“There Will Come Soft Rains” lacks any living human character and as a result the house becomes the main avenue of storytelling. Bradbury establishes an eerie, mechanical tone that reflects the mechanization of the house. This tone is reinforced by the use of the voice-clock, which periodically announces the time of day. Even the death of the deceased family’s dog is situated chronologically in between time stamps. What is in fact a tragic death by radiation poisoning and starvation becomes “debris” that is cleaned up between two o’clock and two thirty-five. Bradbury’s use of such a detached, factual tone emphasizes the tragedy of the humanity that has been lost: there is no one left to mourn.

The personification of the house further reflects inhumanity of the machinery. It moves mechanically, coldly, with no real emotion, even though it attempts to convey this through sing-songy clock reminders. When the voice reads out the Sarah Teasdale poem for which the story is named, the juxtaposition is off-putting. Here is a poem about nature’s longevity and indifference to human action read by a robotic voice in the wall. This seems to be a fitting and unsettling combination that ties Bradbury’s narrative together.

Ray Bradbury is well known for his science fiction works, specifically those that emphasize the relationship between humans, nature, and technology. This background certainly aligns with “There Will Come Soft Rains.” Bradbury was also known for social commentary, which is particularly fitting given the Cold War context of this story’s publication. The fears of nuclear war, as well as the apprehensions around rapidly expanding technology, would have been immediately recognizable for audiences in the 1950s. “There Will Come Soft Rains” depicts a technological fixture—the house—that withstands a nuclear blast, even though its occupants did not. Bradbury illustrates a world where technology has gone too far, so far as to outlast humanity. There is an underlying dread that such rapid technological advancement will be the end of humanity.

The role of nature is especially important throughout the story. Nature is what prevails in this post-blast world. Similarly, nature is what eventually leads to the downfall of the house. References to animal and plant life are abundant in the story. The robot mice act as cleaners, scurrying around just as their flesh and blood counterparts would. The house shutters itself when a bird lands on the windowsill, perceiving it as a threat. The nursery walls come alive with images and sounds of the natural world. When the house catches on fire, the “jungle” of the nursery burns. The digital animals scurry and meet the same fate as the rest of the mechanical voices in the walls. Although the house attempts to replicate the doings of nature, it fails to live up to the longstanding power of nature. Though the house could withstand the nuclear blast, it fails to match the impact of nature. It has been trying to replicate the natural world but has only created technological versions of it. Thus, it is symbolic that this seemingly indestructible home is felled by something as natural as a fire caused by a strong wind.

The story’s namesake, “There Will Come Soft Rains” by Sara Teasdale, draws on the ideas of nature and destruction. The poem, which describes the way nature will return to equilibrium even after war and human destruction, provides a parallel to what goes on in the story. After the nuclear fallout, major destruction occurred. Yet it is nature that prevails against the mechanics of the house. It is suggested that even after humans are gone—whether from nuclear blasts, disease, or warfare—nature will carry on, unbothered. When spring arrives, it “[w]ould scarcely know that we were gone.” This is an ominous conversation to have with Teasdale’s poem, which details the peace that comes after war. Bradbury’s choice to name the story after the poem—and thus to directly cite it—invites a discussion about the relationship between humanity and its surroundings. Bradbury seems to be suggesting that humanity is relatively insignificant in the face of nature’s immensity.

Aftermath of World War II

Bradbury penned "There Will Come Soft Rains" in the early 1950s, a time when the memory of World War II was still vivid, especially the atomic bombings of Hiroshima and Nagasaki in August 1945, which concluded the war. Although the Allies emerged victorious, growing tensions between the United States and the U.S.S.R. led to the onset of the Cold War, characterized by a nuclear arms race. President Dwight Eisenhower, a celebrated war hero, cautioned against the expanding military-industrial complex required to sustain the Cold War. In the United States' mission to eliminate communism globally, particularly starting with the Soviet Union, a significant portion of the nation's resources and economic strength had to be devoted to amassing weapons. Critics argued that this focus on military readiness would cause the government to overlook other crucial issues, such as education, welfare, and economic development. Despite these concerns, few citizens were preoccupied with such issues as the 1950s began; jobs were abundant, and people could now afford previously unaffordable items like cars and televisions. However, the looming threat of nuclear war permeated daily life. People constructed bomb shelters in their basements, and children participated in bomb drills at school, learning to protect themselves from a nuclear explosion by crawling under their desks and placing their hands over their heads.

Anticommunist Fervor

The fear of communism escalated uncontrollably during the 1950s, most notably represented by the Senate Committee on Unamerican Activities, led by Senator Joseph McCarthy. This committee investigated and persecuted numerous prominent Americans suspected of communist beliefs. This paranoia, coupled with a fervent effort to expose and eliminate democracy's perceived traitors, became known as McCarthyism. Many writers and artists were hauled into court, accused of being communists, and subsequently "blacklisted," meaning they were unable to find work. Consequently, numerous lives and careers were destroyed.

When not fixated on the "red menace" of communism, the nation turned its gaze toward the future. Inspired by pre-war interests in futurism and modernism showcased by corporate America at the 1939 World's Fair in New York City, people's imaginations were ignited by the prospects of transcontinental highways, labor-saving devices like washing machines and robots, and the potential for space travel. The National Aeronautics and Space Administration (NASA) was established to make space travel a reality. However, the U.S.S.R. outpaced the Americans by launching Sputnik in 1956, intensifying anti-Soviet sentiment in the United States. Government leaders vowed to escalate the space race by pledging to land a man on the moon before the century's end. This fascination with the future was mirrored in the nation's growing interest in science fiction movies and comic books.

The setting of "There Will Come Soft Rains" is clearly established at the beginning of the story. It takes place on the morning of August 4, 2026, in Allendale, California. The narrative unfolds in the aftermath of a catastrophic nuclear war. The entire story spans a single day within an abandoned family home, which remains covered in ash but is still technologically functional.

Irony

Ray Bradbury masterfully employs irony to deepen the thematic resonance of his narrative. Irony, in this context, involves presenting an outcome that starkly contrasts what one might anticipate. The story's central irony lies in the dual role of technology: the same advanced systems designed to maintain household comfort also become the instruments of human obliteration. The technological marvel of the computerized house is ironically undone by the simplicity of nature—a tree branch that crashes through a window ignites a devastating fire.

The poem recited by the house’s computer adds another layer of irony. "There Will Come Soft Rains" by Sara Teasdale, originally penned in response to the horrors of World War I, holds a haunting relevance in Bradbury’s post-apocalyptic setting. Despite the catastrophic effects of nuclear warfare, the earth persists, indifferent to human demise. The irony is palpable as the house reads an apocalyptic vision that eerily mirrors its own reality: humanity prophesied its annihilation, and now only the echoes of those warnings remain. This paradox—where protective technology becomes a vehicle for destruction—pervades the story.

Simile

Bradbury’s use of similes enriches the vivid imagery of his prose. His description of the house’s "nerves" as "revealed as if a surgeon had torn the skin off to let the red veins and capillaries quiver in the scalded air" transforms the house into a living entity, vulnerable and wounded. This simile not only creates a striking visual but also imbues the house with human-like qualities, fostering reader empathy. Anthropomorphism, the attribution of human characteristics to non-human entities, allows the reader to identify with the house, the last functioning structure in a desolate world. Although the house cannot truly feel, the narrative evokes loneliness and pain reminiscent of human experience, illustrating Bradbury's skill in eliciting emotion.

Another poignant simile compares the fire "[feeding] upon Picassos and Matisses in the upper halls, like delicacies," further anthropomorphizing the flames. This imagery of priceless art consumed like food endows the fire with a human-like appetite. In a narrative devoid of human characters, such literary devices as similes and anthropomorphism create points of connection for the reader, making the absence of humanity felt through the remnants of its creations.

By the mid-20th century, Ray Bradbury was acutely aware of the dual-edged nature of technological advancement. On one hand, technology held the promise of making life more convenient and comfortable; on the other, it bore the potential for catastrophic misuse, particularly in the form of nuclear annihilation. In "There Will Come Soft Rains," the automated house at the center of the narrative serves as a poignant symbol of this dichotomy. Before a nuclear explosion obliterates its inhabitants, the house epitomizes a life of ease—catering to every whim of its human occupants. It autonomously performs tasks such as cooking and cleaning, and even provides entertainment and reminders for daily activities, illustrating an extreme reliance on technology.

However, the irony lies in the fact that once this house, a marvel of human ingenuity, begins its functions, it renders its creators redundant. The house, a testament to human technological prowess, continues to operate efficiently even in the absence of human life. It suggests a future where humans might perfect their control over their environment yet remain impotent in mastering their own destructive inclinations. The backdrop of the story, set in 2026, reflects a society that has achieved mastery over the material world but remains helplessly vulnerable to the darker sides of its scientific achievements, as indicated by a nuclear catastrophe.

The narrative concludes with a stark reminder of nature's enduring supremacy and humankind's vulnerability. The house meets its demise not through human action, but through an act of nature—a tree branch, propelled by the wind, sets off a chain reaction leading to its destruction. The dawn continues to break over the landscape, indifferent to the absence of human witnesses, underscoring the continuity of natural cycles. A recorded human voice announces the arrival of another day, but now it echoes over mere ruins, reinforcing the ephemeral nature of human constructs compared to the relentless persistence of nature.

Bradbury wrote "There Will Come Soft Rains" in the early 1950s. The memory of World War II was still vivid, especially the atomic bombings of Hiroshima and Nagasaki in August 1945, which ended the conflict. Although the Allies had emerged victorious, escalating tensions between the United States and the Soviet Union marked the beginning of the Cold War, characterized by a nuclear arms race. President Dwight Eisenhower, a celebrated war hero, cautioned against the expanding military-industrial complex necessary to sustain the Cold War. To combat communism globally, starting with the Soviet Union, the United States had to allocate a significant portion of its resources and economic power to amassing weapons. Critics argued that this war preparedness focus would lead the government to neglect other vital issues such as education, welfare, and economic growth. Despite these concerns, as the 1950s began, few citizens seemed worried; jobs were abundant, and people could now afford previously cost-prohibitive items like cars and televisions. However, the threat of nuclear war permeated daily life, leading people to build bomb shelters in their basements and children to participate in school bomb drills, where they learned to protect themselves from a nuclear blast by crawling under their desks and covering their heads.

The fear of communism spiraled out of control during the 1950s, most notably represented by the Senate Committee on Un-American Activities, led by Senator Joseph McCarthy. This committee investigated and persecuted numerous prominent Americans suspected of communist involvement. This paranoia and the fanatical efforts to root out "traitors" became known as "McCarthyism." Many writers and artists were brought to court, accused of being communists, and subsequently "blacklisted," rendering them unable to find work. Consequently, many lives and careers were devastated.

When not preoccupied with the "red menace" of communism, the nation turned its gaze toward the future. Inspired by pre-war interests in futurism and modernism showcased by corporate America at the 1939 World's Fair in New York City, people's imaginations were ignited by visions of transcontinental highways, labor-saving devices like washing machines and robots, and the possibility of space travel. The formation of the National Aeronautics and Space Administration (NASA) aimed to make space travel a reality, but the Soviet Union took an early lead by launching Sputnik in 1956, further fueling anti-Soviet sentiment in the United States. Government leaders intensified the space race by declaring their intention to land a man on the moon before the end of the 1960s. The nation's fascination with the future was also reflected in the popularity of science fiction movies and comic books.

1951: The United States detonates its first thermonuclear device in the mid-Pacific, completely destroying the Eniwetok island atoll. Minimal precautions are taken to shield nearby residents from radiation exposure.

1997: Despite several near catastrophes over the past decades, including incidents at Three Mile Island, Pennsylvania, and Monroe, Michigan, nuclear power plants still generate a significant portion of the United States's electricity.

1951: Remington Rand produces the world's first commercial computer, the Univac. This machine occupies an entire room and needs several experts to operate it.

1997: Intel Corporation's Pentium chip is installed in 90 percent of all new personal computers. This common microprocessor chip is roughly the size of a fingernail.

1951: Bell Telephone introduces the first long-distance direct dialing service.

1997: Communications companies reach an agreement with the government to develop digital, high-definition television signals. These signals will also enable access to the Internet via television sets.

Bradbury's The Veldt narrates the story of a brother and sister who can travel anywhere in the world using their nursery's electronic screen. Similar to "There Will Come Soft Rains," the consequences of this technology can be fatal.

The Martian Chronicles was turned into a television film in 1979, featuring Rock Hudson, Bernadette Peters, Roddy McDowell, and Darin McGavin. Directed by Michael Anderson and produced by U.S.A. Fries Entertainment, the film is available through Fries Home Video. The story "There Will Come Soft Rains" has also been adapted into a graphic story for the comic book Weird Fantasy, Vol. 1, no. 17, October 1996.

The Martian Chronicles was turned into a television film in 1979, featuring Rock Hudson, Bernadette Peters, Roddy McDowell, and Darin McGavin. The movie was directed by Michael Anderson and produced by U.S.A. Fries Entertainment. You can find it through Fries Home Video.

"There Will Come Soft Rains" was transformed into a graphic story for the comic book Weird Fantasy, Vol. 1, No. 17, in October 1996.

Everman, Welch D. "August 2026: 'There Will Come Soft Rains': Overview." In Reference Guide to Short Fiction, First Edition. Edited by Noelle Watson. Detroit: St. James Press, 1994. Everman explores Bradbury's claim that "human life is precariously balanced between the natural world we believe we have left behind and the technological world that has surpassed us, and, unfortunately, neither of these worlds needs us to exist."

McNelly, Willis E. "Two Views: Ray Bradbury Past, Present and Future." In Voices for the Future: Essays on Major Science Fiction Writers. Bowling Green: Bowling Green University Popular Press, 1976, pp. 167-75. McNelly analyzes Bradbury's short stories, connecting them to the broader American short fiction tradition.

Mogen, David. "Ray Bradbury." Twayne's United States Authors Series Online. New York: G. K. Hall & Co., 1999. A detailed biography of Bradbury, covering his early life, literary influences, and body of work.

Sources

Bradbury, Ray. Zen and the Art of Writing, Capra Press, 1973.

Bradbury, Ray and Jeffrey M. Elliot. "Ray Bradbury: Poet of Fantastic Fiction," in Science Fiction Voices #2, The Borgo Press, 1979, pp. 20-29.

Finkelstein, Sidney. "World of Science Fiction," in Masses and Mainstream, Vol. 8, April 1955, pp. 48-57.

Gallagher, Edward J. "The Thematic Structure of 'The Martian Chronicles'," in Ray Bradbury, edited by Martin Harry Greenberg and Joseph D. Olander, Taphnger Publishing Co., 1980, pp. 55-82.

McLaughlin, John J. "Science Fiction Theatre," in The Nation, Vol. 200, No. 4, January 25, 1965, pp. 92-94.

Pell, Sarah-Warner J. "Style Is the Man: Imagery in Bradbury's Fiction," in Ray Bradbury, edited by Martin Harry Greenberg and Joseph D. Olander, Taplinger Publishing Co., 1980, pp. 186-194.

Touponce, William F. "Some Aspects of Surrealism in the Work of Ray Bradbury," in Extrapolation, Vol. 25, No. 3, Fall 1984, pp. 228-238.

Further Reading

Everman, Welch D. "August 2026: There Will Come Soft Rains," in Reference Guide to Short Fiction, edited by Noelle Watson, St. James Press, 1990, pp. 627-628.
A literary analysis of the story.

Magill, Frank N. "Ray Bradbury," in Critical Survey of Short Fiction, Salem Press, Vol. 1, 1988, pp. 209-309.
This multi-volume reference includes biographical details as well as general literary analysis. Although "There Will Come Soft Rains" is not specifically discussed, the influence of Bradbury's history on his vision of the future is examined.

• Gary Mead’s The Doughboys: America and the First World War, published in 2000, delves into World War I from an intriguing angle. Readers might be astonished to discover how the United States' allies attempted to leverage American involvement for their own benefits and against their adversaries. Though the book is extensive, it reads more like a novel than a traditional history text.

• Richard Rhodes’s 1995 book, Dark Sun: The Making of the Hydrogen Bomb, offers a comprehensive look at “super” science, postwar politics, espionage, and ethical dilemmas. This account stands out because it not only details the scientific breakthroughs but also delves into the personal quirks and unusual traits of the physicists involved.

• Many people remember the iconic Vietnam War photo of a young girl running naked down a road, her body burned by napalm. That girl was nine-year-old Kim Phuc, whose life story is recounted in Denise Chong’s 2000 biography, The Girl in the Picture: The Story of Kim Phuc, the Photographer, and the Vietnam War. The book narrates her incredible survival, her interactions with both Americans and North Vietnamese, and her current life in Canada with her husband and two sons.

• First released in 1937, The Collected Poems of Sara Teasdale has seen numerous editions and reprints, making it easily accessible in libraries. This collection is an outstanding compilation of her work, featuring the simple love lyrics that brought her fame, as well as the darker poems she penned in the years leading up to her suicide.

• During World War I, Vera Brittain served as a nurse in military hospitals in England and France. Like many others, Brittain was appalled by the war's scale, losing her boyfriend, brother, and two close friends on the battlefield. Their stories are woven together through a collection of letters they exchanged during the war in the book Letters from a Lost Generation (1999), edited by Alan Bishop and Mark Bostridge.