The Pedestrian: A Fantasy in One Act

“‘Hello, in there,’ he whispered to every house on every side as he moved. “What’s up tonight on Channel 4, Channel 7, Channel 9? Where are the cowboys rushing, and do I see the United States Cavalry over the next hill to the rescue?’”

This quote explains the repetitive, stock nature of the television programs that entrance most people in Mead’s society. At the same time, the fact that the protagonist whispers to the houses helps develop his character as a thoughtful, sensitive, and curious person. He chooses observation over overt criticism. He may not agree with his neighbors’ choices, but he is content to live and let live.

“In ten years of walking by night or day, for thousands of miles, he had never met another person walking, not once in all that time.”

This quote supports the importance of nonconformity. It shows that Mead is unique in his beloved routine of evening walks, and it dramatizes the story because he has never had a problem in 10 years of walking alone at night.

“But now these highways, too, were like streams in a dry season, all stone and bed and moon radiance.”

This quote uses similes to connect the futuristic city back to nature. While it is busy and mechanized during the day, at night it seems more natural. This connects to the transcendentalist ideas that Mead reflects, and it suggests by contrast that the daily swarm of high-tech cars is unnatural.

“He was within a block of his destination when the lone car turned a corner quite suddenly and flashed a fierce white cone of light upon him.”

This quote introduces irony into the story. In 10 years and thousands of miles of walking, Mead has never encountered a police car, but now he meets one just a block from his home. If he had walked just a little faster or taken a shorter route, the conflict might never have occurred.

“Magazines and books didn’t sell any more. Everything went on in the tomblike houses at night now, he thought, continuing his fancy. The tombs, ill-lit by television light, where the people sat like the dead, the gray or multicolored lights touching their faces, but never really touching them.”

This is a key passage for Bradbury’s criticism of technology. The television lit homes are described as dead and so are the people watching. They are described as detached from their own lives while they sit in front of the screens, which have replaced the critical thinking and imagination brought by literature.

“‘What are you doing out?’

‘Walking,’ said Leonard Mead.

‘Walking!’

‘Just walking,’ he said simply, but his face felt cold.

‘Walking, just walking, walking?’

‘Yes, sir.’

‘Walking where? For what?’

‘Walking for air. Walking to see.’”

This repetition emphasizes the unusual nature of Mead’s choice of hobby. The police car is challenging him suspiciously as if his explanation defies logic. It also relates to the author’s warnings about technology because the police car begins the interaction in an aggressive manner and isn’t interested in trying to understand Mead’s reasoning.

“‘No?’ There was a crackling quiet that in itself was an accusation.”

The diction in this quote is both poetic and important to the plot. Again, the police car is expressing the idea that Mead’s act of walking—which the reader will likely see as innocent—is deeply suspicious. This relates both to the pressure to conform and the historical context of the Red Scare, in which almost anything seen as suspicious could lead to an accusation of Communist sympathizing.

“As he passed the front window of the car he looked in. As he had expected, there was no one in the front seat, no one in the car at all.”

This may be seen as the climax of the story. Bradbury has foreshadowed the possibility that there was no human in the vehicle, and now those hints are confirmed. However, it is notable that Mead doesn’t share the surprise, presumably because he is familiar with the workings of his society.

“He put his hand to the door and peered into the back seat, which was a little cell, a little black jail with bars. It smelled of riveted steel. It smelled of harsh antiseptic; it smelled too clean and hard and metallic.”

This passage includes sensory detail that connects technology with coldness and lack of humanity. Thus, it contributes to Bradbury’s warnings about the dangers of technology. 

“‘Now if you had a wife to give you an alibi,’ said the iron voice. ‘But—.’”

This quote emphasizes The Pressure to Conform to Social Norms. It suggests that if Mead had done at least one thing that was expected of him—such as getting married—he would have been allowed to return home. However, because he is thoroughly different, he is treated as a criminal despite the benign nature of his activity.

“Where are you taking me?”

This quote shows Mead’s desperation. His freedom is being taken away by a machine, and he has no idea where he is going. This contributes to The Dangers of Technological Advancement and The Horrors of Repressive Government that Bradbury develops throughout this story.

“The car hesitated, or rather gave a faint whirring click, as if information, somewhere, was dropping card by punch-slotted card under electric eyes.”

This quote confirms the robotic nature of the police car. The word “whirring” suggests that some kind of machine is working as it determines where to take Mead. A “punch-slotted card” would be a card that stored data for an early computer. Calling the eyes “electric” suggests a robot or technological machine. Therefore, it is a machine that makes decisions based on data, not human reasoning. This passage also emphasizes the automatic nature of Mead’s punishment, thus connecting to The Dangers of Technological Advancements.

“To the Psychiatric Center for Research on Regressive Tendencies.”

This line represents the nail in Mead’s metaphorical coffin. He is no longer a citizen but a research subject. He has been deemed as having a mental health condition without trial. The phrase “regressive tendencies” suggests that his society demands progress, and progress includes eliminating activities from the past. Deepening the horror of the situation is the fact that it’s unclear how walking could be seen as dangerous. The mere act of doing something seen as old-fashioned causes this robot to imprison the protagonist.