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125 pages 4 hours read

Ray Bradbury

The Martian Chronicles

Fiction | Novel | Adult | Published in 1950

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“April 2003: The Musicians”Chapter Summaries & Analyses

“April 2003: The Musicians” Summary

Several young boys hike out to the ruins of a Martian city, goading each other further into the ruins. They bring packed lunches of ham and mayo sandwiches with pickles, and their outing recalls those they undertook on Earth, particularly during autumn; the boys imagine “scuttering through autumn leaves” (117).

As they arrive at the town the boys’ exuberance is dampened as they recall the warnings of their parents about venturing into the abandoned towns. Inside the abandoned homes, they boys hear a crackling, like autumn leaves. They proceed forward slowly, sticks held like weapons, daring each other deeper into the fallen city.

When one of the boys bolts toward the Martian homes, the others run as well, under the agreement that the “first boy there would be the Musician” (117). The boy who assumes the role of the Musician takes up the bones of the dead Martians and uses them as percussive instruments, while the others kick and thrash their feet, sending into the air “black leaves […] thin as tissue cut from midnight sky” (117). The “black leaves” are the remains of the Martian carcasses, death having “turned the dead to flakes and dryness” (118), but the boys are unbothered by the gruesomeness of their game.

The boys are careful to stay ahead of the Firemen, “antiseptic warriors with shovels and bins” (118), who are sanitizing the Martian towns by burning the remains and purging the structures of the traces of death’ “separating the horrible from the normal” (118). When the boys return home, their mothers check their shoes and, finding evidence of the “black flakelets” of the Martian carcasses, punish them and beat them.

By the end of the year, the Firemen have purged all the surrounding Martian ruins, and the boys are denied their fun.

“April 2003: The Musicians” Analysis

Bradbury uses his talent for the evocation of nostalgic childhood bliss to very dark ends in his depiction of the frivolity of the boys. The vignette suggests the regularity of these expeditions, but neither the early mention of autumn leaves, nor the sense of regularity, register until Bradbury completes his slow build to the horror of the boys playing amidst the flaking flesh and bones of dead Martians. That the tone doesn’t shift from this regularity, only escalates the revulsion the reader is meant to feel as the children play with bones of a species wiped out by their presence. Nowhere else in the work does Bradbury make more sinister use of his type of nostalgia than when he overlays it against a vision of conquers “sanitizing” the ruined domiciles of their inhabitants.

The Firemen “separating the horrible from the normal” (28) offer a vision of the overbearing authorities on Earth and the heavy-handedness of their approach. Yet they perform an essential duty for the continuance of the human program on Mars. The ugliness of the past is sanitized for the incoming settlers, the new people who will have clean shoes and clean passage without bothering themselves about the atrocity the former expeditions brought upon the inhabitants of the planet.

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