Bradbury, Ray (Vol. 3)
Bradbury, Ray 1920–2012
Bradbury, an American novelist, short story writer, playwright, and writer for children, is an accomplished and imaginative storyteller, best known for his fantasy and science fiction. (See also Contemporary Authors, Vols. 1-4, rev. ed.)
Although [Bradbury] has a large following among science fiction readers, there is at least an equally large contingent of people who cannot stomach his work at all; they say he has no respect for the medium; that he does not even trouble to make his scientific double-talk convincing; that—worst crime of all—he fears and distrusts science.
… All of which is true, and—for our present purposes, anyhow—irrelevant. The purists are right in saying that he does not write science fiction, and never has….
People who talk about Bradbury's imagination miss the point. His imagination is mediocre; he borrows nearly all his backgrounds and props, and distorts them badly; wherever he is required to invent anything—a planet, a Martian, a machine—the image is flat and unconvincing. Bradbury's Mars, where it is not as bare as a Chinese stage-setting, is a mass of inconsistency; his spaceships are a joke; his people have no faces. The vivid images in his work are not imagined; they are remembered….
There is so much to say about Bradbury's meaning that perhaps too little has been said about his technique…. His imagery is luminous and penetrating, continually lighting up familiar corners with unexpected words. He never lets an idea go until he has squeezed it dry, and never wastes one. I well remember my own popeyed admiration when I read his story about a woman who gave birth to a small blue pyramid; this is exactly the sort of thing that might occur to any imaginative writer in a manic or drunken moment; but Bradbury wrote it and sold it….
Learned opinion to the contrary, Bradbury is not the heir of Poe, Irving or Hawthorne; his voice is the voice (a little shriller) of Christopher Morley and Robert Nathan and J. D. Salinger. As his talent expands, some of his stories become pointed social commentary; some are surprisingly effective religious tracts, disguised as science fiction; others still are nostalgic vignettes; but under it all is still Bradbury the poet of 20th-century neurosis, Bradbury the isolated spark of consciousness, awake and alone at midnight; Bradbury the grown-up child who still remembers, still believes….
Childhood is Bradbury's one subject, but you will not find real childhood here, Bradbury's least of all. What he has had to say about it has always been expressed obliquely, in symbol and allusion, and always with the tension of the outsider—the ex-child, the lonely one. In giving up this tension, in diving with arms spread into the glutinous pool of sentimentality that has always been waiting for him, Bradbury has renounced the one thing that made him worth reading.
Damon Knight, "When I Was in Kneepants: Ray Bradbury," in his In Search of Wonder: Critical Essays on Science Fiction (reprinted by courtesy of Advent: Publishers, Inc.), Advent, 2nd edition, 1967, pp. 108-13.
Bradbury looks askance at the younger generation's belief in … pseudo-sciences, political fanaticism or hero worship of one sort or another but sees it as inevitable in the light of the century's relative religious vacuum. He has suggested, however, that present scientific aspirations can fill that void. "As the years went by," he explains, "I found myself getting more and more interested in just the whole universe—you know, who we are, what we‧re doing here, where we're going, what our plans are for the next billion years. That's a long time and space is one of our ways of planning. The more we get into space, the more religious we're got to become. We're going to be meeting more mysteries." It is no surprise then that Bradbury described his following the first satellite across the night sky as "'an absolutely religious experience.'" For more than ever before science has put man...
(The entire section is 1,483 words.)