The Pedestrian

The Pedestrian by Ray Bradbury Utopia: an ideal place (fictional) This short story is an example of Dystopian fiction – dealing with a society that embodies a flawed perfection – achieved at a cost. In the story, Ray Bradbury attacks a society which is, in effect, a police state – a totalitarian regime. The sole representative of the regime is, appropriately, the police car. Mead is a non-conformist whose ‘crime’ is to walk for pleasure – a most simple and natural activity.The oppressive nature of the regime is emphasised by the fact that such a basic human activity is prohibited and has been eradicated – as indicated by the disused sidewalks. The nature of this soulless society is emphasised again and again by numerous images connected with death: â€Å"dark windows† â€Å"not unlike walking through a graveyard† â€Å"tomb-like buildings† and â€Å"grey phantoms†By contrast the vivid sensory description of M ead’s walk is conveyed through crisp natural images which evoke the senses and show his delight in simple pleasures and sensations: breathing in the cold November air and its â€Å"crystal frost† makes his â€Å"lungs blaze like a Christmas tree inside† the â€Å"branches filled with invisible snow†. This is a society which (it is implied) is kept docile and uninformed by a diet of poor quality TV programmes (which, we assume from the Police Car’s incredulity when Mead explains that he has no TV, are controlled by the State).The minds of the population have been dulled by the TV they are incessantly and acceptingly fed. Only Mead can see through the banality and predictability of the programmes: †Where are the cowboys rushing? † †A dozen assorted murders† †A comedian falling off the stage† There is nothing to stimulate the intellect of the population here. Despite the (large) number of channels, there is a comple te absence of any political programme which might challenge the government. Possibly suggesting brain-washing.If not, it is clear from the way that the population is described that they are not capable intellectually of challenging the government – they are portrayed as automatons – unthinking, unchallenging, uninformed. The suggestion is that the minds of this population are chained and dulled by the government’s actions. Informed, intelligent, alert people would pose a threat and ask awkward questions. Mead is the last of such people and his nightly covert walks are, we presume a way to find like-minded people.His rebellion, if we can call it that, is hardly the most active – he seems to have accepted or resigned himself to the fact that he can no longer pursue his career and seems a broken man at the end of the story. Setting In contrast to the rest of the population, the individuality and free-thinking nature of Mead’s mind is emphasised by nat ural images. The simile â€Å"only his shadow moving like the shadow of a hawk† conveys both an impression of a hunter and an image of soaring freedom.The fact that â€Å"he could imagine himself upon the centre of a plain, a wintry, windless Arizona desert† highlights his individuality and the sense of emptiness that he feels in a society that is, effectively, dead. The rest of the population and the city itself are portrayed as being dead. The buildings and city are architecturally dead – the â€Å"buckling concrete walk† suggesting decay and â€Å"tomb-like buildings† suggesting that those inside are dead. Even Nature itself seemed outraged by the setting and tried, it seemed, to bury it â€Å"like cement was vanishing under flowers and grass†The Police Car The imagery associated with the police car is harsh, cold, threatening, oppressive, that of hunter and its paralysed prey â€Å"flashed a fierce white cone of light upon him† â €Å"It smelled of riveted steel. It smelled of harsh antiseptic† Images which mirror the nature of the regime which is personified and represented by the car. Frequent use of word-choice linked to metallic, robotic, mechanical ideas. The voice of the police car also sounds robotic: short, sharp peremptory commands contrast with Mead’s fuller more warm and personal replies.The clearest indication of the nature of the regime comes in the interrogation: The lack of recognition of Mead’s profession and the incredulity that he does not have a TV set hint strongly at state control. In this dystopian society, anything connected with the arts: creativity, beauty, the senses†¦ is not recognised. Only that which is manufactured is recognised. Books and writing have no place in this regime. In a similar manner, the police car is unable to comprehend that Mead was simply walking for its own pleasurable sake. â€Å"Walking, just walking, walking? The repetition of walk ing gives the impression of the car’s brain malfunction. It cannot grasp that anyone would do something simply for the pleasure of it, not without a reason. Only Mead is capable of wry humour (a human quality) Are you married, Mr Mead No Nobody wanted me, said Leonard Mead with a Smile. Irony Mead is to be taken to an asylum – â€Å"To the Psychiatric Centre for Research on Regressive Tendencies†. Note the use of official sounding language – a euphemism designed to hide the true purpose of such a place – echoing SovietAsylums in which those who actively opposed the state’s political ideals were sent to an ‘asylum’ to be ‘re-educated’ – brain-washed until they did accept what the state wanted them to believe. The great irony here is that Mead – the only sane man in this insane society is being sent to an asylum. Symbolism. On their way to the asylum through, they pass Mead’s house. It is ablaze w ith lights in contrast to the dark city. â€Å"electric light brilliantly lit, every window a loud yellow illumination. It is a symbol of hope of vibrant life – light is a universal symbol of hope, but the car is swallowed up once more into the darkness (literally and figuratively). â€Å"The car moved down the empty river-bed streets† natural images of decay and life-lessness. Structure Mead’s capture is represented in stages. Contrast the positive, empowering image of him as a hawk – conveying a sense of freedom with his reaction to the car †not unlike a night moth, stunned by the illumination† The short story remains fairly uneventful throughout, therefore the structure reflects this.However, the featurelessness of structure (which in turn reflects the bleakness of the landscape) is broken by the tension created by the interrogation of the police car. The apparent tedium of the walk through the grey town is transformed into a gripping tens e episode. Near the end, the short story bursts into another high point of hope with the wonderful climactic symbol of the house ablaze with light – a symbol of hope. Nevertheless, we are again plunged into dark anti-climax as we realise that the house is only one lone point of hope, soon to be submerged within the blanket of darkness everywhere.Themes: 1. The distrust and ultimate destruction of the individual in a totalitarian state 2. Bradbury considers such a police state to be alien to the natural laws of Mankind – man should be free to voice his feelings. 3. He points to the dangers of state-controlled media which can brainwash a nation, State-controlled TV programmes being, effectively, propaganda. 4. He points to the dangers of a docile, unquestioning society. 5. Glancing euphemistic references to ‘psychiatric hospitals’. 6. Pessimistic – the light in the darkness is extinguished.