The planet has been part of our collective imagination for centuries, from the tales of ancient mythology, to H.G. Wells’ War of the Worlds, to David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders of Mars. Ray Bradbury may have been yet another in a long line of artists dreaming about Mars, but he was the first science fiction writer to elevate the planetary tale beyond the marginalized gutter of “genre fiction,” with his 1950 story cycle The Martian Chronicles.
While Bradbury’s 1953 novel Fahrenheit 451 is often cited as his crowning achievement, it was The Martian Chronicles—arguably a superior work—that put his name on the literary map. The Martian Chronicles was published by Doubleday 75 years ago, on May 4th, 1950. Until that point, science fiction had been mostly dismissed by the firmament as “kids’ stuff,” littered as it was with pulpy tropes such as ray guns, little green men, and scantily clad damsels in distress. But The Martian Chronicles subverted all that, addressing a range of vital, vexing, timeless societal themes in the midst of McCarthy era America: nuclear war, genocide, environmental destruction, the rise of technology, corporatization, censorship, and racism.
Lamentably, these themes still tower over us in the Trumpian zeitgeist all these years later, but their continuing relevance only underscores the point: The Martian Chronicles is a serious book about serious human themes. It is science fiction as a reflection of modernity. The writing is exquisite, showcasing Bradbury at the dizzying height of his poetic prowess, lyrical, rich in metaphor, pastoral, with stunning passages of seemingly effortless prose, eschewing the occasionally purple passages of certain other works, like Something Wicked This Way Comes, and the more dialogue driven polemics of Fahrenheit 451. It hits the sweet spot between poetic exposition and complete narrative originality. With its publication, Ray Bradbury, not quite 30 years old, had pulled off a tour de force magique—he had created literary science fiction, and the intelligentsia quickly took notice.
The Martian Chronicles was, in some ways, a book Bradbury was always destined to write. His childhood was awash in stories of the fantastic. His mother took him to the Elite Theatre to see The Hunchback of Notre Dame, starring Lon Chaney, when he was three. At five, he was completely enthralled by The Phantom of the Opera. His Aunt Neva, ten years his senior, introduced him to the Oz books by L. Frank Baum and to the wicked tales of Edgar Allan Poe. He followed Philip Francis Nowlan’s Buck Rogers comic strips religiously in the Sunday Chicago Tribune. In 1930, already in love with books, Bradbury discovered A Princess of Mars by Edgar Rice Burroughs on his Uncle Bion’s shelf. He was engrossed. It was Burroughs’ books that first transported him to Mars.
