Peter and Wendy, named right out of James M. Steven Kagle called "The Veldt" a work "controlled by new standards of belief." Certainly, Bradbury wants it that way his changeling youths, metaphors for the universal desire to escape into technological fantasy, force us to re-imagine our ideas of what children should be. two years old you were shooting people with cap pistols." this bake-oven with murder in the heart." Bradbury links nursery toys to primal hatred and death, reflecting that Wendy and Peter, like most of humanity, are not too young for "death thoughts. Ultimately the veldt rules, as David enters the nursery and "stepped into Africa. Metaphor and Metamorphosisīradbury extends the nursery's metaphor into that of a godlike hunter, as it "caught the telepathic emanations" of the children and "created life to fill their every desire." The children become as obsessed with the nursery as cell phone addicts. which clothed and fed and rocked them to sleep." The metaphor of "house as mother" is intensified in the nursery, whose walls "begin to purr and recede" into an African veldt, complete with lions feeding at a distance upon "some animal." The beasts then move so close that "the yellow of them was in your eyes." The Hadley adults begin to realize that "the house is wife and mother now," and the quite unmotherly nursery is a source of savagery. Bradbury's chilling tale exalts mechanization over humanity with the Hadley's "Happylife House.
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