Ray Bradbury Stories Volume 1. Ray Bradbury

of the Pavilion, the Disney organization hired me to help plan the dreams that went into Spaceship Earth, part of Epcot, 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 twentynine and thirty.

      Look around among these 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, I 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 here 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 cliché, but each, in the foul weather and the foundered 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 rain soaked 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 in this collection I haven’t commented on yet. ‘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 great-grandmother 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.

      ‘Skeleton’ happened because I went to my doctor when I was twentytwo, complaining that my neck, my throat, felt strange. I touched all around the tendons and muscles of my neck. The doctor did likewise and said, ‘You know what you’re suffering from?’

      ‘What?’

      ‘A bad case,’ he said, ‘of discovery of the larynx. We all discover, at one time or another, various tendons, various bones, in our bodies we never noticed before. That’s you. Take an aspirin and go home.’

      I went home, feeling my elbows, my ankles, my ribs, my throat, and my medulla oblongata.

      ‘Skeleton,’ a contest between a man and his hidden bones, wrote itself that night.

      ‘The Picasso Summer’ was the result of my walking on the shoreline with friends and my wife one late afternoon. I picked