The classic cover art by one of my favorite fantasy & SF artists, Michael Whelan – it’s only part of his full art, which I believe some books featured as a wraparound cover (fair use)

(6) RAY BRADBURY –
THE MARTIAN CHRONICLES (1950)

When I think of Mars, I still dream of the Mars of Ray Bradbury’s The Martian Chronicles (with one or two other fictional exceptions).

The Mars of Ray Bradbury is not a scientific Mars – a cold, dead planet – but a mythic Mars, an eternal planet of dreams.  Of course, Ray Bradbury identified himself not as a writer of science fiction, but as a writer of fantasy, particularly by reference to The Martian Chronicles – “Science fiction is a depiction of the real. Fantasy is a depiction of the unreal. So Martian Chronicles is not science fiction, it’s fantasy. It couldn’t happen, you see? That’s the reason it’s going to be around a long time – because it’s a Greek myth and myths have staying power.”

The Martian Chronicles are stories of the human and markedly American colonization of Mars in a manner analogous to the frontier, with the native Martians akin to the native Americans (a parallel that would also be played for laughs in Futurama).

Indeed, my very favorite Martian Chronicles stories involved the native Martians – those dark-skinned, golden-eyed Martians, those telepathic and empathic shape-shifting Martians. In “Ylla”, the titular frustrated Martian wife has telepathic dreams of the incoming astronauts of humanity’s first expedition to Mars. Her jealous husband denies her dreams, but senses her inchoate romantic feelings towards the interlopers and shoots them under pretext of hunting.

By the time of humanity’s third similarly doomed expedition to Mars in “The Third Expedition” or “Mars is Heaven”, the Martians have become more hostile than Ylla’s telepathic tryst, perhaps in a telepathic premonition of their own doom at the hands of humanity. The expedition finds an exact replica of a town from Earth, populated by their lost, loved ones – who lure them into the houses and then bury them the following day, shifting between their human and Martian forms. The Martians’ doom had come in any event, as the fourth expedition finds the Martians all dead from chicken pox.

And yet the Martians have their ghost dance on Mars. In “The Night Meeting”, a human colonist encounters a Martian, with both of them seeming to inhabit their own parallel worlds of Mars. Each is translucent to the other and has the appearance of a ghost – the colonist sees only ruins where the Martian sees a thriving Martian city, and the Martian sees only an ocean where the colonist sees his settlement. In “The Martian”, a sole surviving Martian empathically takes the shape of a colonist couple’s dead son, but is tragically torn apart by contact with more human colonists, exhausted from helplessly shifting shapes to all their hopes and dreams of lost loved ones. And in “Dark They Were and Golden Eyed”, human colonists are transformed into Martians.

Ultimately, the human colonists have their own ghost dance, as Mars is decolonized by nuclear war on Earth. In “There Will Come Soft Rains”, an automated house on Earth continues to perform its daily duties, even while the family’s silhouettes are permanently burned into the side of the house. And in “Million Years Picnic”, the father of a family that has fled the war to Mars shows them the Martians, their own reflections in a canal.

RATING:
A-TIER (TOP TIER)