Ray Bradbury: Frases en inglés (página 2)
Ray Bradbury era escritor estadounidense. Frases en inglés.
Ray Bradbury:
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Ray Bradbury
libro
Fahrenheit 451
19 September 1777
The Life of Samuel Johnson, LL.D. (1791)
Fuente: Fahrenheit 451
“Insanity is relative. It depends on who has who locked in what cage.”
Ray Bradbury
libro
The Golden Apples of the Sun
The Meadow (1947), originally a radio play for the World Security Workshop; later revised into a short story for this anthology.
The Golden Apples of the Sun (1953)
“It's the work that identifies you.”
Playboy interview (1996)
Contexto: 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.
“Science Fiction is the fiction of ideas.”
The Paris Review interview (2010)
Contexto: 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.
“You've got to be able to look at your thoughts on paper and discover what a fool you were.”
Salon.com (29 August 2001)
Contexto: 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)
Contexto: 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.
“It’s like my friend Mr. Electrico. … he was a real man. That was his real name.”
The Paris Review interview (2010)
Contexto: 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)
Contexto: 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 clothe ourselves in flame
And trade new myths for old.”
"We March Back to Olympus" in Where Robot Mice and Robot Men Run Round in Robot Towns (1977), p. 11
Contexto: 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!"