As usual, Ray Bradbury writes in splendid imagery, his prose poetic. No one else wrote, or will ever write, like Bradbury.
Yet, I fear most of today’s editors would likely slash and gut much of his beautiful detail, carving the very heart from his work. Such are the changes in readers’ tastes, which I partly blame on the dumbing down of society.
The Machineries of Joy was, not surprisingly, a joy to read. Of the 21 brilliant stories included, my favorites were:
“Tyrannosaurus Rex” — A stop-motion animator, tasked with creating a miniature T-Rex, just cannot seem to satisfy a film producer—until he completely recreates the beast’s face to resemble someone very familiar.
“The Vacation”— Traveling atop a small four-wheeled workman’s railcar, a family of three takes a serene cross-country excursion, able to avoid the rest of humanity—because they are the last people on Earth.
“Boys! Raise Giant Mushrooms in your Cellar!”— Inspired by an ad in Popular Mechanics, a boy sends away for a kit to grow mushrooms in his parents’ cellar, something that seems to be catching on across the country. However, it isn’t long before alarming behavior begins to manifest in those who eat the mushrooms.
“Almost The End Of The World” — Two miners return home to regale the locals with yet more tall tales of adventure only to find their town completely changed. Everything is freshly painted from homes to shops to flower pots—and the locals suddenly prohibit the miners from uttering a word.
“And The Sailor, Home From The Sea” — A dying sea captain and widower, now living on a wheat farm far from the ocean, asks his caretaker to bury him at sea where he lost his wife so many years ago. When the time comes, the caretaker follows through—without ever leaving the farm.
“A Miracle of Rare Device” — Two schemers always looking for a fast buck discover a mirage in the New Mexico desert that appears to be New York City! They begin selling tickets to passersby, only to learn that each person sees something completely different—and life altering—in the trick of light and heat.
“And So Died Riabouchinska” — A detective investigating a murder questions a ventriloquist, but only learns the truth through the man’s exquisite Russian female puppet.
“Death and the Maiden” — Old Mam, or so the townsfolk call her, locked herself in her house decades ago, fearing the day when Death would come for her. She receives no visitors save for a grocery clerk who merely delivers food to her porch once every few weeks. When Death finally arrives, he tempts Old Mam with an unexpected offer.
“To The Chicago Abyss” — A homeless man who remembers what life on Earth was like before Annihilation Day is saved from a beating on the street by the member of a secret movement that wishes to return to the days of old. The homeless man’s reputation has fallen under the scrutiny of the authorities so the movement’s followers send the homeless man to a place of safety, but not before he imparts his knowledge to them.
“The Anthem Sprinters” — In Dublin, a group of Irishman place bets on who can run out of the cinema the fastest after a movie, in order to avoid listening to Ireland’s national anthem, which is played after the end of every film. When an American tourist is convinced to ante up and join the fun, he finds that even this callous group has a heart of gold.
