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Fahrenheit 451 de Ray Bradbury
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Fahrenheit 451 (original: 1953; edição: 1991)

de Ray Bradbury

MembrosResenhasPopularidadeAvaliação médiaConversas / Menções
45,38488523 (4.02)1 / 1334
The system was simple. Everyone understood it. Books were for burning, along with the houses in which they were hidden. Guy Montag was a fireman whose job it was to start fires, and he enjoys his job. He had been a fireman for ten years, and never questioned the pleasure of the midnight runs nor the joy of watching pages consumed by flames. He never questioned anything until he met a seventeen-year-old girl who told him of a past when people were not afraid and a professor who told him of a future in which people could think. Guy Montag suddenly realized what he had to do.… (mais)
Membro:pageturner680
Título:Fahrenheit 451
Autores:Ray Bradbury
Informação:Ballantine Books, Mass Market Paperback, 179 pages
Coleções:Sua biblioteca
Avaliação:****
Etiquetas:rmit-library

Work Information

Fahrenheit 451 de Ray Bradbury (1953)

  1. 963
    Nineteen Eighty-Four de George Orwell (readafew, Booksloth, rosylibrarian, moietmoi, haraldo, BookshelfMonstrosity)
    readafew: Both books are about keeping the people in control and ignorant.
    BookshelfMonstrosity: A man's romance-inspired defiance of menacing, repressive governments in bleak futures are the themes of these compelling novels. Control of language and monitors that both broadcast to and spy on people are key motifs. Both are dramatic, haunting, and thought-provoking.… (mais)
  2. 712
    Brave New World de Aldous Huxley (phoenix7g, meggyweg, Babou_wk, haraldo)
    Babou_wk: Contre-utopie, société future où l'unique but de la vie est le bonheur. Toute pratique requérant de la réflexion est bannie.
  3. 284
    The Giver de Lois Lowry (thekoolaidmom)
  4. 241
    Matadouro 5 de Kurt Vonnegut (Smiler69)
  5. 253
    The Handmaid's Tale de Margaret Atwood (ateolf)
  6. 242
    The Martian Chronicles de Ray Bradbury (jpers36, moietmoi)
  7. 172
    Match to Flame: The Fictional Paths to Fahrenheit 451 de Ray Bradbury (grizzly.anderson)
    grizzly.anderson: A great study of how Bradbury came to write Fahrenheit 451 as a progress through his own short stories, letters and drafts. A similar collection of stories but without some of the other material is also available as "A Pleasure To Burn"
  8. 154
    A Canticle for Leibowitz de Walter M. Miller Jr. (goodiegoodie, kristenn)
  9. 82
    The October Country de Ray Bradbury (Booksloth)
  10. 50
    Something Wicked This Way Comes de Ray Bradbury (Morteana)
  11. 72
    A Gift upon the Shore de M. K. Wren (lquilter)
    lquilter: "A Gift Upon the Shore" is a post-apocalyptic world; some people seek to preserve books and knowledge, but they are seen as a danger to others. Beautifully written.
  12. 95
    Planet of the Apes de Pierre Boulle (allenmichie)
  13. 52
    The Medium is the Massage: An Inventory of Effects de Marshall McLuhan (bertilak)
  14. 30
    The Fireman de Joe Hill (sturlington)
  15. 20
    Too Loud a Solitude de Bohumil Hrabal (edwinbcn)
  16. 53
    A Universal History of the Destruction of Books: From Ancient Sumer to Modern-day Iraq de Fernando Báez (bertilak)
  17. 75
    Oryx and Crake de Margaret Atwood (andja)
  18. 53
    Feed de M. T. Anderson (jlynno84)
  19. 10
    Shadowlife de Martin Grzimek (spiphany)
  20. 10
    The Acolyte de Nick Cutter (ShelfMonkey)

(ver todas 28 recomendações)

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Mostrando 1-5 de 882 (seguinte | mostrar todas)
Interesting read and accurate predictions about our media infested, fast-paced moving world where we consume mindlessly rather than produce ideas and content ourselves. ( )
  zbdd | Oct 31, 2021 |
I'm...disappointed. I don't know if this is just yet another instance of something being hyped up so much that I expected it to be utterly astounding...or if, as I've theorized, the book was so groundbreaking that everyone borrowed or inherited ideas from it so that it didn't seem that original or ground-breaking.

I just felt, often, like this book was trying too hard. The future was so extreme--fire, for pete's sake!--the phrasing was deliberately "artistically" awkward (that's the part that annoyed me most).

The statement was broader than I expected: this isn't a book about burning books. Instead, it's about the avoidance of complexity of any kind, anti-intellectualism at its worst. Supposedly. Maybe I'm just so cynical because this book published in 1951, right after some of the worst horrors in human history had come to light, and it's just hard for me to care about books--yes, even books--as much as people. Millie and the other wives, the cautionary tale of head-in-sand denial (the wife is always the cautionary tale!), were far more profound to me than this main character.

Montag didn't seem anything special. He's barely what I would hope we expect of decent human beings, becoming aware of the grimness of the world around him only when the horror of it is shoved in his face: his wife's attempted suicide, the woman who burns herself with her books. No points for subtlety that the three main spurs to action in his life are instigated when the poor, innocent women are affected. Great to know you only care about terror when it's affecting the "frailer sex" who need your help.

I guess this is just another book that I really wish I'd read in school. I think I would appreciate it a lot more with full class discussions about why this is important, instead of getting so hung up on the ways that it feels like regurgitated wisdom.

But then, maybe a lot of that has to do with how relevant the book is today. The wall-size TVs, the Seashells/ear buds, the disconnect with humanity even as we struggle to connect to it. Maybe it only feels like it doesn't say anything new because what it's saying is so wrapped up in our social concerns today.

I wanted this book to have more humanity. The times I was most caught up and interested were when Radbury was unspooling a scene between two characters...though not Faber--interaction or attempted interaction were more interesting than one-way preaching. I felt like he was too obvious a device to get the "contemporary voice" into the text. If this was a story about Montag getting his head out of his butt enough to really start asking about the people he cared about, with the books playing an equal or secondary role and the anti-intellectualism being discovered along the way rather than pitched and ditched to move on to the action, I would have felt more invested in it.

Quote Roundup

I actually have a lot of quotes, but none of them really do much for me. Let's see what we've got...

14. The bloodstream in this woman was new and it seemed to have done a new thing to her. Her cheeks were very pink and her lips were very fresh and full of color and the looked soft and relaxed. Someone else's blood there. If only someone else's flesh and brain and memory. If only they could have taken her mind along to the dry cleaner's and emptied the pockets and steamed and cleansed it and reblocked it and brought it back in the morning.
As I said, I found this one of the most powerful scenes in the book. But now something's bothering me...part of Mildred's tragedy was her inability to remember important things. So why does she need a new memory if hers is supposed to be too good at getting rid of things?

18. "It'll be even more fun when we have the fourth wall installed."
"The fourth wall" tickled me. Real slick there, Ray, very subtle. And by that I mean, not at all.

36. Always at night the alarm comes. Never by day! Is it because fire is prettier by night? More spectacle, a better show?
I was glad this was explored in more depth later on, when Montag's on the run. [b:The Hunger Games|2767052|The Hunger Games (The Hunger Games, #1)|Suzanne Collins|https://d.gr-assets.com/books/1358275334s/2767052.jpg|2792775] has pretty well handled the complicity of viewing orchestrated spectacle, but this sudden thought about an unremarked occurrence is far more insidious.

41. It was suddenly so very wrong that he had begun to cry, not at death but at the thought of not crying at death.
Undecorated, but still a familiar feeling.

A couple quotes about books seem irrelevant since the anti-intellectualism reveal, so I haven't bothered to keep them.

52. "Out of the nursery into the college and back to the nursery; there's your intellectual patterns for the past five centuries or more."

58. I thought Beatty's speech on this page was actually pretty good. Still heavy-handed, but at least it was talking about the world of the book without explaining it directly--broader terms instead of just books.

77. "Lord, how they've changed it [the Bible] in our 'parlors' these days. Christ is one of the 'family' now. I often wonder if God recognizes His own son the way we've dressed him up, or is it dressed him down?"
Somehow I don't think Bradbury was thinking of white-washed Jesus when he wrote this, but that's what came to my mind: the inescapable Aryan Jesus.

78. "There is nothing magical in [books], at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us."
One could easily argue that this is not unique to books, if one wished. One might point out that the emphasis on the written, printed word rather implicitly devalues other modes of storytelling, such as oral history, live theater, improve, art, etc. Though this is somewhat addressed somewhere else (anti-intellectualism, not just about books). Still, is it weird that I kind of like a quote that's saying books aren't awesome?

104. "What traitors books can be! you think they're backing you up, and then they turn on you. Others can use them too, and there you are, lost in the middle of the moor, in a great welter of nouns and verbs and adjectives."
In an entirely different context, I think anyone who's ever been tongue-tied can sympathize with the second sentence.

125. Faber assures Montag it's all right that he killed three men and framed another fireman. Ugh, seriously? Talk about anti-intellectualism!

139. It was not burning, it was warming.
--He saw many hands held to its warmth, hands without arms, hidden in the darkness. Above the hands, motionless faces that were only moved and tossed and flickered with firelight. He hadn't known fare could look this way. He had never thought in his life that it could give as well as take. Even its smell was different.
Hello, closet mini-pyro here. Kind of happy to see this little note. Was also intrigued to see this for reasons relating to Goodgrass, my dead/dormant third novel project.

150. "My grandfather...hoped that some day our cities would open up more and let the green and the land and the wilderness in more, to remind people that we're allotted a little space on earth and that we survive in that wilderness that can take back what it has given, as easily as blowing its breath on us or sending the sea to tell us we're not so big. When we forget how close the wilderness is in the night, my grandpa said, some day it will come in and get us, for we will have forgotten how terrible and real it can be."
I'm reminded of all the natural disasters we've had in the past decade (though, frankly, it's an out-of-place (and, therefore, interesting) aside here at the end of the book.

152. The imagery in this scene is stunning--but too spoilery even for me.

That's about two thirds of the quotes I'd originally marked. The rest didn't seem worth it. ( )
  books-n-pickles | Oct 29, 2021 |
A very important book that should be taught at schools, imo. ( )
  Leonardo_ | Oct 29, 2021 |
In a future dystopian world, firemen start fires rather than put them out. In particular, their specific task is to burn any printed material they find. Books have been banned by a government determined to control thought, replacing them instead with a barrage of mindless video content designed to keep people happy and passive. Guy Montag has been a fireman for several years without questioning the virtue of his actions. However, after seeing his free-thinking young neighbor ‘disappeared’, his wife attempt suicide, and an elderly lady set her own house and herself on fire as an act of protest, Montag becomes disillusioned with his current path and decides to pursue a life of personal growth through reading forbidden texts. Following a violent act of revolution, he joins a clandestine resistance movement aimed at preserving the content of books in its collective memory for a time to come when the old order might be restored.

It perhaps goes without saying that Fahrenheit 451 is itself an incendiary book that has had a lasting effect on generations of readers. Written shortly after the end of World War II, this is a work that is very much a product of the Cold War era when there was a growing fear of totalitarian regimes that might take away free will and personal freedom of thought and action. Of course, Bradbury’s novel is best known (and justly celebrated) for its central theme of what we lose with the destruction of knowledge, as symbolized by the wanton demolition of books. Certainly, this became a poignant message for me as well, especially when Montag unites with a group of fellow booklovers who are intent on remembering all of those words and thoughts until they can be written down again; indeed, these intellectuals consider themselves to be “nothing more than dust jackets for books”.

What I was not expecting, though, was for this to also be such an overtly anti-war novel. The story is framed at a time when the ruling government is on the verge of battle with an unnamed foe and the climactic scene actually portrays enemy bombers leveling the city from which Montag has escaped. (Indeed, the entire story is set in an unspecified year during the twenty-first century after a couple of nuclear wars have already been fought and won.) This made for compelling reading and Bradbury’s use of the Phoenix bird parable as a metaphor for a society rising from its own ashes was striking. On the other hand, this was not perfect story-telling: for instance, Bradbury’s vision of the technology in place roughly 100 years in the future proved to be wildly understated. Still, this is a novel that has stood the test of times because of its ideas and images, which is reason enough to overlook some shortcomings in its plot. ( )
  browner56 | Oct 10, 2021 |
Bradbury's writing in this book is absolutely fabulous. Of the books that I have read by him this is probably the best. The Illustrated Man is a close 2nd. The Martian Chronicles are interesting but not as well crafted into a whole as Farhenheit 451. Which makes sense because that is a collection of short stories. Something Wicked This Way Comes I found difficult to get through. I still need to read his Dandelion Wine. Farhenheit 451 although a short novel (novelette?) it is still long enough for Bradbury to develop Montag and his context. I find it interesting that in this novel Bradbury predated Neil Postman's critique of the effect of the television's impact on the public commons. It is similar to the current critique of social media's impact on public conversation.

The two short stories included in this edition The Playground and And The Rock Cried Out are very dark. The Playground deals with childhood as something to be avoided at all costs. And The Rock Cried Out is an interesting commentary on what it is like to be part of the privileged hegemony when that hegemony collapses.

I like this rating system by ashleytylerjohn of LibraryThing (https://www.librarything.com/profile/ashleytylerjohn) that I have also adopted:
(Note: 5 stars = rare and amazing, 4 = quite good book, 3 = a decent read, 2 = disappointing, 1 = awful, just awful.) ( )
  Neil_Luvs_Books | Oct 8, 2021 |
Mostrando 1-5 de 882 (seguinte | mostrar todas)
adicionado por _eskarina | editarNeviditelnypes.cz, Jan Pechanec (May 5, 2009)
 
Classique parmi les classiques, Fahrenheit 451 est à la SF ce que le Dracula de Stocker est au fantastique. Cette œuvre est une contre-utopie à la mesure du Meilleur des mondes de Huxley ou à 1984 de Orwell. C’est dire…
 
This intriguing idea might well serve as a foundation on which to build a worst of all possible worlds. And to a certain extent it does not seem implausible. Unfortunately, Bradbury goes little further than his basic hypothesis. The rest of the equation is jerry-built.
adicionado por Shortride | editarThe New York Times Book Review, J. Francis McComas (Web site pago) (Nov 8, 1953)
 

» Adicionar outros autores (48 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Bradbury, Rayautor principaltodas as ediçõesconfirmado
Aguilar, Julia OsunaTradutorautor secundárioalgumas ediçõesconfirmado
Aldiss, Brian W.Prefácioautor secundárioalgumas ediçõesconfirmado
Škvorecký, JosefTradutorautor secundárioalgumas ediçõesconfirmado
Brick, ScottNarradorautor secundárioalgumas ediçõesconfirmado
Buddingh', CeesTradutorautor secundárioalgumas ediçõesconfirmado
Chambon, JacquesTradutorautor secundárioalgumas ediçõesconfirmado
Crespo, AlfredoTradutorautor secundárioalgumas ediçõesconfirmado
D'Achille, GinoArtista da capaautor secundárioalgumas ediçõesconfirmado
Diamond, DonnaArtista da capaautor secundárioalgumas ediçõesconfirmado
Emmerová, JarmilaTradutorautor secundárioalgumas ediçõesconfirmado
Güttinger, FritzTradutorautor secundárioalgumas ediçõesconfirmado
Hoye, StephenNarradorautor secundárioalgumas ediçõesconfirmado
Hurt, ChristopherNarradorautor secundárioalgumas ediçõesconfirmado
Kayalıoğlu, KorkutTradutorautor secundárioalgumas ediçõesconfirmado
Kayalıoğlu, ZerrinTradutorautor secundárioalgumas ediçõesconfirmado
Keyser, GawiePrefácioautor secundárioalgumas ediçõesconfirmado
Knipel, CidTradutorautor secundárioalgumas ediçõesconfirmado
Lippi, GiuseppeTraduttoreautor secundárioalgumas ediçõesconfirmado
Monicelli, GiorgioTradutorautor secundárioalgumas ediçõesconfirmado
Moorcock, MichaelIntroduçãoautor secundárioalgumas ediçõesconfirmado
Mugnaini, Joseph A.Artista da capaautor secundárioalgumas ediçõesconfirmado
Nordin, SivTradutorautor secundárioalgumas ediçõesconfirmado
Pennington, BruceArtista da capaautor secundárioalgumas ediçõesconfirmado
Pepper, BobArtista da capaautor secundárioalgumas ediçõesconfirmado
Prichard, MichaelNarradorautor secundárioalgumas ediçõesconfirmado
Robbins, TimNarradorautor secundárioalgumas ediçõesconfirmado
Robillot, HenriTradutorautor secundárioalgumas ediçõesconfirmado
Stangl, KatrinIlustradorautor secundárioalgumas ediçõesconfirmado
Veikat, MarjuToimetaja.autor secundárioalgumas ediçõesconfirmado
Weber, SamIlustradorautor secundárioalgumas ediçõesconfirmado
أحمد خالد توفيقTradutorautor secundárioalgumas ediçõesconfirmado
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Hugo ( [1954] | Novel | [1954] | 2004)
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"If they give you ruled paper,
write the other way."
Juan Ramón Jiménez
FAHRENHEIT 451:
the temperature at which
book-paper catches fire and burns
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It was a pleasure to burn.
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It doesn't matter what you do, he said, so long as you change something from the way it was before you touched it into something that's like you after you take your hands away.
But that's the wonderful things about man; he never gets so discouraged or disgusted that he gives up doing it all over again, because he knows very well it is important and worth the doing.
But remember that the Captain belongs to the most dangerous enemy of truth and freedom, the solid unmoving cattle of the majority. Oh, God, the terrible tyranny of the majority.
I'm afraid of children my own age. they kill each other. Did it always use to be that way? My uncle says no. Six of my firends have been shot in the last year alone. Ten of them died in car wrecks. I'm afraid of them and they don't like me because I'm afraid. My uncle says his grandfather remembered when children didn't kill each other. But that was a long time ago when they had things different. They believed in responsibility, my uncle says. Do you know, I'm responsible. I was spanked when I needed it, years ago. And I do all the shopping and housecleaning by hand.
The same infinite detail and awareness could be projected through the radios and televisors, but are not. No, no, it's not books at all you're looking for! Take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type of receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us. Of course you couldn't know this, of course you still can't understand what I mean when I say all this.
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This is the original novel by Ray Bradbury, not the 1966 film directed by François Truffaut or any other adaptation.
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The system was simple. Everyone understood it. Books were for burning, along with the houses in which they were hidden. Guy Montag was a fireman whose job it was to start fires, and he enjoys his job. He had been a fireman for ten years, and never questioned the pleasure of the midnight runs nor the joy of watching pages consumed by flames. He never questioned anything until he met a seventeen-year-old girl who told him of a past when people were not afraid and a professor who told him of a future in which people could think. Guy Montag suddenly realized what he had to do.

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