Ray Bradbury

“I’m the thing you most desire, you represent the thing I least desire, death. It’s just the opposite of love.”

“It is good to renew one's wonder, said the philosopher. Space travel has again made children of us all.”

“I want your loves to be multiple. I don't want you to be a snob about anything. Anything you love, you do it.”

“Cuando muere, todo el mundo debe dejar algo detrás, decía mi abuelo. Un hijo, unlibro, un cuadro, una casa, una pared levantada o un par de zapatos. O un jardínplantado. Algo que tu mano tocará de un modo especial, de modo que tu alma tengaalgún sitio a donde ir cuando tú mueras, y cuando la gente mire ese árbol, o esa flor, quetú plantaste, tú estarás allí. «No importa lo que hagas -decía-, en tanto que cambies algorespecto a como era antes de tocarlo, convirtiéndolo en algo que sea como tú después deque separes de ellos tus manos.”

“Good writers touch life often.”

“Los libros están para recordarnos lo tontos y estúpidos que fuimos.”

“Stand at the top of a cliff and jump off and build your wings on the way down.”

“If you need to find out the kindling point of paper (451° F), don’t call an academic, call the fire department.”

“Don’t try to write a novel. Write short stories and then figure out how to connect them.”

“Write a short story every week. It's not possible to write 52 bad short stories in a row.”

“I sometimes get up at night when I can't sleep and walk down into my library and open one of my books and read a paragraph and say, 'My God, did I write that?”

“I was not predicting the future, I was trying to prevent it.”

“Do you know why teachers use me? Because I speak in tongues. I write metaphors. Every one of my stories is a metaphor you can remember. The great religions are all metaphor. We appreciate things like Daniel and the lion’s den, and the Tower of Babel. People remember these metaphors because they are so vivid you can’t get free of them and that’s what kids like in school. They read about rocket ships and encounters in space, tales of dinosaurs. All my life I’ve been running through the fields and picking up bright objects. I turn one over and say, Yeah, there’s a story. And that’s what kids like. Today, my stories are in a thousand anthologies. And I’m in good company. The other writers are quite often dead people who wrote in metaphors: Edgar Allan Poe, Herman Melville, Washington Irving, Nathaniel Hawthorne. All these people wrote for children. They may have pretended not to, but they did.”

“All down the way the pursued and the pursuing, the dream and the dreamers, the quarry and the hounds. All down the way the sudden revealment, the flash of familiar eyes, the cry of an old, old name. Everyone leaping forward as, like an image reflected from ten thousand mirrors, ten thousand eyes, the running dream came and went, a different face to those ahead, those behind, those yet to be met, those unseen... And here they all are now, at the boat, wanting the dream for their own.”

“They pointed at each other, with starlight burning in their limbs like daggers and icicles and fireflies, and then fell to judging their limbs again, each finding himself intact, hot, excited, stunned, awed, and the other, ah yes, that other over there, unreal, a ghostly prism flashing the accumulated light of distant worlds….…Now Tomas laughed. “You’re blind!”“I see very well. You are the one who does not see.”

“The rockets came like locusts, swarming and settling in blooms of rosy smoke. And from the rockets ran men with hammers in their hands to beat the strange world into a shape that was familiar to the eye, to bludgeon away all the strangeness, their mouths fringed with nails so they resembled steel-toothed carnivores, spitting them into their swift hands as they hammered up frame cottages and scuttled over roofs with shingles to blot out the eerie stars, and fit green shades to pull against the night.”

“C'era come un odore di Tempo, Nell'aria della notte. Tomàs sorrise all'idea, continuando a rimuginarla. Era una strana idea. E che odore aveva il Tempo, poi? Odorava di polvere, di orologi e di gente. E che suono aveva il Tempo? Faceva un rumore di acque correnti nei recessi bui d'una grotta, di voci querule, di terra che risuonava con un tonfo cavo sui coperchi delle casse, e battere di pioggia. E, per arrivare alle estreme conseguenze: che aspetto aveva il Tempo? Era come neve che cade senza rumore in una camera buia, o come un film muto in un'antica sala cinematografica, cento miliardi di facce cadenti come palloncini di capodanno, giù, sempre più giù, nel nulla. Così il tempo odorava, questo era il rumore che faceva, era così che appariva. E quella notte – Tomàs immerse una mano nel vento fuori della vettura – quella notte tu quasi lo potevi toccare, il Tempo.(Cronache Marziane, trad. Giorgio Monicelli)”

“Miraculously, smoke curled out of his own mouth, his nose, his ears, his eyes, as if his soul had been extinguished within his lungs at the very moment the sweet pumpkin gave up its incensed ghost.”

“A conglomerate heap of trash, that’s what I am. But it burns with a high flame.”

“There is no future for e-books, because they are not books. E-books smell like burned fuel.”

“I'm numb and I'm tired. Too much has happened today. I feel as if I'd been out in a pounding rain for forty-eight hours without an umbrella or a coat. I'm soaked to the skin with emotion.”

“But no man's a hero to himself. I've lived with me a lifetime. I know everything worth knowing about myself--"~Something Wicked This Way Comes”

“How do you get so empty? he wondered. Who takes it out of you?”

“To hell with you. To hell with you and to hell with the Internet.”

“We have too many cellphones. We've got too many internets. We have got to get rid of those machines. We have too many machines now.”

“I don't believe in being serious about anything. I think life is too serious to be taken seriously."[Writer’s Digest Interview (Robert Jacobs, Writer’s Digest, February 1976)]”

“If you dream the proper dreams, and share the myths with people, they will want to grow up to be like you.”

“I do not use my intellect to write my stories and books; I have a gut reaction to the things that my subconscious gives me.”

“My tunes and numbers are here. They have filled my years, the years when I refused to die. And in order to do that I wrote, I wrote, I wrote, at noon or 3:00 A.M.So as not to be dead.”

“Ya no existe el cohete. Nunca existió. Ni la gente. No hay nadie en todo el universo. Nunca hubo nadie. Ni planetas. Ni estrellas". Eso decía. Y luego algo acerca de sus pies y sus piernas y sus manos: "No mas manos", decía. "Ya no tengo manos. Nunca las tuve. Ni cuerpo. Nunca lo tuve. Ni boca. Ni cara. Ni cabeza. Nada. Solamente espacio. Solamente el abismo".”

“How must it have felt, Pikes, the night they seized your films, like entrails yanked from the camera, out of your guts, clutching them in coils and wads to stuff them up a stove to burn away! Did it feel as bad as having some fifty thousand books annihilated with no recompense? Yes. Yes. Stendahl felt his hands grow cold with the senseless anger.”

“If only someone else's flesh and brain and memory. If only they could have taken her mind along to the dry cleaner's and emptied the pockets and steamed and cleansed it and reblocked it and brought it back in the morning. If only...”

“Life is trying things to see if they work.”

“It wasn't going places. It was being between...Mostly it was space. So much space. I liked the idea of nothing on top, nothing on the bottom, and a lot of nothing in between, and me in the middle of the nothing.”

“Poetry expands the senses and keeps them in prime condition. It keeps you aware of your nose, your eye, your ear, your tongue, your hand.”

“Millie? Does the White Clown love you?”

“The most important single thing we had to pound into ourselves is that we were not important, we musn't be pedants; we were not to feel superior to anyone else in the world. We're nothing more than dust jackets for books, of no significance otherwise.”

“I'll be damned if death wears my sadness as glad rags. ”

“For being good is a fearful occupation; men strain at it & sometimes break in two. I've known a few. You work twice as hard to be a farmer as to be his hog.”

“What did the others give to each other?Nothingness.Granger stood looking back with Montag. “Everyone must leave something behindwhen he dies, my grandfather said. A child or a book or a painting or a house or awall built or a pair of shoes made. Or a garden planted. Something your handtouched some way so your soul has somewhere to go when you die, and whenpeople look at that tree or that flower you planted, you’re there. It doesn’t matter what you do, he said, so long as you change something from the way it was before you touched it into something that’s like you after you take your hands away. Thedifference between the man who just cuts lawns and a real gardener is in thetouching, he said. The lawn-cutter might just as well not have been there at all; thegardener will be there a lifetime.”

“Live in the library, for Christ’s sake! Don’t live on your goddamn computers and the internet and all that crap. Go to the library!”

“Not everyone born free and equal, as the constitution says, but everyone made equal.”

“But that was another Mildred so deep inside this one, and so bothered, really bothered, that the two women had never met.”

“Forget them. Burn all, burn everything. Fire is bright and fire is clean.”

“Time is so strange and life is twice as strange. You must promise me not to live to be too old, William. It if is at all convenient, die before you're fifty. It my take a bit of doing. But I advise this is simply because there is no telling when another Helen Loomis might be born. It would be dreadful, wouldn't it, if you lived on to be very very old and some afternoon in 1999 walked down Main street and saw me standing there, aged twenty-one, and the whole thing out of balance again?”

“And me not sleeping tonight or tomorrow night or any night for a long while, now that this has started. And he thought of her lying on the bed with the two technicians standing straight over her, not bent with concern, but only standing straight, arms folded. And he remembered thinking then that if she died, he was certain he wouldn’t cry. For it would be the dying of an unknown, a street face, a newspaper image, and it was suddenly so very wrong that he had begun to cry, not at death but at the thought of not crying at death, a silly empty man near a silly empty woman, while the hungry snake made her still more empty.How do you get so empty? he wondered. Who takes it out of you? And that awful flower the other day, the dandelion! It had summed up everything, hadn’t it? ‘What a shame! You’re not in love with anyone!’ And why not?”

“Montag shook his head. He looked at a blank wall. The girl's face was there, really quite beautiful in memory: astonishing, in fact. She had a very thin face like the dial of a small clock seen faintly in a dark room in the middle of a night when you waken to see the time and see the clock telling you the hour and the minute and the second, with a white silence and a glowing, all certainty and knowing what it had to tell of the night passing swiftly on toward further darknesses, but moving also toward a new sun.”

“It was a pleasure to burn.It was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon-winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning.”

“Please, please, help me grow to be like them, the ones'll soon be here, who never grow old, can't die, that's what they say, can't die, no matter what, or maybe they died a long time ago but Cecy calls, and Mother and Father call, and Grandmere who only whispers, and now they're coming and I'm nothing, not like them who pass through walls and live in trees or live underneath until seventeen-year rains flood them up and out, and the ones who run in packs, let me be the one! If they live forever, why not me?”

“Let me alone, said Mildred. I didn't do anything.Let you alone! That's all very well, but how can I leave myself alone? We need not to be let alone. We need to be really bothered once in a while. how long is it since you were really bothered? About something important, about something real?”