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Before Montag meets Clarisse, his sixteen-year-old neighbor, he is minimal in excess of a machine, a book-consuming robot. He reports to work, adapts to his self-destructive spouse, and strolls through his TV-fixated world, however, he scarcely sees what he is doing. Clarisse shakes Montag out of his daze, constrains him to look at his general surroundings, and rouses him to make intense and savage strides. She does the majority of this in a roundabout way, be that as it may. Her key capacity in the novel—the capacity that gets these progressions underway—is to indicate Montag being an author.
Like an incipient writer, Clarisse is definitely mindful of and keen on the world she lives in. In a progression of discussion, she demonstrates to Montag the manner in which she watches society, appreciates stunning things, and thinks about what she sees. She shares her bits of knowledge with individuals, communicating wonderment at the manner in which they blather to one another without looking at anything significant, race past delightful sights without watching them, and neglect to teach kids. She calls attention to little subtleties, for example, the dew on the grass and the man on the moon. She savors the experience of old superstitions, for example, the possibility that dandelions show whether somebody is enamored. She shares analogies, contrasting the downpour with wine and the fallen leaves with cinnamon. She shows interest in other individuals’ inspirations and lives, asking Montag whether he is cheerful and whether the facts confirm that firemen like him once put flames out as opposed to beginning them. By talking transparently to Montag and demonstrating to him the manner in which her mind works, she enables him to see the world through her eyes—the eyes of somebody who really ponders what’s happening around her and whose skill for perception causes her to appear to be bound to turn into an essayist.
Becoming acquainted with Clarisse rouses Montag to watch the world with the equivalent writerly care she does. He abandons a robot into a reasoning, feeling, breaking down being. He sees his stifled house and his sincerely hindered spouse through new eyes. He starts pondering about the historical backdrop of firefighting. He sees that the vast majority care unmistakably more for their TV families than they accomplish for their genuine ones. He understands that he isn’t infatuated with anybody, as Clarisse’s happy dandelion game demonstrated. Rather than floating through society in a foolish trance, without examining it, he starts to think about the way his kinsmen live and how he fits into the social texture. He starts to cross-examine the manners by which he is unique in relation to his associates. He sees, for instance, that the various firefighter look precisely as he does: dim-haired and whiskered, ‘perfect representations’ of Montag. Simultaneously, he understands that his physical similarity to the next firefighters misrepresents the reluctance he feels about playing out his activity, an aversion the other firefighters don’t appear to share.
Once Montag comprehends thinking like an author, he has a disclosure about being an essayist. He understands that journalists are individuals who think as Clarisse does (and as he is starting to) and who at that point compose and shape their considerations on paper. As he tells Mildred, it occurs to him that ”a man was behind every single one of those books. A man needed to think them up. A man needed to set aside a long effort to put them down on paper.” For the vast majority of his grown-up life, he has thought of books essentially as physical articles. Because of Clarisse, he comprehends that the books he is consuming are the results of human undertaking. They speak to an individual essayist’s whole life, including their method for reviewing the world. At the point when he consumes them, Montag acknowledges, he is emblematically consuming journalists like Clarisse. This disclosure demonstrates to him how indecent his work is, and at last, leads him to make a daring and brutal move.
Clarisse vanishes genuinely right off the bat in the novel, yet she is the key that opens Montag. She opens his eyes and motivates him to change. Despite the fact that she is a brilliant, somewhat gullible adolescent, Clarisse is likewise the nearest thing Bradbury has to a delegate in the novel. With her eye for detail, her cutting social knowledge, and her energy for perception, she appears the sort of young lady who may proceed to compose a novel, for example, Fahrenheit 451.
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