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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. -
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. -
West Deptford Township School Grade 8 ELA Curriculum Unit 4: Informative & Explanatory Research
West Deptford Township School Grade 8 ELA Curriculum Unit 4: Informative & Explanatory Research West Deptford Township Schools 675 Grove Rd, Paulsboro, NJ 08066 wdeptford.k12.nj.us (856) 848-4300 West Deptford Township Schools Course of Study/Curriculum Guide Curricular Area: Literacy Course Title: Informative & Explanatory Research Grade Level: 8 Written by: Fiona Paterna and Carolyne Porter Reviewed by: Laura Sandy Approved by: Shawnequa Carvalho Board of Education Approval: September 2017 * All Enduring Understandings and Essential Questions for each standard are suggested samples and can be modified or removed at the discretion of the teacher(s). **Assessments and Resources could be altered or added at the discretion of the teacher(s). All assessments and resources used will cover the standards. ***CRP stands for Career Ready Practices. Unit – informative and Explanatory Research Timeline - April- June Critical Knowledge and Skills: Enduring Understanding Essential Questions ❏ Writers teach lessons through the fiction they write. ❏ How can I infer the lesson in the text I have read when the writer ❏ Understanding when and how a writer writes is just as is not explicit? important as understand what a writer writes. ❏ Why is it important to build context for the text I am in reading ❏ Making text to self and text to world connections is essential in order to fully understand it? in the reading process. ❏ How can I determine how a work of fiction teaches me a lesson ❏ Effectively explaining a subject regardless of the task and about the world I live in? medium requires a thorough understanding of the subject, ❏ What information must I know first in order to explain a subject well-chosen facts and examples related to the subject and to my audience? preparation. -
Ray Bradbury Papers
Ray Bradbury papers This finding aid was produced using ArchivesSpace on 2018-10-17 Finding aid written in English Describing Archives: A Content Standard University Archives and Special Collections Pollak Library South 800 N. State College Blvd. Fullerton, , CA 92831-3599 [email protected] http://www.library.fullerton.edu/services/special-collections.php Ray Bradbury papers Table Of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ................................................................................................................................... 3 Biographical / Historical ........................................................................................................................... 3 Immediate Source of Acquisition ............................................................................................................. 3 Administrative Information ........................................................................................................................... 3 Collection Inventory ...................................................................................................................................... 4 Fahrenheit 451 ........................................................................................................................................... 4 Short Stories .............................................................................................................................................. -
Using the Entire Space, Display the Image of What Your Dystopia Would Look Like
Hello everyone! All Assignments Due by Friday, April 10th During week two your unit will be centered around the writing of the famous author Ray Bradbury. For those of us who have read Fahrenheit 451, you will recognize the main character, The Pedestrian, as Clarisse’s uncle. For those of you who have not read Fahrenheit 451, this might be a great time to download it and give it a try. Ray Bradbury wrote about dystopias. That therefore leads me to your first assignment. Task One: Do research on a dystopia. What is it? On a document or slide, define a dystopia in the middle and then around the definition you will be creating a visual of what your own personal dystopia would look like. This can be done on a Google Slide or Doc using images and words. If you are working offline, you will write/draw this by hand. Using the entire space, display the image of what your dystopia would look like. Include homes, buildings, means of travel (road or air vehicles, etc.), people, clothing, animals, and other elements that you might see in your city. Be creative! In addition, dystopias typically have laws that must be followed. Include some of the laws or rules one might have to obey while living in this environment. Effort must be visible. The grade is based on content, creativity, neatness, accuracy, and effort! Rubric Category Points Available Points Earned Creativity 10 points ______ Neatness 5 points ______ Content 10 points ______ Laws 10 points ______ Task Two: Read the short story The Pedestrian. -
Man and Technology: Alienation in Ray Bradbury's
MAN AND TECHNOLOGY: ALIENATION IN RAY BRADBURY’S: “THE MURDERER” AND “THE PEDESTRIAN” A MASTER’S PROJECT BY ARTITTAYA PHUMPHIBOON Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in English at Srinakharinwirot University June 2012 MAN AND TECHNOLOGY: ALIENATION IN RAY BRADBURY’S: “THE MURDERER” AND “THE PEDESTRIAN” A MASTER’S PROJECT BY ARTITTAYA PHUMPHIBOON Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in English at Srinakharinwirot University June 2012 Copyright 2012 by Srinakharinwirot University MAN AND TECHNOLOGY: ALIENATION IN RAY BRADBURY’S: “THE MURDERER” AND “THE PEDESTRIAN” AN ABTRACT BY ARTITTAYA PHUMPHIBOON Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in English at Srinakharinwirot University June 2012 Artittaya Phumphiboon. (2012). Man and Technology: Alienation in Ray Bradbury’s “The Murderer” and “The Pedestrian” A Master’s Project, M.A. (English), Bangkok: Graduate School, Srinakarinwirot University. Advisor Committee: Dr. Supaporn Yimwilai, Dr. Prapaipan Aimchoo, Dr. Somsak Kaewnuch. This research examined the impacts of technology on the main characters in Ray Bradbury’s short stories, “The Murderer” and “The Pedestrian.” In addition, it compared the impacts of technology on the main characters in “The Murderer” and “The Pedestrian.” The concept of alienation was employed to analyze the two selected stories. It was found that in both stories, technology had negative impacts on both main charaters. In “The Murderer,” Albert Brock felt alienated in four aspects: powerlessness, meaninglessness, normlessness, and social isolation. Meanwhile, Leonard Mead in “The Pedestrian,” was determined to be alienated in three aspects: meaninglessness, normlessness, and social-isolation. -
Conversations with Ray Bradbury Steven Louis Aggelis
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Conversations with Ray Bradbury Steven Louis Aggelis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES CONVERSATIONS WITH RAY BRADBURY By STEVEN AGGELIS A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2003 Copyright © 2003 Steven Aggelis All Rights Reserved The members of the Committee approve the dissertation of Steven Aggelis defended on 22 September 2003. __________________________ R. Bruce Bickley, Jr. Professor Directing Dissertation __________________________ Leo Sandon Outside Committee Member __________________________ William T. Lhamon, Jr. Committee Member __________________________ Joseph McElrath, Jr. Committee Member Approved: __________________________ Hunt Hawkins, Chair, Department of English __________________________ Donald Foss, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above-named committee members. ii TABLE OF CONTENTS Introduction v Chronology xxiv Abstract xxxii Preface 1 The Market Is Not the Story: An Interview with Ray Bradbury (1948) R. Walton Willems 3 Sum and Substance: With Ray Bradbury and Herman Harvey (1962) Herman Harvey 6 A Portrait of Genius: Ray Bradbury (1964) Show 12 Ray Bradbury: Cassandra on a Bicycle -
1 Stumbling in the Dark: Ray Bradbury's Pedestrian and the Politics of the Night Matthew Beaumont
Stumbling in the Dark: Ray Bradbury’s Pedestrian and the Politics of the Night Matthew Beaumont But if a man walk in the night, he stumbleth, because there is no light in him. John 11: 10 ‘The Pedestrian’ (1951) is a science-fiction short story by Ray Bradbury about a man who, after nightfall, roams aimlessly and compulsively about the silent streets of a nameless metropolis. It is set in a totalitarian society at the midpoint of the twenty- first century, roughly a hundred years after it was written. In Bradbury’s dystopian parable – it is a satirical portrait of Los Angeles that, because of its bleak attack on urban alienation, continues to resonate – the supremacy of the automobile has made it impossible in practice to be a pedestrian. Indeed, the police state has in effect proscribed pedestrianism. So, in this far from distant future, no one travels by foot. Except, of course, the Pedestrian. ‘To enter out into that silence that was the city at eight o’clock of a misty evening in November,’ the story begins, ‘to put your feet upon that buckling concrete walk, to step over grassy seams and make your way, hands in pockets, through the silences, that was what Mr. Leonard Mead most dearly loved to do.’ Mead, whose name gently reinforces the pastoral associations of those ‘grassy seams’ that furrow the pavement, generally begins his nightwalks at an intersection, because from there he can ‘peer down long moonlit avenues of sidewalk in four directions, deciding which way to go’. But the point is that, ‘alone in this world of A.D. -
TO the CHICAGO ABYSS by Ray Bradbury
Including Venture Science Fiction SPECIAL RAy BRADBURY SECTION Introduction 5 Bradbury: Prose Poet in the Age of Space WILLIAM F. NOLAN 7 Bright Phoenix RAY BRADBURY 23 To the Chicago Abyss RAY BRADBURY 30 Index to Works of Ray Bradbury WILLIAM F. NOLAN 40 Mrs. Pigafetta Swims Well R. BRETNOR 52 Ferdinand Feghoot: LXII GRENDEL BRIARTON 58 Newton Said JACK THOMAS LEAHY 59 Underfollow JOHN JAKES 65 Now Wakes the Sea J. G, BALLARD 76 Watch the Bug-Eyed Monster DON WHITE 86 Treaty In Tartessos KAREN ANDERSON 91 Books AVRAM DAVIDSON 96 Science: Just Mooning Around ISAAC ASIMOV 100 No Trading Voyage (verse) DORIS PITKIN BUCK 111 Nifia Sol FELIX MARTI-IBANEZ 113 In this issue • .• Coming next month 4 F&Sf Marketplace 129 Cover by ]oe Mugnaini (see page 4) The Magazine of Fantasy and Science Fiction, Volume 24, No. 5, Whole No. 144, May 1963. Published monthly by Mel'cury Press, Inc., at 40¢ a cop;y. Amutal s11bscriptio11 $4.50 in U. S. and Possessions, $5.00 in Canada and the Pan American Union; $5.50 in all other countries. P11blication office, 10 Ferry Street, Concord, N. H. Editorial and general mail sho11ld be sent to 341 East 53rd St., New York 22, N. Y. Seco"d Class postage paid at Concord, N. H. Printed in U. S. A. © 1963 by Mercury Press, Inc. All rights~ including translations into other languages, reserved. Submi.tsions must be accom panied bf stamped, self-addressed ell'uelopes; the P~tblislwr assumes no responsibility for return o 1wsolicited manuscripts. Joseph W. -
The World of Science Fiction. PUB DATE Feb 71 NOTE 14P
DOCUMENT RESUME ED 053 115 TE 002 425 AUTHOR Schwartz, Sheila TITLE The World of Science Fiction. PUB DATE Feb 71 NOTE 14p. JOURNAL CIT English Record; v21 n3 p27-40 Feb 1971 EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS *Literature, *Science Fiction, *Teaching Techniques ABSTRACT Science fiction is discussed from the following standpoints: What Is Science Fiction?; The History ofScience Fiction; and The Themes of Science Fiction. A list offilms, books, and records about science fiction is given. (DB) U.S. DEPARTMENT OF HEALTH. EDUCATION & WELFARE OFFICE OF EDUCATION English Record, THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR Vol. 21, No. 3, ORGANIZATION ORIGINATING IT POINTS OF -PERMISSION TO REPRODUCE THIS COPY- VIEW OR OPINIONS STATED DO NOT NECES February 1971. RIGHTED MATERIAL BY MICROFICHE ONLY SARILY REPRESENT OFFICIAL OFFICE OF EDU- .-. /4.1HkS BEEN Tri4d GRANTED AND BY ko.Tua LG CATION POSITION OR POLICY THE WORLD OF SCIENCE FICTION The"ENCL. &CCap TO ERIC AND ORGANIZATIONS OPERATING UNDER AGREEMENTS WITH THE U S OFFICE Sheila Schwartz OF EDUCATION.FURTHER REPRODUCTION OUTSIDE THE tRIC SYSTEM REQUIRES PER- MISSION OF THE COPYRIGHT OWNER As surely as the writing of Dickens reflected the Victorian world, the Romantic poets the early nineteenth century, and Mark Twain, the end of nineteenth-century America, science- fiction reflects the contemporary world with greater authenticity than other contemporary literature. Newly emerging in respecta- bility through the film, Space Odyssey: 2001, here is a genre for which the classroom teacher need erect no artificial bridge to the real world.