Zen in the Art of Writing Read online

  Along the way, I also re-created my relatives as vampires who inhabited a town similar to the one in Dandelion Wine, dark first cousin to the town on Mars where the Third Expedition expired. So, I had my life three ways, as town explorer, space traveler, and wanderer with Count Dracula's American cousins.

  I realize I haven't talked half enough, as yet, about one variety of creature you will find stalking this collection, rising here in nightmares to founder there in loneliness and despair: dinosaurs. From the time I was seventeen until I was thirty-two, I wrote some half-dozen dinosaur stories.

  One night when my wife and I were walking along the beach in Venice, California, where we lived in a thirty-dollar-a-month newly weds' apartment, we came upon the bones of the Venice Pier and the struts, tracks, and ties of the ancient roller-coaster collapsed on the sand and being eaten by the sea.

  "What's that dinosaur doing lying here on the beach?" I said.

  My wife, very wisely, had no answer.

  The answer came the next night when, summoned from sleep by a voice calling, I rose up, listened, and heard the lonely voice of the Santa Monica bay fog horn blowing over and over and over again.

  Of course! I thought. The dinosaur heard that lighthouse fog horn blowing, thought it was another dinosaur arisen from the deep past, came swimming in for a loving confrontation, discovered it was only a fog horn, and died of a broken heart there on the shore.

  I leaped from bed, wrote the story, and sent it to the Saturday Evening Post that week, where it appeared soon after under the title "The Beast from 20,000 Fathoms." That story, titled "The Fog Horn," became a film two years later.

  The story was read by John Huston in 1953, who promptly called to ask if I would like to write the screenplay for his film Moby Dick. I accepted, and moved from one beast to the next.

  Because of Moby Dick, I reexamined the life of Melville and Jules Verne, compared their mad captains in an essay written to reintroduce a new translation of 20,000 Leagues Beneath the Sea, which, read by the 1964 New York World's Fair people, put me in charge of conceptualizing the entire upper floor of the United States Pavilion.

  Because of the Pavilion, the Disney organization hired me to help plan the dreams that went into Spaceship Earth, part of Epcot Center, a permanent world's fair, now building to open in 1982. In that one building, I have crammed a history of mankind, coming and going back and forth in time, then plunging into our wild future in space.

  Including dinosaurs.

  All of my activities, all of my growing, all of my new jobs and new loves, caused and created by that original primitive love of the beasts I saw when I was five and dearly cherished when I was twenty and twenty-nine and thirty.

  Look around among my stories and you will probably find only one or two that actually happened to me. I have resisted, most of my life, being given assignments to go somewhere and "sponge up" the local color, the natives, the look and feel of the land. I learned long ago that I am not seeing directly, that my subconscious is doing most of the "sponging" and it will be years before any usable impressions surface.

  As a young man I lived in a tenement in the Chicano section of Los Angeles. Most of my Latino stories were written years after I had moved from the tenement, with one terrifying, on-the-spot, exception. In late 1945, with World War II freshly over, a friend of mine asked me to accompany him to Mexico City in an old beat-up Ford V-8. I reminded him of the vow of poverty that circumstances had forced on me. He rebutted by calling me a coward, wondering why I didn't rev up my courage and send out three or four stories which I had hidden away. Reason for the hiding: the stories had been rejected once or twice by various magazines. Pummeled by my friend, I dusted the stories off and mailed them out, under the pseudonym William Elliott. Why the pseudonym? Because I feared that some Manhattan editors might have seen the name Bradbury on the covers of Weird Tales and would be prejudiced against this "pulp" writer.

  I mailed off three short stories to three different magazines, in the second week of August 1945. On August 20,1 sold one story to Charm, on August 21, I sold a story to Mademoiselle, and on August 22, my twenty-fifth birthday, I sold a story to Collier's. The total monies amounted to $1,000, which would be like having $10,000 arrive in the mail today.

  I was rich. Or so close to it I was dumbfounded. It was a turning point in my life, of course, and I hastened to write to the editors of those three magazines confessing my true name.

  All three stories were listed in The Best American Short Stories of 1946 by Martha Foley, and one of them was published in Herschel Brickell's O. Henry Memorial Award Prize Stories the following year.

  That money took me to Mexico, to Guanajuato, and the mummies in the catacombs. The experience so wounded and terrified me, I could hardly wait to flee Mexico. I had nightmares about dying and having to remain in the halls of the dead with those propped and wired bodies. In order to purge my terror, instantly, I wrote "The Next in Line." One of the few times that an experience yielded results almost on the spot.

  Enough of Mexico. What about Ireland?

  There is every kind of Irish story among my work because after living in Dublin for six months I saw that most of the Irish I met had a variety of ways of making do with that dreadful beast Reality. You can run into it head-on, which is a dire business, or you can skirt around it, give it a poke, dance for it, make up a song, write you a tale, prolong the gab, fill up the flask. Each partakes of Irish cliche, but each, in the foul weather and the foundering politics, is true.

  I got to know every beggar in the streets of Dublin, the ones near O'Connell's bridge with maniac pianolas grinding more coffee than tunes and the ones who loaned out a single baby among a whole tribe of rainsoaked mendicants, so you saw the babe one hour at the top of Grafton Street and the next by the Royal Hibernian Hotel, and at midnight down by the river, but I never thought I would write of them. Then, the need to howl and give an angry weep made me rear up one night and write "McGillahee's Brat" out of terrible suspicions and the begging of a rainwalking ghost that had to be laid. I visited some of the old burnt-out estates of the great Irish landowners, and heard tales of one "burning" that had not quite come off, and so wrote "The Terrible Conflagration up at the Place." "The Anthem Sprinters," another Irish encounter, wrote itself down years later when, one rainy night, I recalled the countless times my wife and I had sprinted out of Dublin cinemas, dashing for the exit, knocking children and old folks to left and right, in order to make it to the exit before the National Anthem was played.

  But how did I begin? Starting in Mr. Electrico's year, I wrote a thousand words a day. For ten years I wrote at least one short story a week, somehow guessing that a day would finally come when I truly got out of the way and let it happen.

  The day came in 1942 when I wrote "The Lake." Ten years of doing everything wrong suddenly became the right idea, the right scene, the right characters, the right day, the right creative time. I wrote the story sitting outside, with my typewriter, on the lawn. At the end of an hour the story was finished, the hair on the back of my neck was standing up, and I was in tears. I knew I had written the first really good story of my life.

  All during my early twenties I had the following schedule. On Monday morning I wrote the first draft of a new story. On Tuesday I did a second draft. On Wednesday a third. On Thursday a fourth. On Friday a fifth. And on Saturday at noon I mailed out the sixth and final draft to New York. Sunday? I thought about all the wild ideas scrambling for my attention, waiting under the attic lid, confident at last that, because of "The Lake," I would soon let them out.

  If this all sounds mechanical, it wasn't. My ideas drove me to it, you see. The more I did, the more I wanted to do. You grow ravenous. You run fevers. You know exhilarations. You can't sleep at night, because your beast-creature ideas want out and turn you in your bed. It is a grand way to live.

  There was another reason to write so much: I was being paid twenty to forty dollars a story, by the pulp magazines. High on
the hog was hardly my way of life. I had to sell at least one story, or better two, each month in order to survive my hot-dog, hamburger, trolley-car-fare life.

  In 1944 I sold some forty stories, but my total income for the year was only $800.

  It suddenly strikes me that there is much to comment on in my collected stories. "The Black Ferris" is of interest here because early one autumn twenty-three years ago it changed itself from a short short story into a screenplay and then into a novel, Something Wicked This Way Comes.

  "The Day It Rained Forever" was another word-association I handed myself one afternoon, thinking about hot suns, deserts, and harps that could change the weather.

  "The Leave-Taking" is the true story of my greatgrandmother who nailed shingles on rooftops well into her seventies, then took herself up to bed when I was three and said farewell to everyone and went to sleep.

  "Calling Mexico" sprang into being because I visited a friend of mine one afternoon in the summer of 1946 and, as I entered the room, he handed me the telephone and said, "Listen." I listened and heard the sounds of Mexico City coming from two thousand miles away. I went home and wrote about my telephone experience to a friend in Paris. Halfway through my letter, the letter turned into the story, which went off in the mail that day.

  "The Picasso Summer" was the result of my walking on the shoreline with friends and my wife one late afternoon. I picked up a Popsicle stick, drew pictures in the sand and said: "Wouldn't it be awful, if you'd wanted to own a Picasso all your life, and suddenly bumped into him here, drawing mythological beasts in the sand… your very own Picasso 'etching' right in front of you…"

  I finished the story, about Picasso on the beach, at two in the morning.

  Hemingway. "The Parrot Who Met Papa." One night in 1952 I drove across Los Angeles with friends to invade the printing plant where Life was publishing their issue with Hemingway's Old Man and the Sea in it. We grabbed copies, hot off the press, sat in the nearest bar, and talked about Papa, Finca Vigia, Cuba, and, somehow, a parrot who had lived in that bar and talked to Hemingway every night. I went home, made a notation about the parrot, and put it away for sixteen years. Prowling my file folders in 1968 I came upon just the note for a title: "The Parrot Who Met Papa."

  My God, I thought, Papa's been dead eight years. If that parrot is still around, remembers Hemingway, can speak with his voice, he's worth millions. And what if someone kidnapped the parrot, held it for ransom?

  "The Haunting of the New" happened because John Godley, Lord Kilbracken, wrote me from Ireland describing his visit to a house that had burned and been replaced, stone by stone, brick by brick, in imitation of the original. Within half a day of reading Kilbracken's postcard, I had first-drafted the tale.

  Enough now. There you have it. There are one hundred stories from almost forty years of my life contained in my collected stories. They contain half the damning truths I suspected at midnight, and half of the saving truths I re-found next noon. If anything is taught here, it is simply the charting of the life of someone who started out to somewhere-and went. I have not so much thought my way through life as done things and found what it was and who I was after the doing. Each tale was a way of finding selves. Each self found each day slightly different from the one found twenty-four hours earlier.

  It all started that autumn day in 1932 when Mr. Electrico gave me the two gifts. I don't know if I believe in previous lives, I'm not sure I can live forever. But that young boy believed in both and I have let him have his head. He has written my stories and books for me. He runs the Ouija Board and says Aye or Nay to submerged truths or half-truths. He is the skin through which, by osmosis, all the stuffs pass and put themselves on paper. I have trusted his passions, his fears, and his joys. He has, as a result, rarely failed me. When it is a long damp November in my soul, and I think too much and perceive too little, I know it is high time to get back to that boy with the tennis shoes, the high fevers, the multitudinous joys, and the terrible nightmares. I'm not sure where he leaves off and I start. But I'm proud of the tandem team. What else can I do but wish him well, and at the same time acknowledge and wish two other people well? In the same month that I married my wife Marguerite, I became affiliated with my literary representative and closest friend, Don Congdon. Maggie typed and criticized my stories, Don criticized and sold the results. With the two of them as teammates these past thirtythree years, how could I have failed? We are the Connemara Lightfoots, the Queen's Own Evaders. And we're still sprinting for that exit.

  1980

  INVESTING DIMES: FAHRENHEIT 451

  I didn't know it, but I was literally writing a dime novel. In the spring of 1950 it cost me nine dollars and eighty cents in dimes to write and finish the first draft of The Fire Man, which later became Fahrenheit 451.

  In all the years from 1941 to that time, I had done most of my typing in the family garages, either in Venice, California (where we lived because we were poor, not because it was the "in" place to be), or behind the tract house where my wife, Marguerite, and I raised our family. I was driven out of my garage by my loving children, who insisted on coming around to the rear window and singing and tapping on the panes. Father had to choose between finishing a story or playing with the girls. I chose to play, of course, which endangered the family income. An office had to be found. We couldn't afford one.

  Finally, I located just the place, the typing room in the basement of the library at the University of California at Los Angeles. There, in neat rows, were a score or more of old Remington or Underwood typewriters which rented out at a dime a half hour. You thrust your dime in, the clock ticked madly, and you typed wildly, to finish before the half hour ran out. Thus I was twice driven; by children to leave home, and by a typewriter timing device to be a maniac at the keys. Time was indeed money. I finished the first draft in roughly nine days. At 25,000 words, it was half the novel it eventually would become.

  Between investing dimes and going insane when the typewriter jammed (for there went your precious time!) and whipping pages in and out of the device, I wandered upstairs. There I strolled, lost in love, down the corridors, and through the stacks, touching books, pulling volumes out, turning pages, thrusting volumes back, drowning in all the good stuffs that are the essence of libraries. What a place, don't you agree, to write a novel about burning books in the Future!

  So much for pasts. What about Fahrenheit 451 in this day and age? Have I changed my mind about much that it said to me, when I was a younger writer? Only if by change you mean has my love of libraries widened and deepened, to which the answer is a yes that ricochets off the stacks and dusts talcum off the librarian's cheek. Since writing this book, I have spun more stories, novels, essays, and poems about writers than any other writer in history that I can think of. I have written poems about Melville, Melville and Emily Dickinson, Emily Dickinson and Charles Dickens, Hawthorne, Poe, Edgar Rice Burroughs, and along the way I compared Jules Verne and his Mad Captain to Melville and his equally obsessed mariner. I have scribbled poems about librarians, taken night trains with my favorite authors across the continental wilderness, staying up all night gabbling and drinking, drinking and chatting. I warned Melville, in one poem, to stay away from land (it never was his stuff!) and turned Bernard Shaw into a robot, so as to conveniently stow him aboard a rocket and wake him on the long journey to Alpha Centauri to hear his Prefaces piped off his tongue and into my delighted ear. I have written a Time Machine story in which I hum back to sit at the deathbeds of Wilde, Melville, and Poe to tell of my love and warm their bones in their last hours… But, enough. As you can see, I am madness-maddened when it comes to books, writers, and the great granary silos where their wits are stored.

  Recently, with the Studio Theatre Playhouse in Los Angeles at hand, I called all my characters from F. 451 out of the shadows. What's new, I said to Montag, Clarisse, Faber, Beatty, since last we met in 1953?

  I asked. They answered.

  They wrote new scenes, revealed odd
parts of their as yet undiscovered souls and dreams. The result was a two-act drama, staged with good results, and in the main, fine reviews.

  Beatty came farthest out of the wings in answer to my question:

  How did it start? Why did you make the decision to become Fire Chief, a burner of books? Beatty's surprising answer came in a scene where he takes our hero Guy Montag home to his apartment.

  Entering, Montag is stunned to discover the thousands upon thousands of books lining the walls of the Fire Chief's hidden library! Montag turns and cries out to his superior:

  "But you're the Chief Burner! You can't have books on your premises!"

  To which the Chief, with a dry light smile, replies:

  "It's not owning books that's a crime, Montag, it's reading them! Yes, that's right. I own books, but don't read them!"

  Montag, in shock, awaits Beatty's explanation.

  "Don't you see the beauty, Montag? I never read them. Not one book, not one chapter, not one page, not one paragraph. I do play with ironies, don't I? To have thousands of books and never crack one, to turn your back on the lot and say: No. It's like having a house full of beautiful women and, smiling, not touching… one. So, you see, I'm not a criminal at all. If you ever catch me reading one, yes, then turn me in! But this place is as pure as a twelveyearold virgin girl's cream-white summer night bedroom. These books die on the shelves. Why? Because I say so. I do not give them sustenance, no hope with hand or eye or tongue. They are no better than dust."

  Montag protests, "I don't see how you can't be-"

  "Tempted?" cries the Fire Chief. "Oh, that was long ago. The apple is eaten and gone. The snake has returned to its tree. The garden has grown to weed and rust."