Михаил Назаренко (petro_gulak) wrote,
Михаил Назаренко
petro_gulak

Фаренгейт

Из предисловия Брэдбери к изданию 1982 года: писатель рассказывает о работе над инсценировакой романа. Есть основания полагать, что фильм Дарабонта будет более следовать пьесе, чем книге.

What's new, I said to Montag, Clarisse, Faber, Beatty, since last we met in 1953?
I asked. They answered.
They wrote new scenes, revealed odd parts of their as yet undiscovered souls and dreams. The result was a two-act drama, staged with good results, and in the main, fine reviews.
Beatty came farthest out of the wings in answer to my question: How did it start? Why did you make the decision to become Fire Chief, a burner of books? Beatty's surprising answer came in a scene where he takes our hero Guy Montag home to his apartment. Entering, Montag is stunned to discover the thousands upon thousands of books lining the walls of the Fire Chief's hidden library! Montag turns and cries out to his superior:
"But you're the Chief Burner! You can't have books on your premises!"
To which the Chief, with a dry light smile, replies:
"It's not owning books that's a crime, Montag, it's reading them! Yes, that's right. I own books, but don't read them!"
Montag, in shock, awaits Beatty's explanation.
"Don't you see the beauty, Montag? I never read them. Not one book, not one chapter, not one page, not one paragraph. I do play with ironies, don't I? To have thousands of books and never crack one, to turn your back on the lot and say: No. It's like having a house full of beautiful women and, smiling, not touching. . . one. So, you see, I'm not a criminal at all. If you ever catch me reading one, yes, then turn me in! But this place is as pure as a twelveyear-old virgin girl's cream-white summer night bedroom. These books die on the shelves. Why? Because I say so. I do not give them sustenance, no hope with hand or eye or tongue. They are no better than dust."
Montag protests, "I don't see how you can't be-"
"Tempted?" cries the Fire Chief. "Oh, that was long ago. The apple is eaten and gone. The snake has returned to its tree. The garden has grown to weed and rust."
"Once-" Montag hesitates, then continues, "Once you must have loved books very much."
"Touche!" the Fire Chief responds. "Below the belt. On the chin. Through the heart. Ripping the gut. Oh, look at me, Montag. The man who loved books, no, the boy who was wild for them, insane for them, who climbed the stacks like a chimpanzee gone mad for them.
"I ate them like salad, books were my sandwich for lunch, my tiffin and dinner and midnight munch. I tore out the pages, ate them with salt, doused them with relish, gnawed on the bindings, turned the chapters with my tongue! Books by the dozen, the score and the billion. I carried so many home I was hunchbacked for years. Philosophy, art history, politics, social science, the poem, the essay, the grandiose play, you name 'em, I ate 'em. And then . . . and then . . ." The Fire Chiefs voice fades.
Montag prompts: "And then?"
"Why, life happened to me." The Fire Chief shuts his eyes to remember. "Life. The usual. The same. The love that wasn't quite right, the dream that went sour, the sex that fell apart, the deaths that came swiftly to friends not deserving, the murder of someone or another, the insanity of someone close, the slow death of a mother, the abrupt suicide of a father – a stampede of elephants, an onslaught of disease. And nowhere, nowhere the right book for the right time to stuff in the crumbling wall of the breaking dam to hold back the deluge, give or take a metaphor, lose or find a simile. And by the far edge of thirty, and the near rim of thirty-one, I picked myself up, every bone broken, every centimeter of flesh abraded, bruised, or scarred. I looked in the mirror and found an old man lost behind the frightened face of a young man, saw a hatred there for everything and anything, you name it, I'd damn it, and opened the pages of my fine library books and found what, what, what!?"
Montag guesses. "The pages were empty?"
"Bull's eye! Blank! Oh, the words were there, allright, but they ran over my eyes like hot oil, signifying nothing. Offering no help, no solace, no peace, no harbor, no true love, no bed, no light."
Montag thinks back: "Thirty years ago . . . the final library burnings. . . ."
"On target." Beatty nods. "And having no job, and being a failed Romantic, or whatever in hell, I put in for Fireman First Class. First up the steps, first into the library, first in the burning furnace heart of his ever-blazing countrymen, douse me with kerosene, hand me my torch!
"End of lecture. There you go, Montag. Out the door!"
Montag leaves, with more curiosity than ever about books, well on his way to becoming an outcast, soon to be pursued and almost destroyed by the Mechanical Hound, my robot clone of A. Conan Doyle's great Baskerville beast.
In my play, old man Faber, the teacher-not-quite-in-residence, speaking to Montag through the long night (via the seashell tamp-in ear radio) is victimized by the Fire Chief. How? Beatty suspects Montag is being instructed by such a secret device, knocks it out of his ear, and shouts at the far-removed teacher:
"We're coming to get you! We're at the door! We're up the stairs! Gotcha!"
Which so terrifies Faber, his heart destroys him.
All good stuff. Tempting, this late in time. I've had to fight not to stuff it into the novel.
Finally, many readers have written protesting Clarisse's disappearance, wondering what happened to her. Francois Truffaut felt the same curiosity, and in his film version of my novel, rescued Clarisse from oblivion and located her with the Book People wandering in the forest, reciting their litany of books to themselves. I felt the same need to save her, for after all, she, verging on silly star-struck chatter, was in many ways responsible for Montag's beginning to wonder about books and what was in them. In my play, therefore, Clarisse emerges to welcome Montag, and give a somewhat happier ending to what was, in essence, pretty grim stuff.
The novel, however, remains true to its former self. I don't believe in tampering with any young writer's material, especially when that young writer was once myself. Montag, Beatty, Mildred, Faber, Clarisse, all stand, move, enter and exit as they did thirty-two years ago when I first wrote them down, at a dime a half hour, in the basement of the UCLA library. I have changed not one thought or word.
A last discovery. I write all of my novels and stories, as you have seen, in a great surge of delightful passion. Only recently, glancing at the novel, I realized that Montag is named after a paper manufacturing company. And Faber, of course, is a maker of pencils! What a sly thing my subconscious was, to name them thus.
And not tell me!

Исповедь Битти любопытно соотносится с его проповедью – центральной в книге. Смысл: книги наносят вред не только обществу, но и конкретному человеку. Урок для всех книгочеев! Лучшие палачи – разочарованные романтики.
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