Ray Bradbury

Smart homes in speculative fiction (SF) range from the ominously sinister to the strategically life-saving, revealing our hopes and fears for science: possibilities we envision for artificial intelligence (AI), yet also dangers of such technology. Within these narratives, we can also see the cracks in our conceptions, where it may be time to rethink our assumptions about intelligence, ethics, motives.

Genre cataloguing in fiction has repercussions on many marketing aspects, but also on the author’s literary reputation. Because some genres among genre fiction are considered nobler than others, like fantastic fiction or speculative fiction, some authors manage to reach a particular position, akin to literary fiction authors. J. R. R. Tolkien, Ursula K. Le Guin, and Ray Bradbury are such authors. The underlying question here is to understand how a work of fiction is catalogued as literary or genre fiction, and more specifically, as science fiction, horror, or fantasy. Moreover, with an author like Ray Bradbury who skillfully combined elements from different genres and went from being considered a genre fiction author to a mainstream fiction author, how do scholars and publishers catalogue a particular narrative?

The postmodern condition can be construed as that the grand narratives having been dissolved are to be replaced by pluralist historical narratives (Lyotard), or as that the notion of metaphysical and objective truth having been enfeebled are to be replaced by a discourse proceeding by tolerance and complaisance toward what the other says (Vattimo). In this regard, postmodernity delineates a pluralistic picture in which each and every thought, rather than enforcing a metaphysical and objective narrative upon other thoughts, acknowledges its own weakness and vulnerability. This weakened thought, or in Vattimo’s terms, the weak thought (il pensiero debole) has two significant consequences: First of all, the philosophical atheism, which was institutionalized in the era of Enlightenment, and its sui generis metaphysical grand narrative, have to be weakened as well. For what these institutionalized narratives did was to replace the Church’s “God” with “Truth”, purified from the holy, rationalized by the human reason. And yet, in the postmodern era in which the grand narratives are doomed to break down, “Today there are no longer strong, plausible philosophical reasons to be atheist, or at any rate to dismiss religion,” as Vattimo puts it succinctly. Here the second consequence follows: Religion (i.e., religious life, religious experience) returns to one’s postmodern life. Unlike modern consideration of it as villain of the reason, religion is regarded as a reference (with the text), whose power of persuasion seems the strongest among many other truth claims. In this paper, following the above-mentioned consequences of the postmodern condition, I will shed light on the position of the postmodern hero in postmodern literature. To begin with, the weakening of the subject and thought makes the postmodern protagonist feel highly distressed along with the idea of groundlessness. The protagonist who acknowledges the fact that everything addressed to him/her is but a contingent being, remains driven away in this centerlessness: The leading concerns for the postmodern heros are fear, trembling, and the question of faith. Thus, the protagonist in postmodern literature becomes open to be explicitly influenced by the consequences of postmodernity. And religion as convalescence penetrates deep into the heart of postmodern literature.

Post-modern edebiyatı modern edebiyattan ayıran özelliklerden biri, gerçeklik ve kesinlikle olan ilişkisidir. Bu iki unsura bel bağlayan klasik ve modern edebiyatın tek boyutlu ya da tek düzlemli bir dil tecrübesi sunduklarını söyleyebiliriz: Tek bir merkez ve tepeden bakan tek bir göz. Fakat gerçeklik ya da daha ideolojik hâliyle gerçekçilik, post-modern edebiyat için ilk sırada gelmez. Varlığın ve muhatabı olduğu her şeyin kendisi gibi mümkün olduğunun farkına varan kahraman, bu merkezsizlik içerisinde savrulur durur.

Las primeras líneas de una historia son las más importantes. Ahí se define todo lo que será de la misma. Los grandes autores de la literatura lo saben y han convertido en un arte la apertura de sus grandes obras. De Cervantes (“En un lugar de la Mancha, del cual no quiero acordarme...”) a García Márquez (“Muchos años después, frente al pelotón de fusilamiento...”) hay cuatro siglos de separación temporal, ninguna distancia psíquica: el inicio debe ser memorable.

Using the speculative fiction of Ray Bradbury's space stories and the speculative theology/philosophy of Søren Kierkegaard's "Fear and Trembling," this paper presents a particular example of the analogous relationship between science-fiction and theology.

La distopía se ha convertido en el género literario preferido de muchos lectores; quizá el pensar en que lo posible de un mundo imposible resulta muy cercano, nos atrapa; a la ciencia ficción que compone su naturaleza se le suma una narrativa sobre cuestiones culturales, sociales y políticas, ¿cuestiones jurídicas? No explícitamente. El derecho en la literatura distópica, debe descubrirse, está presente, pero la tesis argumentativa no gira entorno a este, lo que hace más interesante cualquier análisis jurídico o incluso literario.

The establishing premise of this course is that Mars has served American and world literature for more than a century as a territory for imaginative projection.  In US literature Mars functions a discursive center for issues that have preoccupy American culture.  This course undertakes to historicize and trace the imaginative development of a trope that reflects the changing nature of the United States, its cultures and technologies.

Silas, and amateur astronomer and romantic bachelor suddenly inherits 100 acres of land and an old mansion in rural Missouri. He goes to live there.  Silas calls the property "his Hundred." However, a ghostly legend about the property, told by the locals, identifies the property otherwise as "Old Sachem Hill." This living legend holds that an ancient shaman-chief named "Walks-At-Night" haunts the property." Silas ignores the legend and its implications.

Soon after arrives in Missouri, he meets, courts and marries, another stranger to town. Her name is Dominique. She soon proves to be a poor choice for a wife. After a failed honeymoon, Silas begins to sink, confused and depressed into second thoughts about his new wife. Meanwhile, she grows uneasy on the Hundred. In particular, she has no interest whatsoever in sharing the "profound" learning experience Silas’s offers her by building a large stargazing platform atop their roof above their bedroom. She refuses to even visit it. Instead, she opts to preoccupy herself with real estate stratagems and to conduct her own business in town. 

No sooner do the newlyweds move into the old mansion then Dominique begins to experience phantasmagoric encounters while exploring alone the unfamiliar property. These apparitions (if that is what they are?) -- grow increasingly intense and frightening for her. Initially, Silas cannot even begin to comprehend the weird encounters that Dominique claims to be experiencing during her perambulations here and there within "The Hundred."

One evening, near dusk, Dominique carelessly wanders into the heart of the Hundred. There she finds herself alone near an abandoned ice house, and at the threshold of treacherous steep ravine on the property. Oblivious to her danger, she descends within the ravine and stumbles upon the macabre ivory head of a half-buried and dismembered ceramic child's doll! An omen? A curse? She panics! She is unable to rapidly claw her way upward along the steep, slippery bank of the dark ravine. Gripped by her terror of the unknown, she freezes in her tracks. She glimpses above her, close at hand, to discern the inky cloak of a ghostly, silent figure. Suddenly, a feral cat -- a grimalkin --materializes out nowhere! With a final burst of desperation, Dominique leaps, then trips, to tumble down deeper into the wilderness thicket below, continuing to follow after the scampering cat, and flailing forward, blindly  ... ... .

Ray Bradbury e Philip K. Dick são dois dos mais relevantes autores da ficção científica surgidos no século XX. As crônicas marcianas, escrita por Bradbury, e “Minority Report”, de autoria de Philip K. Dick, são obras representativas de cada autor e apresentam marcantes representações vinculadas à tradição dos textos utópicos. Este artigo realiza uma leitura dos textos citados articulando-os com a história da ficção científica e com a relação entre ficção científica e utopia. Através das contribuições de Causo (2003), Hansen (2003), James (2008), entre outros, é possível identificar nas obras em análise duas diferentes formas de representação utópica: em Bradbury, a afirmação da possibilidade de construção de uma comunidade utópica; em Philip K. Dick, por outro lado, encontramos uma leitura cética a respeito de qualquer implementação prática dos projetos utópicos. Para Bradbury, o planeta Marte representa um paraíso a ser reencontrado; para Philip K. Dick, o futuro será necessariamente marcada por uma experiência distópica.

While mainstream literature can only offer endless examples of a given human feature (jealousy, beauty, faith...), science fiction stories allow us to define the essence of man by pushing those features to their limits. Is there anything human in an android endowed with free will? Or in a six-legged creature capable of grief and compassion? If not, does this mean the essence of man lies in the number of his legs? Drawing from stories by Philip K. Dick, Richard Matheson, Ray Bradbury and others, this paper examines the process whereby science fiction puts humanity to the test.

Resumen: Desde el principio, los hombres han maquinado con las cosas del mundo y estas han maquinado con ellos. Así Arquímedes, con sus colosales espejos cóncavos, maquina y es maquinado él mismo en defensa de su ciudad —Siracusa—, contra el invasor romano. El escritor mismo, más bien que usuario de la máquina de escribir, resulta ser una pieza de la máquina-escritura, un agente de un proceso maquínico que lo cambia, pues no escribimos según lo que somos, sino que somossegún lo que escribimos. La época moderna se funda en el derrumbe de la representación. El escritor, más que reproducir lo visible, hace visible, pronostica, presiente, gracias a un proceso de simbiosis entre el mundo, el escritor y la obra; una hibridación peculiar tal como la que ocurre entre la abeja y la orquídea quienes, aunque de reinos completamente distintos, se acoplan y dan lugar a una fecundación cruzada que enriquece los cromosomas de la planta. Así, el escritor, buen sensor o medium, se entona con el mundo, vibra con él, maquina con él y emite unas señales. La obra literaria lograda produce fugas en el mundo de la representación y se empeña en vencer las fuerzas de la gravedad, hacer despegar de la tierra, pero para agarrar mejor el mundo. El trabajo de escribir da lugar a devenires múltiples, imperceptibles, en el escritor mismo.

Abstract: From the beginning, men have schemed with the things of the world and these have schemed with them. Thus Archimedes, with his colossal concave mirrors, machines and is himself machined in defense of his city, Syracuse, against the Roman invader. The writer himself, rather than a user of the typewriter, turns out to be a piece of the machine-writing, an agent of a machinic process that changes him, because we do not write according to what we are, but we are according to what we write. The modern era is founded on the collapse of representation. The writer, rather than reproduce the visible, makes visible, predicts, senses, thanks to a process of symbiosis between the world, the writer and the work, a peculiar hybridization such as that which occurs between the bee and the orchid, of kingdoms completely different, which are coupled and lead to cross fertilization that enriches the chromosomes of the plant. Thus, the writer, a good sensor or medium, is in tune with the world, vibrates with it, machines with it and emits signals. The literary work achieved produces leaks in the world of representation and insists on overcoming the forces of gravity, making it take off from the earth, but to better grasp the world. The work of writing gives rise to multiple, imperceptible developments in the writer himself.

Essays on Pop Culture, Sonic Modernity, the Anthropocene, and Artificial
Intelligence interweaves key subjects of our time to offer a complex vision of the public sphere in the wake of the 21st century. Departing from the inherent relationship between identity and media, these essays explore, from the critical vision of a public intellectual, the multiple epistemological pathways that could shape global society in the near future. This interdisciplinary collection is an invaluable tool for anyone interested in engaging in thought-provoking conversations about the impact of mindset design, border studies, the social influence of sound, the future role of women at the global scale, the divine, and the irruption of Artificial Intelligence in our everyday life.

Novels bring us into fictional worlds where we encounter the lives, struggles and dreams of characters who speak to the underlying pulse of society and social change. In this book post-World War II comes alive again in an analysis of the characters that captured the imaginations of millions of readers in the most influential novels of the 1950s.

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This  article  presents  an  interview  with  writer  and  game  developer  Mark Yohalem (b. 1980) discussing horror and mythology in relation to Strangeland, a psychological horror game released in 2021 from Wormwood Studios in which players explore the haunted mindscape of a man consumed by self-loathing and grief.  Thematic,  aesthetic,  cultural  and production-related  frameworks  are explored, in addition to the topic of games and metacognition. Mythology, as well  as  works  by  Ray  Bradbury,  Francisco  Goya,  and  Franz  von  Stuck  are discussed,  all  within  the  context  of  the  macabre.  The  article  then  presents  an interview with artist Victor Pflug (b. 1982) who cites the 1967 British television series  The  Prisoner  as  an  influence  on  his  work  for Strangeland  and  shares  his thoughts and reflections on Strangeland’s art and sound design, Twin Peaks, H.R. Giger and other horror and dark fantasy inspirations and influences. The article concludes with a discussion with Mark Yohalem about  Strangeland, horror and games within the context of perceptions and empathy.

I was selected to participate in the Center for Faith and Culture's (CFC) Mentorship Program for the 2018-19 academic year at Southeastern Baptist Theological Seminary. This year's theme is "Faith and the Arts," hence, this essay. The e-published version can be accessed here on the Intersect Project's website: http://intersectproject.org/faith-and-culture/the-disease-of-bullying-and-the-power-of-forgiveness.

In this brief, informal essay I address the problem of bullying, violence, and self-elevation through the lenses of Ray Bradbury's science fiction classic, "All Summer in a Day, as well as Christian Scripture. In nuce, my thesis is that bullying is antithetical to the gospel due to its a priori elevation of self above all else—even God. Alternatively, Scripture beckons us to consider Christ, the exemplar par excellence of humility and sacrificial service to others (Phil 2:5–11).

“The mighty dead return, but they return in our colors, and speaking in our voices.” So writes Harold Bloom in his influential—though much disparaged—work, The Anxiety of Influence (1973). The resurrection of the dead is an apt description of our incessant urge to frame new writers in light old ones: eponymous adjectives abound like incantations, calling up ghosts to haunt the pages of new novels. Dickensian. Joycean. Kafkaesque. While there is no shortage of Virgilian guides to offer up as examples of Bloom’s vision of return, the resurrections are almost always incidental: the presence of the deceased is meant to be unquestioned, even unexceptional, an opportunity for the author to “do the Police in different voices.” But housed in the Spring 1950 edition of science-fiction pulp, Planet Stories—following Keith Bennett’s implausibly titled novella, “The Rocketeers have Shaggy Ears” (“a gripping novel of Earthlings lost in Alien savagery”)—is a story of author-resurrection that literalizes Bloom’s return of the dead, and in so doing illuminates the peculiar reception history of the author it revives. That story is Ray Bradbury’s “Forever and the Earth,” and its unlikely, reanimated hero is the author Thomas Wolfe. This paper investigates the pulp-author as fan, tracing the young Bradbury’s obsessive love for Wolfe, and revealing how the future laureate of Mars revivified an Appalachian romantic, and sent him into space.

Many studies have investigated the notion of utopia in history, philosophy and literature. However, little attention has been devoted to its negative counterpart. Dystopia is the “utopia’s twentieth-century doppelgänger” (Gordin et al., 2010:1). This essay claims the deconstruction of traditional opposites by using Dystopology. This multifocal literary theory expands the dystopian analysis to other genres. Additionally, this paper will provide a dystopological overview of literature to better understand the pure dystopias of the era of social deception, conceiving not only the genesis of a new literature, but also another way of perceiving reality, through comics, cinema and other arts. The new millennium secured the fears of the dystopian trilogy ‒Huxley, Orwell and Bradbury. Therefore, when dystopia turns into reality, the only solution for contemporary authors is apocalypse. Following anarchic ideals, the coming generations see the destruction of society as the only opportunity for humanity to be reborn again.

The mars 1974 issue of L’Art vivant entitled “Biblioclastes… bibliophiles” is the occasion of going back over the Death of the Book at a turning point in comparison with current changes. Intellectuals and book artists combine the announced disappearance of the printed medium with the archaic event of the ideologic Biblioclasm.
Fahrenheit 451 (Bradbury’s Novel as well as Truffaut’s Movie) and the Elias Canetti’s Novel, Die Blendung (1935 ; translated in english in 1946 as Auto-da-fe) are presented in L’Art vivant as beginnings for such a problematical relationship with book and print.
But we must question this historicizing and consider the place of fiction. The corollary of the Death of the Book’s may be the integration of the medium in the human body. Above all, fiction seems to play with its own medium and to show their failure.

Le numéro de mars 1974 de la revue L’Art vivant intitulé « Biblioclastes… bibliophiles » permet de revenir sur la « fin » du livre à une période charnière par rapport aux mutations actuelles. Les intellectuels et les artistes du livre associent le phénomène médiologique qu’est la disparition annoncée de l’imprimé et le phénomène idéologique ancien qu’est le biblioclasme.
Fahrenheit 451 (le roman de Bradbury puis le film de Truffaut) et le roman d’Elias Canetti, Die Blendung (1935 ; traduit en anglais en 1946 sous le titre d’Auto-da-fe), sont convoqués par la revue comme autant de prémices de ce rapport problématique au livre et à l’imprimé.
Il faut pourtant interroger cette historicisation et tenir compte du jeu de la fiction. L’imaginaire de la fin du livre a peut-être pour corollaire celui de l’incorporation du medium par l’individu lui-même. Mais la fiction semble surtout fondamentalement mettre en jeu, voire en faillite, ses propres supports.