scratching their head over the book.

Bradbury has a tendency to be very poetic in his complex descriptions in this book leaving a leisure reader to likely be put off by his wording. I don't consider this to be light reading or a children's book. It is my opinion the movie was much scarier than the book--something I find to be unusual. One particular feature of this novel is the short chapters and large print. I don't care to read chapters that drone on for twenty five or thirty pages because I fell as though I'm getting nowhere. Bradbury does a great job of moving the story and the book along with the chapter layout.

You will get lost in this story. It's bizarre, it's fantastical, and very much what one would expect from RB if you have read any of his other work. The dialogue is a bit hard to follow because it phases in and out of spoken and internal. Will seems to be the main character as he is in the movie with the reader being exposed primarily to his thoughts and actions without excluding too much of the other characters. In many ways I feel the movie does a much better job of revealing Mr. Dark's character than the book, but this may be due to RB's goal of concealing that personality.

I would highly recommend this book to someone looking to be challenged by a work that fluctuates frequently between prose and a near poetic style. Believe me it will challenge you! It is a unique work that demonstrates Bradbury's willingness to break the normal practice of fiction writing. If you are a writer I would suggest you pick this one up to perhaps inspire you to break out of some of your own rigid and routine habits.

Magic

This is the umpteenth time that I have read ‘Something Wicked this way Comes’. I love almost all of Bradbury’s books but this by far is my favorite. This was the first time that I have read it on one of my devices which did not take away from the story one spit.

The first time I read this book I was 13 years old and it bowled me over. I have probably read again about every five years since then and each time it is a new and awesome experience. I had never ever read anything like it before when I was 13 years old.

The only other book that I have read about youth that is near its equal is McCammon’s ‘Boy’s Life” and his prose doesn’t even come close to Bradbury though his story is a fun and deliciously well written story. But it is Bradbury’s prose that sets his book higher than any other. I know this is not every body’s cup of tea , his style of prose but for me it was a like a ride on a roller coaster the first time I read it. His prose was new, exciting and so startlingly different it took my breath away. He made me giddy with the power of words.

I titled this review ‘Magic’. Because in my mind this is a book of Magic. In ancient times Words was associated with Magic. Words had power to create and to destroy. In some ways I believe that this is still true because Bradbury understood the power of words like no other Author I have ever read. He brought Magic to life in Something Wicked that literally vibrated with essence and depth. He made Magic Real.

I am a professional oral storyteller and I have been telling stories to audiences for over 15 years. As an oral storyteller I paint on a different kind of canvas than the writer does and I am forced to use a distinctive flavor of descriptive language to draw my audience into my world. There is magic in what I do as well but nothing can compare to the Magic of Bradbury.

Gary Whitaker

Www.storymantales.com

I decided to pick up and finally read Something Wicked This Way Comes for a number of reasons, including the fact that I was feeling like reading a "scary story" when I read it last month, I vaguely remember really enjoying the movie version when I was a kid, and author Riley Sager was going to be conducting a Twitter chat around the book on October 25th (#ReadWithRiley) and I really wanted to participate. It's one of those classics that I felt bad about never reading, even more so because it sounds so deliciously scary. I'm incredibly sad to say that I didn't love it as much as I'd expected.

My biggest issue with the story was the way the author told it. The writing style is so florid and poetic that I found myself having to constantly stop reading and reread passages to make sure I fully understood what was happening to the characters. While this might be perfect and quite beautiful writing for a different sort of genre, when it comes to a story that is meant to be terrifying, being removed from the tension, panic, and horror ruins that feeling of terror for me. I want to feel scared, not be confused about whether or not I am understanding what is happening in the story and whether or not those characters are feeling scared. That terror has to be visceral, not just cerebral.

I do have to say that there were a few instances where I was able to get into the flow of the story and enjoy the quite unsettling things happening to this town and its inhabitants. There is one scene in particular, where the two boys witness a man riding backwards on the carousel and the horrible results when that carousel finally stops turning, that had my heart pumping deliciously. The scenes taking place within the house of mirrors were pretty scary as well. I just wish there were more of these sorts of scenes and less waxing descriptions.

I also enjoyed the way the story highlighted the frenetic nature of boys and their imaginations and need for adventure that seems to seep away as they age, as well as how that aging can slowly begin to pull even the closest boys apart as their interests and motivations begin to separate. I thought the story an interesting way to show the dangers of not being satisfied in whatever chapter of life you happen to be in - either wishing to be young and back in the "good ol' days" or fighting to grow up before your time - and how that dissatisfaction can leave you open to all sorts of nefarious choices.

All in all I am happy that I read Something Wicked This Way Comes for the Twitter chat as it is a classic and did have parts that I ended up enjoying. It was not, however, the quick, terrifying read I anticipated and I will admit that this left me somewhat disappointed overall. I would recommend those that are interested in the story based on the synopsis or other reviews give it a try...you might end up loving it as so many other readers have.

A story filled with wild imaginations, the king of fantasy and mystery Ray Bradbury writes such a story that takes place during the heart of one of the most haunting months of the year October Something Wicked This Way Comes. Inspired after a meeting and visit with Bradbury’s heroes Actor, Dance, and Director extraordinaire Gene Kelly, Bradbury reworked a short story that had been tucked away The Black Ferris and revived it in novel form in 1962 and later made into a film; noted in the afterword at the end of the book, originally Kelly was asked if he could direct a film adaptation but plans fell through until 15 years later when a script would be written and the eventual film produced by Jack Clayton of Kelly’s “Invitation to Dance” would be made by Disney in 1983.

Readers familiar with any Bradbury story, there are always twists and turns within each page from short stories to novels as well as lessons to be learned in the aftermath. Something Wicked This Way Comes is that type of story, which begins with a quaint backdrop in small town America and what appears to be quite normal, two young boys Jim and Will that happen to enjoy the outdoors and adventure. It so happens that on October 24, their Halloween comes early when the carnival comes to town. And with any carnival, fun and excitement awaits, especially for Jim and Will but little do they know what is in store for them; readers must keep in mind that the story is set well before technology took off during the 1950s and TV soon become a popular medium over radio, and to go to the carnival or circus was a big a deal to see the most unusual occurrences that sparked anyone’s imagination to the point that it brought joy as well as fear, especially for the young. Bradbury does an exceptional job with striking surprise for the reader and capturing the imagination of the characters and those reading each page at the edge of their seat; plenty of atmosphere and setting the stage of fantasy and mystery within the experience of a psychological drama. And by the end of the story, there is no doubt that the boys will have aged beyond their 13 years, 11 months, and 24 days old.

One suggestion, it may be best to read the novel before watching the film adaptation in order to experience the extremely descriptive and vivid imagery of Ray Bradbury’s writing.

I enjoy reading to achieve a selfish end, such as a bit of fright, a trip into a world outside my control, or maybe just a diversion from a boring and workaday world. I liike being reminded of why it is that we play with snakes, knowing that we’ll eventually be bitten and that we might even die.

Coming from the mouth of a Shakespearean elf are the words “Look what fools we mortals be.” And still we flock to the madness of a carnival. Subtle danger perhaps, designing craziness maybe, dark and sinister invitations seemingly, depraved and debauched activities with a wanton disregard for the welfare of human beings for sure.

Grotesque mechanical fat ladies insanely laughing, the morphing of unfortunate creatures that nature has cruelly manipulated into macabre sideshow freaks prompt many to look and look away. Add to these disorienting and distorting mirrors, unnerving illusions, invitations to the dark side, and a subliminal intelligence that seems to know one’s innermost fears lurk everywhere within the parameter of the controlled insanity.

Bradbury allows us to see with our mind's eye the faces of carnival goers as they laugh unrestrained at things that should be pitied, throw their money away on valueless trinkets, gluttonously eat all the fattening unhealthy foods of death, and entrust their children to the satanic carnies that make their living stealing and lying and manipulating unwary searchers for entertainment.

With a reader’s ear we can hear the cacophonous sounds of calliope, Farris wheel and carousel mixed with the squeals and screams of youngsters and oldsters as they are lifted into the heavens and then plummeted back to earth; saved just before the fatal impact with the ground; fun, fun, fun!

What evil and terrors stalk the crowds and offer the unthinkable to any who agree to sell their souls in exchange for some demonic bauble or even the promise of youth to the old and age to the young; all from a simple marry-go-round.

Now weave all these surrealistic elements into a fairytale tapestry using a weaver’s warp and weft of an occultist’s powers and a human’s dream of a self-serving beck and call to the underworld. Run these challenges through the filters of two twelve year-old boys and pitch a battle between good and evil, and the reader has the opportunity faced by Ray Bradbury in Something Wicked This Way Comes.

Do pure, unadulterated, evil and satanic forces join hands and make periodic appearances in the world? How does an author explain abstract realism overlaying the concrete stuff of dreamscapes? Metaphor and allegory, expanded vocabulary, control of the reader’s emotions, and the creative genus required to explain the unexplainable are all tools mastered by Bradbury. Yet even with his polished skill and wordsmithing excellence, there remain the pitfalls experienced by nearly every writer no matter his or her prolific prowess of the pen.

Bradbury, no doubt belongs in the Sci-Fi and Horror Hall of Fame with Stephen King, Edgar Allen Poe, Rod Serling, Dean Koontz and the rest. He is guilty however, of frequently over-reaching and trying too hard to bring the reader to an intellectual and emotional climax through the use of many words, literary devices, and attempting crescendos and avalanches of ethereal and sometimes questionable terms and phrases.

Most of the time, Bradbury’s thesaurus treasures fit, sometimes they are employed ad nauseum, and sometimes he just tries too hard to make a point and leaves the reader wondering what he meant. This is all the more reason for a reader to match his or her syntax acumen with Bradbury’s.

This is a wonderful, although Grimm-like fairytale read and adventure into the dark world of demonic tricks and tantalizing traps to steal souls and feed the insatiable appetite of the chief bad guy, Mister Dark or the Illustrated Man, who seemingly orchestrates the entire show to his own agenda or something’s or someone’s directive who is more evil than he is.

This book is recommended for those readers needing a respite from werewolves, zombies and vampires

Love the book. Great quality

Somehow, I've reached my mid-forties without reading this and, as it was around Halloween, I decided to give it a try. And I'm so pleased I did. Deceptively simple, this tells the story of Jim Nightshade and William Halloway, both thirteen and one day apart, who live next door to one another. Jim's Dad is absent, Will's is a janitor at the library - a `much older' man in his early fifties - and they are the best of friends, Jim a bit reckless, Will less so, both of them keen on adventures. They live in Green Town, Illinois and one day see - whilst out after they should be in bed - the carnival - called Cooger & Dark's Pandemonium Shadow Show - arrive. They're thrilled to see it but both notice that it brings changes to the town, especially after what happens to Miss Foley in the Hall Of Mirrors. Then Mr Dark, who runs the carnival, becomes aware of them.

This is a fantastic novel, perfectly capturing the joy and darkness of boyhood (and the power of adventures and friendship), painting a wonderful portrait of the father/son bond (the Halloways are fairly distant, Charles thinking he's too old for his son, even though he shares a lot of the same ideas and ideals) and describing late October so well you can almost smell the woodsmoke. It also speaks of a sense of mortality, as Charles thinks of old age slowing him down and separating him from his beloved son (which, as a forty-something reader and father, touched a nerve or two). From the boundless and upbeat energy of the opening, through the thrilling middle towards the climax that is powerful because it's so simple, this is funny and superbly realised, whilst also being shot through with dark threads of melancholy. At one point, Jim says:

"Mom?" A long silence. "Can you remember Dad's face? Do I look like him?"

"The day you go away is the day he leaves forever."

Later, when they see what they see at the carnival (I won't spoil it for you), Bradbury does an excellent job of showing the internal conflict, that the boys know they need to act but that they also need to get away - "Oh, Will, I wish we could go home, I wish we could eat. But it's too late, we saw! We got to see more! Don't we?"

The book has some superb set-pieces - Mr Cooger on the carousel, the witch and the balloon, the little girl under the tree (more frightening than you would think), Mr Electro's first appearance, Charles Halloway and Mr Dark talking (amongst many other unmentioned things) at the tobacconists, Charles' "something and nothing" speech, the library confrontation and the hall of mirrors - and it is held together with some of the most beautiful uses of language I think I've ever read, words seeming to tumble into themselves as they paint pictures of dark nights, moonlight and Autumn.

The characterisation is very good (though the symbolism with the boys - light and dark - is a little obvious and heavy) and filled with great dialogue (at the carnival, on that first day, Jim says "You wouldn't leave me alone. You're always going to be around, aren't you, Will? To protect me?") and the moment that Will realises his Dad (who he thought was small and old) is tall brought a lump to my throat. Mr Dark is the perfect villain, menacing and seemingly unstoppable, whilst also appearing jolly and well meaning and the assorted freaks of the carnival are a menagerie of ghouls (made worse when you realise who and what they are).

Absorbing, funny, horrifying and poignant, this is an essential read for any horror fan and I highly recommend it.

Una maravillosa historia.

A friend of mine suggested this book and I was not the least bit disappointed. Bradbury brings us to a small countryside village, that could really be anywhere, and from the very first page you feel like being there.

The scary atmosphere of the dark carnival is well rendered, thanks to the choice of the slightly baroque language.

The characters are interesting, although maybe I would have liked if he developed some of them a bit more.

Overall, a very good book, easy to read (it will suck you in till late at night!) and strongly recommended.

Super

A tale of two diametric opposite, yet inseparable teenage boys, complementing in more ways than the two sides of a coin, yet dissimilar in more ways than a mammal and a reptile. This is the story of two friends; one, an almost ideal boy, another, a dark almost sociopath teen. A dark carnival's arrival to town and it's impact on the town people's life.

You begin - "First of all, it was October, a rare month for the boys." and you are intoxicated. This is a fantastical adventure that explores the frailties of the human will and nature when confronted by desire and greed. The story dwells upon the trivial human desires and how easy it is to lure someone to do the unthinkable with just a mere promise of their desire's fulfillment. This is the story of a boy whose strange attraction to these dark powers is bringing himself closer to his destruction with every passing page and his friend's determination to not lose him.

In this book Bradbury creates an exhilarating atmosphere that leads to a sleepless night and cover to cover reading session. The language is spellbinding too. I suggest this book to readers of all ages, there is enough for everyone here.