Brain Pickings

Posts Tagged ‘Ray Bradbury’

22 AUGUST, 2014

Ray Bradbury on the Secret of Life, Work, and Love

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“I don’t put off to tomorrow doing what I must do, right now, to find out what my secret self needs, wants, desires with all its heart.”

Ray Bradbury (August 22, 1920–June 5, 2012) was not only one of the most celebrated writers of the past century and an invaluable source of practical advice on the craft, such as the creative benefits of list-making and the secret to a fruitful daily routine, but also a modern sage with a seemingly bottomless well of quotable wisdom on everything from failure to space exploration to the interplay of emotion and intelligence to the importance of working with love.

In this wonderful short clip for CBC’s 1968 documentary The Illustrated Man, titled after Bradbury’s 1951 sci-fi collection of the same name, the beloved author shares his pithy wisdom on the secret of life, work, and love — a vivid manifestation of his contagious “hereness and nowness,” as CBC host Fletcher Markle elegantly puts it.

In the instance of getting an idea, I go act it out on paper — I don’t put it away. I don’t delay, I don’t put off to tomorrow doing what I must do, right now, to find out what my secret self needs, wants, desires with all its heart. And then it speaks, and I have enough brains to get out of the way and listen.

[…]

We act out these tensions continually — we keep cleansing the stream. Just as any impurity running downhill in a river, by the time it travels nine miles, is purified, so the life of a man traveling to the sea — which is our inevitable death someday — purifies itself. It must — because if you do not purify, these tensions remain in — and turn in on yourself — and destroy you.

[…]

The farmer who farms creatively and happily is a man that knows every stalk of wheat or corn that comes up on his land because he has tilled these fields, because he has planted the seed, because he has picked the fruit, because he has painted the barn… So we belong only by doing, and we own only by doing, and we love only by doing and knowing. And if you want an interpretation of life and love, that would be the closest thing I can come to.

Complement with Story of a Writer, the superb 1963 documentary about Bradbury and his philosophy of storytelling.

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16 JULY, 2014

Ray Bradbury on Failure, Why We Hate Work, and the Importance of Love in Creative Endeavors

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How working for the wrong motives poisons our creativity and warps our ideas of success and failure.

“A master in the art of living draws no sharp distinction between his work and his play,” the French writer Chateaubriand is credited with saying. “He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both.” Few contemporary creators embody this more wholeheartedly than Ray Bradbury — beloved writer, a man of admirable routine, tireless advocate of space exploration and public libraries, passionate proponent of doing what you love and writing with joy, champion of intuition over the intellect.

From Zen in the Art of Writing (public library) — one of my favorite books on writing, which also gave us Bradbury on how list-making can boost your creativity — comes some timeless wisdom on work, motivation, and creating from a place of love.

A century after Swami Vivekananda’s poignant meditation on the secret of meaningful work, Bradbury considers why we hate work, as a culture and as individuals:

Why is it that in a society with a Puritan heritage we have such completely ambivalent feelings about Work? We feel guilty, do we not, if not busy? But we feel somewhat soiled, on the other hand, if we sweat overmuch?

I can only suggest that we often indulge in made work, in false business, to keep from being bored. Or worse still we conceive the idea of working for money. The money becomes the object, the target, the end-all and be-all. Thus work, being important only as a means to that end, degenerates into boredom. Can we wonder then that we hate it so?

[…]

Nothing could be further from true creativity.

Like Tolstoy, who some decades earlier admonished against writing for money and fame, and like Michael Lewis, who some decades later advised aspiring writers to find any motive but money, Bradbury argues that writing for either commercial rewards or critical acclaim is “a form of lying.”

This warping of motive can also deform our definitions of success and failure. Echoing Leonard Cohen’s wisdom on why you should never quit before you know what it is you’re quitting, Bradbury writes:

We should not look down on work nor look down on [our early works] as failures. To fail is to give up. But you are in the midst of a moving process. Nothing fails then. All goes on. Work is done. If good, you learn from it. If bad, you learn even more. Work done and behind you is a lesson to be studied. There is no failure unless one stops. Not to work is to cease, tighten up, become nervous and therefore destructive of the creative process.

(Nearly twenty years later, Oprah would mirror this closely and counsel the graduating class at Harvard that “there is no such thing as failure — failure is just life trying to move us in another direction.”)

A lifelong advocate of doing what you love, Bradbury ends with a beautiful disclaimer for the cynical:

Now, have I sounded like a cultist of some sort? A yogi feeding on kumquats, grapenuts and almonds here beneath the banyan tree? Let me assure you I speak of all these things only because they have worked for me for fifty years. And I think they might work for you. The true test is in the doing.

Be pragmatic, then. If you’re not happy with the way your writing has gone, you might give my method a try.

If you do, I think you might easily find a new definition for Work.

And the word is LOVE.

Zen in the Art of Writing remains a spectacular read. Complement it with some thoughts on how to find your purpose and do what you love, then revisit more notable wisdom on writing, including Elmore Leonard’s rules of writing, Walter Benjamin’s thirteen doctrines, Zadie Smith’s ten rules, David Ogilvy’s no-bullshit tips, Henry Miller’s 11 commandments, Susan Sontag’s synthesized learnings, and Ernest Hemingway’s advice to aspiring writers.

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20 FEBRUARY, 2014

Why Science-Fiction Writers Are So Good at Predicting the Future

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“At its core, good science fiction must rest on good science.”

“Trying to predict the future is a discouraging and hazardous occupation,” Arthur C. Clarke declared in 1964, and yet he got it astoundingly right in his own predictions, including his 1968 vision for the iPad. He wasn’t alone — Isaac Asimov predicted online education, Douglas Adams predicted ebooks, Ray Bradbury predicted that we would reach Mars (though, so far, we’ve only done so with robotic extensions of ourselves), and Jules Verne envisioned the hi-tech Nautilus “at a time when even a can-opener [was] considered an exciting new concept.” In fact, science-fiction authors have a formidable track record of predicting the future — but why?

That’s exactly what Joe Hanson of It’s Okay To Be Smart — who has previously explained the science of why we kiss and the mathematical odds of finding your soulmate — explores in this fantastic short film for PBS:

One right prediction in any one body of work would be lucky, but this many right answers can’t be luck — clearly, something sets these people apart. Many of the greatest sci-fi writers also had serious scientific training: Isaac Asimov had a Ph.D. in biochemistry, and Arthur C. Clarke had degrees in math and physics; H.G. Wells had a degree in biology…

At its core, good science fiction must rest on good science…

How far can we see into the future? Well, it depends on what we’re looking for — Isaac Asimov said that when we look at stars or galaxies or DNA, we’re looking at simple things, things that follow nice, neat rules and equations; but when we look at human history, it’s chaotic, unpredictable, our vision is limited. Science transforms the complex into the simple — that’s how we explain the chaos. Science is how we see farther, and science fiction is where we write down what we see.

Complement with this fantastic visual timeline of the future based on famous fiction and some vintage visions for the future of technology, then revisit one of H.G. Wells’s as-yet unfulfilled predictions with Edward Gorey’s illustrations for The War of the Worlds.

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