Something Wicked This Way Comes by Ray Bradbury

How hard is Something Wicked This Way Comes to read?

Something Wicked This Way Comes scores 64 out of 100 for difficulty on ReadingRate, making it quite demanding. The score is a weighted composite of nine measures: four of how hard the prose is to parse, five of how hard the meaning is to extract.

Vocabulary: 68 out of 100

Bradbury employs a rich, evocative vocabulary that often uses common words in unusual, poetic combinations, such as 'moon-flesh' or 'fire-fuzzed cheeks.' While not laden with archaic terms like 'Ulysses,' the text features literary words like 'ironmongery,' 'rococo,' 'perambulated,' 'panoply,' and 'vellumed' that elevate it beyond accessible contemporary fiction, approaching the level of 'Moby-Dick' in its specialized descriptive power.

Sentence structure: 72 out of 100

The novel features long, flowing sentences with extensive use of subordinate clauses, appositives, and descriptive phrases, often connected by 'and' or commas, creating a breathless, cumulative effect. Sentences frequently extend for several lines, building intricate images and thoughts, reminiscent of Proustian subordination, though generally more navigable than Faulkner's extreme hypotaxis.

Abstraction: 70 out of 100

While grounded in a concrete narrative of two boys and a carnival, the text frequently delves into philosophical musings on time, death, good vs. evil, and the nature of human desire, particularly through Charles Halloway's internal monologues. These digressions into metaphysics and existential questions elevate the abstraction level significantly beyond a simple adventure story, aligning it closer to '2666' or 'Brothers Karamazov' in its thematic depth.

Information density: 75 out of 100

Bradbury packs each paragraph with dense, sensory details, metaphors, and symbolic imagery, requiring sustained attention to fully grasp the layers of meaning. The narrative progresses with a constant stream of new concepts and vivid descriptions, from the carnival's grotesque attractions to Halloway's philosophical insights, demanding a high level of reader engagement similar to '2666' in its rich texture and thematic layering.

Narrative indirection: 60 out of 100

Bradbury's evocative prose often describes the supernatural and emotional states in metaphorical terms, requiring readers to infer deeper meanings about the carnival's true nature and the characters' internal struggles. However, core plot events and character feelings are generally conveyed clearly, with Charles Halloway's philosophical monologues providing direct, albeit abstract, attempts at understanding. This blend places it above direct exposition like '1984' but below the pure implication of 'Pedro Paramo'.

Symbolic density: 78 out of 100

The novel is exceptionally rich in symbolism, with the carnival itself serving as a pervasive allegory for temptation, time, and the battle between good and evil. Characters like Jim and Will are presented as symbolic foils, and elements such as the carousel, mirror maze, and Mr. Dark's tattoos are deeply imbued with thematic significance. This density is more pronounced than in 'The Great Gatsby' due to the explicit philosophical discussions and the pervasive allegorical framework.

Ironic distance: 40 out of 100

The narrative maintains a tone of wonder, dread, and philosophical sincerity, largely aligning with the characters' experiences rather than creating a significant gap between what is said and what is meant by the author. While Mr. Dark and the carnival members employ manipulative and darkly ironic language, the overall narrative voice is earnest in its exploration of the story's themes. This is a lower score than books like 'Lolita' where unreliable narration is central to the ironic distance.

Resolution withholding: 70 out of 100

The excerpt concludes with the central conflict far from resolved, leaving the ultimate fates of the characters and the carnival's true power highly ambiguous. Key mysteries, such as the full extent of the carnival's influence and the characters' ability to combat it, remain open-ended. This resistance to definitive closure is more pronounced than in 'The Great Gatsby' but less absolute than 'Crying of Lot 49'.

Structural complexity: 45 out of 100

The narrative follows a predominantly linear chronology, primarily from the perspectives of Will and Jim, with clear shifts to Charles Halloway's internal monologues. While the prose is highly descriptive and poetic, the structure itself does not feature experimental elements like fragmented timelines, multiple non-linear POVs, or complex formal devices. The chapter progression is straightforward, making it less structurally complex than 'The Great Gatsby' or 'Flights'.

How Something Wicked This Way Comes is regarded

Something Wicked This Way Comes holds a literary regard score of 74 out of 100, weighing its place in the canon, its critical reception, its influence on other writers, and the standing of its author. Regard is measured separately from difficulty: a demanding book is not necessarily an admired one.

About the author

Ray Bradbury