Man and Technology: Alienation in Ray Bradbury's
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Zen in the Art of Writing – Ray Bradbury
A NOTE ABOUT THE AUTHOR Ray Bradbury has published some twenty-seven books—novels, stories, plays, essays, and poems—since his first story appeared when he was twenty years old. He began writing for the movies in 1952—with the script for his own Beast from 20,000 Fathoms. The next year he wrote the screenplays for It Came from Outer Space and Moby Dick. And in 1961 he wrote Orson Welles's narration for King of Kings. Films have been made of his "The Picasso Summer," The Illustrated Man, Fahrenheit 451, The Mar- tian Chronicles, and Something Wicked This Way Comes, and the short animated film Icarus Montgolfier Wright, based on his story of the history of flight, was nominated for an Academy Award. Since 1985 he has adapted his stories for "The Ray Bradbury Theater" on USA Cable television. ZEN IN THE ART OF WRITING RAY BRADBURY JOSHUA ODELL EDITIONS SANTA BARBARA 1996 Copyright © 1994 Ray Bradbury Enterprises. All rights reserved under International and Pan-American Copyright Conventions. Owing to limitations of space, acknowledgments to reprint may be found on page 165. Published by Joshua Odell Editions Post Office Box 2158, Santa Barbara, CA 93120 Library of Congress Cataloging-in-Publication Data Bradbury, Ray, 1920— Zen in the art of writing. 1. Bradbury, Ray, 1920- —Authorship. 2. Creative ability.3. Authorship. 4. Zen Buddhism. I. Title. PS3503. 167478 1989 808'.os 89-25381 ISBN 1-877741-09-4 Printed in the United States of America. Designed by The Sarabande Press TO MY FINEST TEACHER, JENNET JOHNSON, WITH LOVE CONTENTS PREFACE xi THE JOY OF WRITING 3 RUN FAST, STAND STILL, OR, THE THING AT THE TOP OF THE STAIRS, OR, NEW GHOSTS FROM OLD MINDS 13 HOW TO KEEP AND FEED A MUSE 31 DRUNK, AND IN CHARGE OF A BICYCLE 49 INVESTING DIMES: FAHRENHEIT 451 69 JUST THIS SIDE OF BYZANTIUM: DANDELION WINE 79 THE LONG ROAD TO MARS 91 ON THE SHOULDERS OF GIANTS 99 THE SECRET MIND 111 SHOOTING HAIKU IN A BARREL 125 ZEN IN THE ART OF WRITING 139 . -
Ray Bradbury Theater
The Ray Bradbury Theater Episode Guide Compiled by Loren Heisey ([email protected]) June 14, 1993 page 1 THE RAY BRADBURY THEATER EPISODE GUIDE Guide revision history Version 1.0: Original release (06/07/92) Version 1.1: Minor update (07/05/92) Added support for printing with the ms macros and with cawf. Version 2.0: Update (06/14/93) Added fifth production episodes. Changed order of HBO episodes. Miscellaneous other changes. This guide is for personal use only and may be distributed freely. No charge may be made for this document beyond the costs of printing and distribution. page 2 June 14, 1993 THE RAY BRADBURY THEATER EPISODE GUIDE Table of Contents I. HBO Produced Episodes 4 II. USA First Production 7 III. USA Second Production 11 IV. USA Third Production 17 V. USA Fourth Production 20 VI. USA Fifth Production 22 VII. Episode Title List 27 VIII. Alphabetical Episode Title List 29 IX. Principle Credits 31 X. Notes 36 June 14, 1993 page 3 THE RAY BRADBURY THEATER EPISODE GUIDE I. HBO produced episodes Introduction by Ray Bradbury "People ask where do you get your ideas. Well right here. All this is my Martian landscape. Somewhere in this room is an African veldt. Just beyond perhaps is a small Illinois town where I grew up. And I’m surrounded on every side by my magicians toyshop. I’ll never starve here. I just look around, find what I need, and begin. I’m Ray Bradbury, and this is" The Ray Bradbury Theater. "Well then, right now what shall it be. -
Fragmentary Futures: Bradbury's Illustrated Man Outlines--And Beyond
2015 Fragmentary Futures: Bradbury's Illustrated Man Outlines--and Beyond Jonathan R. Eller Indiana University-Purdue University Indianapolis Indianapolis, Indiana, USA IUPUI ScholarWorks This is the author’s manuscript: This article was puBlished as Eller, Jonathan R. “Fragmentary Futures: Bradbury's Illustrated Man Outlines--and Beyond” The New Ray Bradbury Review 4 (2015): 70- 85. Print. No part of this article may Be reproduced, stored in a retrieval system, transmitted, or distriButed, in any form, by any means, electronic, mechanical, photographic, or otherwise, without the prior permission of Kent State University Press. For educational re-use, please contact the Copyright Clearance Center (508-744- 3350). For all other permissions, please contact Carol Heller at [email protected]. https://scholarworks.iupui.edu Fragmentary Futures: Bradbury’s Illustrated Man Outlines—and Beyond “I believe first drafts, like life and living, must be immediate, quick, passionate. By writing a draft in a day I have a story with a skin around it.” Ray Bradbury’s creative coda originated long before he fashioned this concise version of it for his December 1964 Show magazine interview. His daily writing habit had become a quotidian fever by the early 1940s, and he soon learned to avoid interruptions from any other voices—including his own rational judgments. Each day became a race between subconscious inspiration and the stifling effects of his own self-conscious thoughts—the more logical thought patterns that he desperately tried to hold at bay during the few hours it would take him to complete an initial draft. Bradbury was convinced that the magic would dissolve away if he failed to carry through on a story idea or an opening page at first sitting, and it’s not surprising that his Show interview coda came with a cautionary corollary: “If one waits overnight to finish a story, quite often the texture one gets the next day is different. -
The World of Childhood in Ray Bradbury's the Illustrated
Beyond Philology No. 14/3, 2017 ISSN 1732-1220, eISSN 2451-1498 The world of childhood in Ray Bradbury’s The Illustrated Man KAROL CHOJNOWSKI Received 3.04.2017, accepted 21.09.2017. Abstract This article is devoted to an analysis of the motif of childhood in The Illustrated Man, a collection of short stories by Ray Bradbury. The particular focus is on the initial story, “The Veldt,” and the last two stories, “Zero Hour” and “The Rocket.” The article interprets imagina- tion as a distinguishing feature of children’s world, as opposed to the world of adults, characterised by logic and lack of imagination. This difference, the article claims, results in a clash of the two worlds. The article also analyses Bradbury’s negative view of technology ex- pressed in the stories, with its addictive and destructive potential, as well as technology’s relationship to imagination. Another object of analysis is the ways Bradbury suggests to reconcile the worlds of children and adults and to avoid technology’s pernicious effects. The article also aims to analyse the way in which the intertextual frame- work contributes to these themes and to interpret the meaning of the arrangement of the stories within the volume. Key words Bradbury, children, The Illustrated Man, imagination, technology 132 Beyond Philology 14/3 Świat dziecka w Człowieku Ilustrowanym Raya Bradbury’ego Abstrakt Artykuł poświęcony jest analizie motywu dzieciństwa w zbiorze opo- wiadań Człowiek Ilustrowany Raya Bradbury’ego. Analiza w szcze- gólności skupia się na opowiadaniu początkowym, Sawanna, oraz dwóch ostatnich – Godzina zero i Rakieta. Wyobraźnia zostaje zinter- pretowana jako wyróżnik dziecięcego świata, w przeciwieństwie do świata dorosłych, naznaczonego logiką i brakiem wyobraźni. -
The Illustrated Man Ray Bradbury
The Illustrated Man Ray Bradbury Contents Prologue: The Illustrated Man The Veldt Kaleidoscope The Other Foot The Highway The Man The Long Rain The Rocket Man The Fire Balloons The Last Night of the World The Exiles No Particular Night or Morning The Fox and the Forest The Visitor The Concrete Mixer Marionettes, Inc. The City Zero Hour The Rocket Epilogue [About this etext] PROLOGUE:The Illustrated Man IT was a warm afternoon in early September when I first met the Illustrated Man. Walking along an asphalt road, I was or the final leg of a two weeks’ walking tour of Wisconsin. Late in the afternoon I stopped, ate some pork, beans, and a doughnut, and was preparing to stretch out and read when the Illustrated Man walked over the hill and stood for a moment against the sky. I didn’t know he was Illustrated then. I only knew that he was tall, once well muscled, but now, for some reason, going to fat. I recall that his arms were long, and the hands thick, but that his face was like a child’s, set upon a massive body. He seemed only to sense my presence, for he didn’t look directly at me when he spoke his first words: “Do you know where I can find a job?” “I’m afraid not,” I said. “I haven’t had a job that’s lasted in forty years,” he said. Though it was a hot late afternoon, he wore his wool shirt buttoned tight about his neck. His sleeves were rolled and buttoned down over his thick wrists. -
The Illustrated Man Ray Bradbury
The Illustrated Man Ray Bradbury Prologue It was a warm afternoon in early September when I first met the Illustrated Man. Walking along an asphalt road, I was on the final long of a two weeks' walking tour of Wisconsin. Late in the afternoon I stopped, ate some pork, beans, and a doughnut, and was preparing to stretch out and read when the Illustrated Man walked over the hill and stood for a moment against the sky. I didn't know he was Illustrated then. I only know that he was tall, once well muscled, but now, for some reason, going to fat. I recall that his arms were long, and the hands thick, but that his face was like a child's, set upon a massive body. He seemed only to sense my presence, for he didn't look directly at me when he spoke his first words. "Do you know where I earn find a job?" "I'm afraid not," I said. "I hadn't bad a job that's lasted in forty years," he said. Though it was a hot late afternoon, he wore his wool shirt buttoned tight about his neck. His sleeves were rolled and buttoned down over his thick wrists. Perspiration was streaming from his face, yet he made no move to open his shirt. "Well," he said at last, "this is as good a place as any to spend the night. Do you mind company." "I have some extra food you'd be welcome to," I said. He sat down heavily, grunting. 'You'll be sorry you asked me to stay," he said. -
Landscape and Technology in the Construction of Character Identity in Ray Bradbury’S Science Fiction
Universidad de Chile Facultad de Filosofía y Humanidades Departamento de Lingüística Landscape and Technology in the Construction of Character Identity in Ray Bradbury’s Science Fiction Catalina Bonati Informe final de seminario para optar al grado de Licenciada en Lengua y Literatura Inglesas Profesor Guía: Andrés Ferrada Aguilar Santiago 2017 BONATI 1 Tabla de Contenidos 1.1 Introduction 2 1.2 Object of Study 3 1.3 Corpus 4 1.4 Critical Proposal 4 2.1 Theoretical Framework 5 2.2 Approaches to Landscape 5 2.3 Related Concepts 8 2.4 Literary Approach 14 3.1 The City 17 4.1 Dark They Were, and Golden-Eyed 37 5.1 Conclusion 48 References 52 BONATI 2 1.1 Introduction Science fiction is a thriving genre of intermingling fact and fiction with roots that have been traced back to Plato's Republic and Lucian's A True Story. Several literary works before the second half of the 19th century have been pointed out and categorized as early works of science fiction, such as Cyrano de Bergerac's Comical History of the States and Empires of the Moon and Thomas More's Utopia, but the genre did not really reach its peak until the rise of the pulp magazine at the beginning of the 20th century. American pulp fiction of the early 1900s, as loyal chronological successor of the Victorian penny dreadfuls, was characterized for its bizarre material and general low-quality storytelling. Science fiction found its nook in the eager, voracious audience of these squalid pulp magazines, and influenced by the "recent" works of H.G. -
TOPOPHONES in RAY BRADBURY's SCIENCE FICTION Nataliya Panasenko University of SS Cyril and Methodius in Trnava, Trnava, Slovakia
© 2018 N. Panasenko Research article LEGE ARTIS Language yesterday, today, tomorrow Vol. III. No 1 2018 WHERE, WHY, AND HOW? TOPOPHONES IN RAY BRADBURY'S SCIENCE FICTION Nataliya Panasenko University of SS Cyril and Methodius in Trnava, Trnava, Slovakia Panasenko, N. (2018). Where, why, and how? Topophones in Ray Bradbury's science fiction. In Lege artis. Language yesterday, today, tomorrow. The journal of University of SS Cyril and Methodius in Trnava. Warsaw: De Gruyter Open, 2018, III (1), June 2018, p. 223-273. DOI: 10.2478/lart-2018-0007 ISSN 2453-8035 Abstract: The article highlights the category of literary space, connecting different topophones with the author's worldview. Topophones in the works by Ray Bradbury are used not only for identifying the place where the events unfold but they equally serve as the background to the expression of the author's evaluative characteristics of the modern world, his attitude to science, the latest technologies, and the human beings who are responsible for all the events, which take place not only on the Earth, but also far away from it. Key words: chronotope, chronotype, topophone, author's worldview, microtoponym, Biblical allusions. Almost no one can imagine a time or place without the fiction of Ray Bradbury ("Washington Post") 1. Introduction The literary critic Butyakov (2000) once called Ray Bradbury one of the most prominent writers of the 20th century, "A Martian from Los Angeles". This metaphor containing two topophones shows how important literary space was for the author who represented the genre of science fiction. Bradbury violates the laws of nature and sends his readers to the distant future to conquer other planets or readily makes them travel to the past. -
Illustrated Man by Ray Bradbury Prologue: 1
Name: __________________ block: ____ English II Short Story Unit: Illustrated Man by Ray Bradbury Prologue: 1. How do the Illustrated Man’s illustrations compare to tattoos? 2. Why does the Illustrated Man hate his illustrations? “The Veldt” 1. The children’s names are an allusion (reference) to a famous story/movie. What is the story, and why is the allusion appropriate? 2. Why do the parents spend so much money on the nursery for their children? 3. Why do the children disobey their parents? 4. Why do the parents give in to their children’s demand to let them play in the nursery one more time? 5. What inference can you make about what happens at the end of the story? What clues does the story give you? 6. What message is Bradbury trying to convey about the following theme kernels: (do not need to be written as theme statements) a. Parenting - b. Entitlement - c. Technology - d. Love / Family - 7. Using one of the above theme kernels, write a theme statement for the story and provide TWO pieces of text evidence and explanation to support this theme. • Theme statement: __________________________________________________________________________________ Text Evidence #1 (Bradbury______) Explanation Text Evidence #2 (Bradbury ______) Explanation 1 “Marionettes, Inc.” Pre-reading: 1. If you had a Puppet/Robot twin, what would you have him/her do for you? 2. What would be the advantages of this? 3. How could it possibly go wrong? “Marionettes, Inc.” During & After Reading 1. Smith’s conflict: Braling’s conflict: Type: Type: Specific: Specific: How are they similar: How are they different: 2. -
Introduction to Fahrenheit 451 by Neil Gaiman, 2013
Introduction to Fahrenheit 451 by Neil Gaiman, 2013 (1) Sometimes writers write about a world that does not yet exist. We do it for a hundred reasons. (Because it’s good to look forward, not back. Because we need to illuminate a path we hope or we fear humanity will take. Because the world of the future seems more enticing or more interesting than the world of today. Because we need to warn you. To encourage. To examine. To imagine.) The reasons for writing about the day after tomorrow, and all the tomorrows that follow it, are as many and as varied as the people writing. (7) This is a book of warning. It is a reminder that what we have is valuable, and that sometimes we take what we value for granted. There are three phrases that make possible writing about the world of not-yet (you can call it science fiction or speculative fiction; you can call it anything you wish) and they are simple phrases: What if…? If only…? If this goes on… (12) “What if…?” gives us change, a departure from our lives (What if aliens landed tomorrow and gave us everything we wanted, but at a price?) “If only…” lets us explore the glories and dangers of tomorrow. (If only dogs could talk. If only I were invisible.) (16) “If this goes on…” is the most predictive of the three, although it doesn’t try to predict an actual future with all its messy confusion. Instead, “If this goes on…” fiction takes an element of life today, something clear and obvious and normally something troubling, and asks what would happen if that thing, that one thing, became bigger, became all-pervasive, changed the way we thought and behaved. -
Ray Bradbury
Ray Bradbury: A Life in Metaphors Frank Palumbo – English teacher at Gouverneur CHS 3 sessions 1 ½ hours each (SUNY Potsdam: Kellas 217) Wednesdays: 3/14, 3/21, 3/28 – 12:30-2:00 (note change: class meets 1½ hours, not 1 hour) A .pdf of this page is posted on the "Ray Bradbury..." course page of the SOAR web site: www.soarnorthcountry.org Suggested titles assigned as personal reading. Choose any of the following novels: Dandelion Wine Fahrenheit 451 Martian Chronicles Something Wicked this Way Comes Short Stories to be read outside of class and discussed as a group (instructor will provide a collection of Bradbury stories at the first class session on March 14 th ): "The Great Wide World Over There" "To the Chicago Abyss" "The Foghorn" "The Big Black and White Game" "The Veldt" "The Anthem Sprinters" "All Summer in a Day" "There Will come Soft Rains" "The Drummer Boy of Shiloh" "The Murderer" "The Exiles" "The Pedestrian" "The Sound of Thunder" Websites to reference background of Ray Bradbury's life and works: http://www.raybradbury.com/ http://www.bradburymedia.co.uk/ http://www.spaceagecity.com/bradbury/bio.htm http://www.imdb.com/name/nm0001969/ http://www.isfdb.org/cgi-bin/ea.cgi?194 Session 1: 3/14 >Introductory discussion related to Mr. Bradbury's many exchanges with class instructor Frank Palumbo >Review of materials from personal library of items received over the years (books, photos, letters, etc.) >Reading of the story "Drummer Boy of Shiloh" so as to familiarize participants with the author's style, images, and poetic narration >Video of an RB short story, "To the Chicago Abyss" >Discussion, handout of an outline related to assigned readings for week #2 Session 2: 3/21 >Open discussion on any of the extra readings from suggested titles >Review of the assigned short stories from session one >Biographic texts will be passed around and discussed related to Mr. -
University of Florida Thesis Or Dissertation Formatting
THE DOMESTIC FANTASTIC: POSTWAR AMERICAN FICTION FROM BRADBURY TO PLATH By ANDREA E. KRAFFT A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2015 1 © 2015 Andrea E. Krafft 2 ACKNOWLEDGMENTS I thank my dissertation director, Marsha Bryant, for her feedback, assistance, and unceasing encouragement as I completed this project. I also thank Susan Hegeman, Stephanie A. Smith, and Trysh Travis for their support and guidance over the past two years as members of my dissertation committee. I could have not completed this project without the additional support of my partner, my sister, and my parents, who have always encouraged my pursuits, academic and otherwise. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS................................................................................................. 3 ABSTRACT.................................................................................................................... 6 CHAPTER 1 INTRODUCTION ..................................................................................................... 7 Postwar Studies: A Critical Review ........................................................................ 10 Understanding the Fantastic: Some Definitions ..................................................... 16 Chapter Abstracts .................................................................................................. 22 2 “SHRUNK TO THE COZY WALLS OF THE HOME”: