New Ray Bradbury Review Number 2 (2010)

Description

Like its pioneering predecessor, the one-volume review published in 1952 by William F. Nolan, The New Ray Bradbury Review contains articles and reviews about Bradbury but has a much broader scope, including a thematic focus for each issue. Since Nolan composed his slim volume at the beginning of Bradbury's career, Bradbury has birthed hundreds of stories and half a dozen novels, making him one of this country's most anthologized authors. While his effect on the genres of fantasy, horror, and science fiction is still being assessed (See Ray Bradbury: The Life of Fiction, Kent State University Press, 2004), there is no doubt of his impact, and to judge from the testimony of his readers, many of them now professional writers themselves, it is clear that he has affected the lives of five generations of young readers.The New Ray Bradbury Review is designed primarily to study the impact of Ray Bradbury's writings on American culture. It is the central publication of The Center for Ray Bradbury Studies, a newly established archive of Bradbury's writings located at Indiana University. This review is designed principally to study the impact of Ray Bradbury's writings on American culture. In this second number, scholars discuss Bradbury's view of the role of art and aesthetics in our modern technological lives. Included are Bradbury's correspondence with renowned Renaissance art historian and aesthetician Bernard Berenson, a fragment from Bradbury's screenplay "The Chrysalis," a review of Now and Forever, and insightful essays by Jon Eller and Roger Lay.Fans and scholars will welcome The New Ray Bradbury Review, as it will add to the understanding of the life and work of this recently honored author, who received both a National Book Award and a Pulitzer Prize.

Sujets

• Idioma inglés
• Fantasy (canción de Mariah Carey)
• Science fiction
• English
• Fantasy
• Anglais

Informations

• Publié par: The Kent State University Press
• Date de parution: 24 octobre 1998
• Nombre de lectures: 0
• EAN13: 9781612773261
• Langue: English

Extrait

THE NEW RAY BRADBURY REVIEW
Number 2 (2010)
Edited by William F. Touponce

Published by The Kent State University Press
EDITORIAL ADVISORY BOARD D ONN A LBRIGHT Pratt Institute J ONATHAN R. E LLER Indiana University S ARAH L AWALL University of Massachusetts P HIL N ICHOLS University of Wolverhampton
THE NEW RAY BRADBURY REVIEW
Number 2 (2010)
CONTENTS
Introduction: Art and Aesthetics in the “Age of the Chrysalis”
WILLIAM F. TOUPONCE
“Floreat!”: Ray Bradbury and Bernard Berenson
JON ELLER
The Bradbury-Berenson Correspondence
EDITED BY JON ELLER
“The Chrysalis”: A Bradbury Screenplay Fragment
JON ELLER
“The Chrysalis” (unfinished)
RAY BRADBURY
Adapting Bradbury for the Screen: “A Piece of Wood” and “Chrysalis”
ROGER LAY JR.
Review: A Theologian of the Beautiful and the Sublime: Ray Bradbury’s Now and Forever
WILLIAM F. TOUPONCE
Copyright © 2010 by The Center for Ray Bradbury Studies
All rights reserved. No part of this publication may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. Address permissions requests to: The Kent State University Press, Attn: Rights and Permissions, PO Box 5190, Kent, OH 44242-0001.
ISBN 978-1-60635-037-9
Manufactured in the United States of America
To order call (419) 281–1802 or order online at www.kentstateuniversitypress.com .
The New Ray Bradbury Review is edited by William F. Touponce at The Center for Ray Bradbury Studies, Institute for American Thought, Indiana University–Purdue University Indianapolis, 902 E. New York Street, ES 0010, Indianapolis, Indiana 46202, and published periodically by The Kent State University Press, Kent, Ohio 44242. The Center for Ray Bradbury Studies accepts no responsibility for statements of fact or opinion made by contributors.
Send inquiries and submissions to the editor at [e-mail] . Submissions to The New Ray Bradbury Review should be typed and double-spaced in 12-point Times on letter-sized paper. Electronic submissions on disk or via e-mail must be in Microsoft Word. If photographs, diagrams, or other graphic material accompany the document, include each in a file separate from the text or send them as individual e-mail attachments. Scanned greyscale images must be in TIFF format at 300 dpi or higher resolution; line images should be in TIFF format at 1200 dpi or higher resolution. Any material owned by third parties must be accompanied by complete copyright information for proper acknowledgment. Authors are required to obtain written permission from the rights holder(s) of such material submitted for inclusion in The New Ray Bradbury Review .
A Remembrance: April 1982/R.B. ON B.B.
“Ah dear me,” said Mr. Berenson, looking at me closely as I came into the room for our second visit in 1957. “Oh dear, yes, at last ….” He hesitated, and then with some touch of sadness but a touch of pleasure added, “you’ve become … old.”
I was shocked. For I was only 37.
But there was a triumph there that I would only understand later in my life when I saw young men age and knew that they were traveling my path to the as-not-yet reached grave.
I did not feel old. I did not see myself in the mirror old. But B.B., having missed out on three years of my aging, could see the subtle difference. Perhaps he x-rayed and spied that single white hair I had found on my chest during the ship’s journey over. I had plucked the damned thing out, as if it were a fang, and tossed it overboard, thus burying age behind me in the seas.
Content to have said that, and myself having become one with the ages, that is to say with him, B.B. took my elbow and steered me, and my good wife, in to lunch. I was all right now. I was safe. I would die, too. He never said it. Perhaps he never caught himself thinking it. But I, older now, catch it, think it for him. We are all safe when we are all dying, or on our way there.

Renaissance scholar Bernard Berenson in the Borghese Gallery, Rome, 1955. His correspondence with Ray Bradbury spanned the final six years of Berenson’s life, from 1953 to 1959. Photograph by David Seymour, c. Magnum Photos.
Contributors
J ONATHAN R. E LLER (B.S., United States Air Force Academy; B.A., University of Maryland; M.A., Ph.D., Indiana University), a retired U.S. Air Force officer, is Professor of English, Adjunct Professor of American Studies, and Associate Director of Indiana University’s Institute for American Thought. He is also a resident scholar in the institute’s Center for Ray Bradbury Studies. Professor Eller has edited the texts for two volumes in the Writings of Charles S. Peirce (Indiana Univ. Press, 1980–), and has published bibliographical studies of Ray Bradbury, Joseph Heller, and Robert Penn Warren. He has edited a restored four-text edition of Ray Bradbury’s The Halloween Tree (Gauntlet, 2005) and was textual editor for Match to Flame (Gauntlet, 2006), a collection of the stories and manuscripts related to Fahrenheit 451 . Most recently, Professor Eller edited a limited edition of Dandelion Wine (PS Publishing, 2007) and Summer Morning, Summer Night (PS Publishing, 2007), a companion volume of stories and story fragments discarded from Bradbury’s earliest Dandelion Wine and Farewell Summer manuscripts. He is the coauthor, with William F. Touponce, of Ray Bradbury: The Life of Fiction (Kent State University Press, 2004). Professor Eller is now working on “Becoming Ray Bradbury,” a book-length study of Bradbury’s reading life and development as a multimedia author through the first two decades of his professional career.
R OGER L AY J R . studied film and television production at the University of Southern California’s School of Cinema-Television and The Los Angeles Film School, Hollywood. In 1998 he completed the USC/Universal Studios Producing and Directing Program. Roger began his career when an internship on the hit television series Everybody Loves Raymond led to coproducing ThinkFilm’s 95 Miles To Go , starring Ray Romano. The film was released theatrically in the spring of 2006 and is currently playing on the HBO and Cinemax networks. In recent years he has directed multiple music videos and commercials as well as produced the short film adaptation of internationally acclaimed author Ray Bradbury’s “A Piece of Wood.” After the success of that project Roger adapted another Bradbury short story for the screen with his production of the feature, Ray Bradbury’s Chrysalis , in 2008.
W ILLIAM F. TOUPONCE (Ph.D., University of Massachusetts) is Professor of English and Adjunct Professor of American Studies in the Institute for American Thought (IUPUI). He is coauthor, with Jonathan Eller, of Ray Bradbury: The Life of Fiction (Kent State University Press, 2004). His other publications include Ray Bradbury and the Poetics of Reverie (Borgo Press, 1998), Frank Herbert (G. K. Hall, 1988), and Isaac Asimov (G. K. Hall, 1991). He is Director of the Graduate Program in Professional Editing and The Center for Ray Bradbury Studies ( http://www.iupui.edu/~crbs ), both housed in the Institute for American Thought. He recently edited Ray Bradbury’s screenplay for the 1956 film version of Moby-Dick for publication by The Subterranean Press. Contact: [e-mail] . He is general editor of The Collected Stories of Ray Bradbury: A Critical Edition (Kent State University Press, forthcoming).
Art and Aesthetics in the “Age of the Chrysalis”
WILLIAM F. TOUPONCE

We are one. From the blind worm in the depths of the ocean to the endless arena of the Galaxy, only one person struggles and is imperiled: You. And within your small and earthen breast only one thing struggles and is imperiled: The Universe.
—Nikos Kazantzakis, The Saviors of God
Welcome to the second issue of The New Ray Bradbury Review , a scholarly annual devoted to the study of Ray Bradbury’s writing career.
This issue focuses on Bradbury’s various statements, both in fiction and in essay form, attempting to explain what the role of art and aesthetics should be in our modern technological lives.
Originally this issue was to have been devoted to Bradbury and religion, but religious issues are so intertwined with his aesthetics of fiction that, after Bradbury asked us to publish his correspondence with Bernard Berenson, we decided to put aesthetics and religion together in one issue. As our major offering in this issue, the relationship between Bradbury and Berenson is documented here for the first time with the fascinating record of their correspondence, edited and introduced by Jon Eller. After working with Bradbury’s originals of the Berenson letters, Eller was able to recover copies of Bradbury’s original letters from the Berenson library at Villa I Tatti outside of Florence, Italy. The subject of aesthetics surfaces frequently in the correspondence and forms the main focus of this issue.
By aesthetics, we mean broadly our response to art. Can art still have a humanizing effect on culture and society? What is the role and responsibility of the artist to his public in an age of the mechanical reproduction of art? And what of robots and rockets, aliens and spaceflight, those icons of science fiction and fantasy? Bradbury’s early writings, The Martian Chronicles and Fahrenheit 451 , provide imaginative answers to these questions—“Rocket Summer,” the opening passage of The Martian Chronicles , creates a thrilling and uplifting aesthetic response to space exploration—but these works seem angered, too, by a sense of the loss of “aura” associated with the art object in our space age, and they also evoke Bradbury’s characteristic nostalgia for the past. According to some aestheticians (Walter Benjamin, Bernard Berenson), this nostalgia is perhaps the central characteristic of art in the twentieth century. These early works are not under direct investigation here, and in any case they have been much studied. But beginning in 1953