Ray Bradbury citáty

page 2

Zdroj: Dandelion Wine

Zdroj: Dandelion Wine

Playboy interview (1996)
Kontext: Unfortunately, I don't think I keep my ego in check very well. I try to remember that my voice is loud, which is an ego problem. But at least I don't suffer from self-deluding identity problem like, say, Carl Sagan does. … With each passing year he grows stiffer because he goes around thinking he's Carl Sagan. Just as Norman Mailer thinks he's Norman Mailer and Gore Vidal thinks he's Gore Vidal. I don't think I'm Ray Bradbury. That's a big distinction. It doesn't matter who you are. You mustn't go around saying who you are, or else you get captured by the mask of false identity. It's the work that identifies you.

The Paris Review interview (2010)
Kontext: Science Fiction is the fiction of ideas. Ideas excite me, and as soon as I get excited, the adrenaline gets going and the next thing I know I’m borrowing energy from the ideas themselves. Science fiction is any idea that occurs in the head and doesn’t exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.

Salon.com (29 August 2001)
Kontext: If you can't read and write you can't think. Your thoughts are dispersed if you don't know how to read and write. You've got to be able to look at your thoughts on paper and discover what a fool you were.

Playboy interview (1996)
Kontext: Listen, you can't turn really bright people into robots. You can turn dumb people into robots, but that's true in every society and system. I don't know what to do with dumb people, but we must try to educate them along with the sharp kids. You teach a kid to read and write by the second grade, and the rest will take care of itself. To solve the drug problem, we have to start at the root — first grade. If a boy has all the toys in his head that reading can give him, and you hook him into science fiction, then you've got the future secured.

The Paris Review interview (2010)
Kontext: The need for romance is constant, and again, it’s pooh-poohed by intellectuals. As a result they’re going to stunt their kids. You can’t kill a dream. Social obligation has to come from living with some sense of style, high adventure, and romance. It’s like my friend Mr. Electrico. … he was a real man. That was his real name. Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end. … Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones. Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I’m glad you’re back in my life. I said, What do you mean? I don’t know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I’m glad you’re back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back.
Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that’s what attracted him.
When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of “Beautiful Ohio,” and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I’ve never stopped.
Seventy-seven years ago, and I’ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to.

Preface to Zen in the Art of Writing (1990)
Kontext: And what, you ask, does writing teach us?
First and foremost, it reminds us that we are alive and that it is gift and a privilege, not a right. We must earn life once it has been awarded us. Life asks for rewards back because it has favored us with animation.
So while our art cannot, as we wish it could, save us from wars, privation, envy, greed, old age, or death, it can revitalize us amidst it all.

"We March Back to Olympus" in Where Robot Mice and Robot Men Run Round in Robot Towns (1977), p. 11
Kontext: We clothe ourselves in flame
And trade new myths for old.
The Greek gods christen us
With ghosts of comet swords;
God smiles and names us thus: "
"Arise! Run! Fly, my Lords!"

Christ, Old Student in a New School (1972)
Kontext: Why have you been so blind?
Why have you never seen?
The slave and master in one skin
Is all your history, no more, no less
Confess! This is what you've been.

Christ, Old Student in a New School (1972)
Kontext: I am the dreamer and the doer
I the hearer and the knower
I the giver and the taker
I the sword and the wound of sword.
If this be true, then let sword fall free from hand.
I embrace myself.
I laugh until I weep
And weep until I smile…

Playboy interview (1996)
Kontext: If NASA's budgeters could be convinced that there are riches on Mars, we would explode overnight to stand on the rim of the Martian abyss. We need space for reasons we have not as yet discovered, and I don't mean Tupperware. … NASA feels it has to justify everything it does in practical terms.
And Tupperware was one of the many practical products that came out of space travel. NASA feels it has got to flimflam you to get you to spend money on space. That's B. S. We don't need that. Space travel is life-enhancing, and anything that's life-enhancing is worth doing. It makes you want to live forever.

Letter to Robert A. Heinlein (1976) · Photograph of note on Bradbury's stationary http://www.lettersofnote.com/2011/09/that-man-basked-in-your-light.html <!-- also quoted at http://io9.com/5840242/amazingly-touching-1976-letter-from-ray-bradbury-to-robert-heinlein-your-influence-on-us-all-cannot-be-measured -->
Kontext: YOUR INFLUENCE ON US ALL, FROM 1939 ON, CANNOT BE MEASURED. I CAN ONLY SAY I REMEMBER, WARMLY, YOUR MANY KINDNESSES TO ME WHEN I WAS 19–20–21 YEARS OLD. THAT YOUNG MAN BASKED IN YOUR LIGHT AND WILL CONTINUE TO BE GRATEFUL FOR THE HELP YOU OFFERED WHEN I WAS SO POOR & NEEDFUL!

Christ, Old Student in a New School (1972)

Christ, Old Student in a New School (1972)
Kontext: And from above a voice fused half in iron
Half in irony gives man a dreadful choice.
The role is his, it says, Man makes and loads his own strange dice,
They sum at his behest,
He dooms himself. He is his own sad jest.
Let go? Let be?
Why do you ask this gift from Me?
When, trussed and bound and nailed,
You sacrifice your life, your liberty
You hang yourself upon the tenterhook.
Pull free!

Playboy interview (1996)
Kontext: Here a human without a car is a samurai without his sword. I would replace cars wherever possible with buses, monorails, rapid trains — whatever is takes to make pedestrians the center of our society again, and cities worthwhile enough for pedestrians to live in. I don't care what people do with their cars, as long as they give them up three quarters of the time — roughly the amount of time people spend every week superfluously driving places they don't want to go to visit people who don't want to see them.

The Paris Review interview (2010)
Kontext: When I was seventeen I read everything by Robert Heinlein and Arthur Clarke, and the early writings of Theodore Sturgeon and Van Vogt — all the people who appeared in Astounding Science Fiction — but my big science-fiction influences are H. G. Wells and Jules Verne. I’ve found that I’m a lot like Verne — a writer of moral fables, an instructor in the humanities. He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally. His hero Nemo — who in a way is the flip side of Melville’s madman, Ahab — goes about the world taking weapons away from people to instruct them toward peace.

Playboy interview (1996)

Christ, Old Student in a New School (1972)
Kontext: That so much time was wasted in this pain.
Ten thousand years ago he might have let off down
To not return again!
A dreadful laugh at last escapes his lips;
The laughter sets him free.
A Fool lives in the Universe! he cries.
The Fool is me!
And with one final shake of laughter
Breaks his bonds.
The nails fall skittering to marble floors.
And Christ, knelt at the rail, sees miracle
As Man steps down in amiable wisdom
To give himself what no one else can give:
His liberty.

As quoted in SF Authors Remember A.E. van Vogt (2000) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm#SF%20Authors%20Remeber%20A.E.%20van%20Vogt
Kontext: At the end of June in 1939 I took a bus east to New York to attend the first World Science Fiction convention. On the bus with me I took the June of Astounding Science-Fiction in which the short story by A. E. van Vogt appeared. It was an astonishing encounter. In that same issue with him were C. L. Moore and Ross Rocklynne, a fantastic issue to take with me on that long journey, for I was still a poor unpublished writer selling newspapers on a street corner for ten dollars a week and hoping, someday, to be an established writer myself, but that was still two years off. On the way I drank in the words of A. E. Van Vogt and was stunned by what I saw there. He became a deep influence for the next year.
As it turned out, I didn't become A. E. Van Vogt, no one else could, and when I finally met him was pleased to see that the man was as pleasant to be with as were his stories. I knew him over a long period of years and he was a kind and wonderful gentleman, a real asset to the Science Fantasy Society in L. A., where there are a lot of strange people. A. E. Van Vogt was not strange, he was kind. He gave me advice and helped me along the road to becoming what I wanted to become.

Playboy interview (1996)
Kontext: I was madly in love with Hollywood. … I was so blindly and madly in love with the film and radio business in Hollywood that I didn't realize what a pest I was. George no doubt thought he could get me off his back by using my words for one of the eight-line vignettes he had Gracie close their broadcasts with. I wanted to live that special life forever. When that summer was over, I stopped my inner time clock at the age of 14. Another reason I became a writer was to escape the hopelessness and despair of the real world and enter the world of hope I could create with my imagination. … And strangely enough, my parents never protested. They just figured I was crazy and that God would protect me. Of course back then you could go around town at night and never risk getting mugged or beaten up.

The Paris Review interview (2010)
Kontext: My favorite writers have been those who’ve said things well. I used to study Eudora Welty. She has the remarkable ability to give you atmosphere, character, and motion in a single line. In one line! You must study these things to be a good writer. Welty would have a woman simply come into a room and look around. In one sweep she gave you the feel of the room, the sense of the woman’s character, and the action itself. All in twenty words. And you say, How’d she do that? What adjective? What verb? What noun? How did she select them and put them together? I was an intense student.

The Paris Review interview (2010)
Kontext: Every so often, late at night, I come downstairs, open one of my books, read a paragraph and say, My God. I sit there and cry because I feel that I’m not responsible for any of this. It’s from God. And I’m so grateful, so, so grateful. The best description of my career as a writer is “at play in the fields of the Lord.” It’s been wonderful fun and I’ll be damned where any of it came from. I’ve been fortunate. Very fortunate.

AARP Magazine (July-August 2008)
Kontext: I believe the universe created us — we are an audience for miracles. In that sense, I guess, I'm religious.

The Paris Review interview (2010)
Kontext: Our education system has gone to hell. It’s my idea from now on to stop spending money educating children who are sixteen years old. We should put all that money down into kindergarten. Young children have to be taught how to read and write. If children went into the first grade knowing how to read and write, we’d be set for the future, wouldn’t we? We must not let them go into the fourth and fifth grades not knowing how to read. So we must put out books with educational pictures, or use comics to teach children how to read. When I was five years old, my aunt gave me a copy of a book of wonderful fairy tales called Once Upon a Time, and the first fairy tale in the book is “Beauty and the Beast.” That one story taught me how to read and write because I looked at the picture of that beautiful beast, but I so desperately wanted to read about him too.

The Paris Review interview (2010)
Kontext: New Yorkers love to dupe themselves, as well as doom themselves. I haven’t had to live like that. I’m a California boy. I don’t tell anyone how to write and no one tells me.

Playboy interview (1996)
Kontext: I had decided to be a magician well before I decided to be a writer. I was the little boy who would get up on-stage and do magic wearing a fake mustache, which would fall off during the performance. I'm still trying to perform those tricks. Now I do it with writing.

"G. B. S. — Mark V", in I Sing the Body Electric: And Other Stories (1998)
Kontext: We are the miracle of force and matter making itself over into imagination and will. Incredible. The Life Force experimenting with forms. You for one. Me for another. The Universe has shouted itself alive. We are one of the shouts.

Fahrenheit 451 (1953)