Ray Bradbury has had a huge effect on me as an writer. I’m not sure I realized how much till I took a break from editing my own WIP to reread Something Wicked This Way Comes. Bradbury’s prose is florid and fantastic in a way that few writers can claim in this century or any other. Maybe that’s a little expansive, but I enjoy it immensely. The man creates vivid metaphors and twists language with the skill and delicacy of a spider in a web.
Something Wicked is a coming-of-age tale with a thorn. Two friends—nearer than brothers—are nearing adolescence at different rates. Jim Nightshade is growing up more quickly than Will Halloway, is more fascinated with the dark and what goes on in the dark: carnal love, the promises of adulthood offered to him by a carnival in possession of a carousel that can carry riders backwards or forwards through the years. Will remains tethered to innocence and youth. He is the grounding force for Jim.
Charles Halloway, Will’s father, has lived through the years. He longs for a return to his youth, but he overcomes the temptation offered by Cooger and Dark’s Pandemonium Shadow Show with nobility, reason, and research found in books and dark corners of the library that is more his home than his home. He is the temperance and wisdom of age, the 20/20 hindsight cast onto youth and aging that keeps Will and Jim tethered even more so to reality.
Bradbury’s work here is insightful—about humanity and the human condition, about the bildungsroman genre. It is both within the genre and without. It shares the message that aging comes with pain but also wisdom and knowledge, but it looks backwards more than hurtling forwards at the breakneck pace of teenage exuberance. Will and Jim are narrating characters and certainly they—or at least Jim—hurtle recklessly onward (Will hesitates and teeters on the cliff’s edge), but more of the weight of the narration falls on Charles. Will and Jim and Cooger and Dark create plot. Charles creates perspective.
The plot—uncovering the nefarious devices and deeds and escaping the grasping hands of a demonic carnival—is exciting enough to keep a casual reader interested, I think, but the depth is there, easily accessible for those who want to plumb it, and maybe too for those who would rather just read the adventure, coming hand-in-hand with the adventure so that it cannot be missed.
The triumph of joy and joyful abandonment over darkness add a spark of hope into the novel—and that joy is not only for youth if youth might find it more easily. This is almost a tale to laud never growing up—or maybe more accurately not forgetting the joy of youth for it does not discredit age. In fact the most heroic of the figures ultimately is the eldest of the narrators, Charles, who, with the eyes of experience and the acceptance of his own fears, is able to see the dark creatures as pathetic and frightened and so defeat them with the power of his own confidence and smile and love of son and of Jim.
This book was recently a summer reading book for a local high school. I find it ideal for that age or college students perhaps more so, straddling as it does the line between adulthood and childhood and looking backwards and forwards across it to give a piercing perspective of the two ages. There’s also merit in it for an adult audience, with an adult hero saving youth and recovering his own youth through the acceptance of his age and the through the release of his fears and dourness.
Bradbury, Ray. Something Wicked This Way Comes. New York: Avon-HarperCollins, 1998. First published 1962.
This review is not endorsed by Ray Bradbury, his estate, Avon Books, or HarperCollins Publishers, Inc. It is an independent, honest review by a reader.