Ray Bradbury’s classic envisages a dystopian future in which the job of firemen is to seek out books and burn them. In this edition, introduced by Michael Moorcock, Sam Weber’s astonishing illustrations perfectly capture the novel’s haunting atmosphere.
In 1950, Ray Bradbury had a kernel of an idea for a story, and rented a typewriter in the basement of the UCLA library for nine days (it cost him $9.80). Dashing from the basement to the stacks to track down half-remembered quotations and typing at furious speed, in that short time he produced the first draft of an extraordinary novel. Serialised, widely published, adapted for film, theatre and even opera, the book, as Bradbury wrote, ‘seems to have a life that goes on recreating itself’.
Bound in printed and blocked buckram
Set in Adobe Caslon
Frontispiece and 5 colour illustrations
9½˝ × 5¾˝
A dystopian future in which firefighters seek out books and burn them
‘No other writer uses language with greater originality and zest’
Fahrenheit 451 envisages a dystopian future in which the job of firemen is to seek out books, and burn them. Montag is a fireman who enjoys his job, wearing ‘the fierce grin of all men singed and driven back by flame.’ He agrees with his boss who tells him how much happier people are now, watching endless television at high volume, than when they read books and thought for themselves. Then one night, Montag meets a young girl with ‘unconventional’ habits – walking at night, collecting butterflies and tasting rain. Something about the girl forces Montag to look at his world differently: children in cars running down pedestrians for fun, his wife overdosing regularly on sleeping pills, and his neighbour proud that her children would ‘just as soon kick as kiss me’. Montag realises that ‘we have everything we need to be happy, but we aren’t happy. Something’s missing.’ Such subversive thoughts will lead Montag to rebel – and rebellion has terrible consequences.
‘A disturbing tale that explores the maxim “ignorance is bliss” to its fullest’
Bradbury’s bleak admonitory vision is not of a tyrannical government, but of people who did this to themselves. His fictional dystopia began with a wave of political correctness that censored and silenced uncomfortable opinions; then interactive, reality TV swamped critical thought; and finally, each individual’s ‘right’ to the pursuit of happiness removed any sense of responsibility and even emotion itself. Over 60 years on, the fears raised by Fahrenheit 451 have not lessened. Yet at the book’s heart is a profound optimism: books are symbolic of humankind’s capacity for reflection and understanding, which can save us from our equally powerful capacity for self-destruction. This edition includes a new introduction by science-fiction writer Michael Moorcock and a series of astonishingly life-like illustrations by Sam Weber, which perfectly capture the novel’s haunting atmosphere.
‘A word about Fahrenheit 451, a perfect edition. The art is magnificent. The picture of the little girl holding the flower on page 25 is mesmerizing. It is truly a pleasure to own these copies. Well done, Folio!’
Marc Bagwell, USA
About Ray Bradbury
Ray Bradbury was born in Illinois in 1920, and spent most of his life in Los Angeles. He did not go to university and was a full-time writer from the age of 23; his short story ‘Homecoming’ was picked from the slush pile at Mademoiselle magazine by Truman Capote. Bradbury’s first book, a collection of short stories entitled Dark Carnival, was published in 1947. The Martian Chronicles(1950) was followed by The Illustrated Man (1951) and his seminal work of dystopian science fiction, Fahrenheit 451, in 1953. He died in 2012.
About Sam Weber
Sam Weber was born in Alaska, and grew up in Deep River, Ontario, Canada. After attending the Alberta College of Art and Design in Calgary, Sam moved to New York to pursue illustration and attend graduate school at The School of Visual Arts. His work for The Folio Society includes Lord of the Flies (2009) and Fahrenheit 451 (2011). His illustrations for Dune were painted in oil on board, with the black-and-white chapter headings in ink and charcoal on paper.
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