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Ray Ray Bradbury Ray Bradbury Bradbury Ray Bradbury was a dreamer. Bradbury had a skill at putting his dreams onto paper, and into books. He dreams dreams of magic and transformation, good and evil, small-town America and the canals of Mars. His dreams are not only popular, but durable.
His work consists of short stories, which are not hard to publish, and keep in the public eye. His stories have stayed in print for nearly three decades Ray Bradbury was born on August 22, 1920, in a small town of Waukegan, Illinois. His parents were Leonard Spaulding and Esther Moberg Bradbury. His mother, Esther Moberg loved films, she gave her son the middle name Douglas because of Douglas Fairbanks, and she passed her love of films to her son.
My mother took me to see everything... Bradbury explains, Im a child of motion pictures. Prophetically, the first film he saw, at the age of three, was the horror classic The Hunchback of Notre Dame, staring Lon Change. His teenage Aunt Neva gave the boy his appreciation of fantasy, by reading him the Oz books, when he was six. When Bradbury was a child he was encouraged to read the classic, Norse, Roman, and Greek Myths. When he was old enough to choose his own reading materials, he chose books by Edger Rice Burroughs and the comic book heroes Flash Gordon, Buck Rogers, and Prince Valiant.
When Bradbury was in Waukegan he developed his interest in acting and Drama. After seeing a magician, known as Blackstone, he became fascinated with magic also. In 1932, his family moved to Tucson Arizona. With his talents he learned in Waukegan (amateur magician) he got a job at the local radio station. I was on the radio every Saturday night reading comic strips to the kiddies and being paid in free tickets, to the local cinema, where I saw The Mummy, The Murders in the Wax Museum, Dracula, ... and King Kong.
His family only stayed in Tuscan for a year, but Bradbury feels: It was one of the greatest years of my life because I was acting and singing in operettas and writing, my first short stories. In 1934 his family moved to Los Angeles, where Bradbury has remained. He attended Los Angeles High School, where he wrote and took part in many dramatic productions. His literary tastes were broadened to include Thomas Wolfe and Ernest Hemingway when he took a creative writing course. In 1938 Los Angeles High School yearbook, the following prediction appeared beneath his picture: Likes to write stories Admired as a thespian Headed for literary distinction After graduation Bradbury sold newspapers until he saved up enough money to buy a typewriter and rent a small office. In the early 1940 s his stories appeared regularly in Weird Tales.
I sold a story every month there for three or four years when I was (in my early twenties). Made the magnificent sum of twenty dollars for each story. Bradbury sold his first stories in 1945 to slick magazines Colliers, Charm, and Mademoiselle. Shortly after his marriage to Marguerite Susan McClure in 1947, Bradbury's first book, Dark Carnival, was published by Arkham House. About this time, the idea for an important book about Mars, a collection of loosely connected stories, came to Bradbury. The subjects that engage Bradbury's pen are many: magic, horror, and monsters; rockets, robots, time and space travel; growing up in the Midwest town in the 1920 s, and growing old in an abandoned Earth colony on another planet.
Despite their themes, his stories contain a sense of wonder, often a sense of joy, and a lyrical and rhythmic touch that sets his work apart. Using an analytical approach to such stories is to do a kind of violence to them, but between the dream and the finished story is a considerable amount of craftsmanship. The illustration of that craftsmanship, along with some clarification of the writers themes, hopefully will enrich the readers understanding and appreciation of one of the major artists in his find. The approach here is topical: the various collections of Bradbury's stories have been taken apart, and the stories regrouped and compared with another in terms of elements and common themes. Generally speaking, Bradbury's handling of a given theme in am early story is essentially the same.
That is, his themes do not display a growth in emotional depth or logical complexity as time goes on. Instead, Bradbury treats his themes in what might be called a Baroque manner changing the orientation, emotional tone, or relative prominence of the theme from story to story. In a way, this is like the variations on a theme in music. For example, The Next Line and The Life Work of Jan Diaz both center around the mummies in the cemetery at Guanajauto in Mexico. The former is a horror story as well as a psychological study of a marital relationship. The latter describes a very different marital relationship and concludes on a note of whimsical irony.
Both stories may be compared in terms of the mummies or in larger context of Bradbury's visit to Mexico in 1945. But little understanding is added from a critical standpoint in knowing that The Next in Line was published in 1947 and The Life Work of Jan Diaz in 1963. For the purpose of this study, then, the order in which the stories were written or published has been largely ignored. Readers wishing to pursue a chronological study of a given topic or topics will want to consult the helpful chronology complied by William F. Nolan for the 1973 Doubleday &# 038; Co. , Inc. education of The Martian Chronicles.
As a partial matter, consideration here is limited primarily to fiction available to the general reader. Though this qualification includes the vast bulk of Bradbury's output, certain stories not included in the major collections, as well as Bradbury's nonfiction, are either not mentioned at all or briefly mentioned where relevant. Bradbury's poetry, screenplays, plays, and childrens books are touched upon elsewhere. I have referred above to Bradbury being one of the major artists in his find. It should be understood at the outset that there is a considerable amount of confusion as to just what this find is. The demands of the commercial marketplace and the need to confine a popular writer and his within an easy recognizable image have resulted in Bradbury's being jammed uncomfortably into a box labeled Science Fiction.
No definition of science fiction exists that pleases everybody, and even if it did, to apply it casually to the work of Ray Bradbury would be inaccurate and unfair. H. G. Wells, whom many regard as a classical science fiction writer, had this to say about his own novels They are all fantasies; they do not aim to project a serious possibility; they aim indeed only at the amount of conviction as one gets in a good gripping dream. They have to hold the reader to the end by art and illusion and not by proof and argument, and the moment he closes the cover the reflects he wakes up to their impossibility. Wells here is contrasting his stories with those of Jules Verne, wich he calls, anticipatory inventions.
Viewed this way, virtually all of Bradbury's stories are fantasies, with Wells concept of the good gripping dream coming closest to describing their effect. Even today Ray Bradbury's place in literature is not clear.
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Research essay sample on One Of The Major Ray Bradbury
