Zen in the Art of Writing by Ray Bradbury

Zen in the Art of Writing Reviews

• 
  Ahmad Sharabiani

  Zen in the Art of Writing, Ray Bradbury
  
  Zen in the Art of Writing: Essays on Creativity is a collection of essays by Ray Bradbury and published in 1990. The unifying theme is Bradbury's love for writing.
  
  Essays included are:
  The Joy of Writing (1973)
  Run Fast, Stand Still, Or, The Thing At the Top of the Stairs, Or, New Ghosts From Old Minds (1986)
  How To Keep and Feed a Muse (1961)
  Drunk, and in Charge of a Bicycle (1980)
  Investing Dimes: Fahrenheit 451 (1982)
  Just This Side of Byzantium: Dandelion Wine (1974)
  The Long Road to Mars (1990)
  On The Shoulders of Giants (1980)
  The Secret Mind (1965)
  Shooting Haiku in a Barrel (1982)
  Zen in the Art of Writing (1973)
  ...On Creativity (No Date Given)
  
  This book attempts to give creative ideas and inspiration to writers.
  
  تاریخ نخستین خوانش: روز بیست و هشتم ژانویه ماه سال2017میلادی
  
  عنوان: ذن در هنر نویسندگی؛ ری بردبری؛ مترجم: پرویز دوایی (دوائی)؛ تهران، موسسه فرهنگی هنری جهان کتاب، سال1389 در110ص؛ شابک9789642533602؛ موضوع: ذن؛ خلاقیت از نویسنگان ایالات متحده آمریکا - سده20م
  
  ری بردبری: شاعر «ایالات متحده آمریکا»، و نویسنده ی گونه‌ های «خیال‌پردازی»، «وحشت»، و «علمی تخیلی» بودند؛ «بردبری» را در کشور ما، بیشتر با اثر نامدارش «فارنهایت451»، می‌شناسند؛ اثر نامدار دیگر ایشان: «حکایت‌های مریخ» است، «ذن در هنر نویسندگی»، از نوشتن و ریزه کاریهایش میگوید
  
  نسخه ی فارسی کتاب در هشت فصل است، و در یکصد و ده صفحه: «کودک درونم»؛ «رمان دوپولی نسخه ای برای زیستن»؛ «نوشتن ...»؛ «نشاط نوشتن»؛ «ذن در هنر نویسندگی»؛ «اندر آداب نگهداری از فرشته الهام»؛ «بر دوش غولها»؛ و «شراب قاصدک»؛
  
  نقل از همین کتاب: - البته که هنوز غم و حسرت (نوستالژی) بچگیهایم را دارم! همچه که شروع به بزرگ شدن کردی با مسائلی روبرو میشوی که از عهده شان برنمیآیی؛ (صفحه10)؛
  
  در این دنیا دو تا حرفه ی شریف هست: پزشکی و نویسندگی؛ پزشک تن را درمان میکند و نویسنده جان را؛ (صفحه11)؛
  
  آدم برای پول یا شهرت نمینویسد؛ مینویسد تا زنده بماند؛ (صفحه11)؛ پایان نقل
  
  تاریخ بهنگام رسانی 15/03/1400هجری خورشیدی؛ 11/12/1400هجری خورشیدی؛ ا. شربیانی
• 
  بثينة العيسى

  لماذا راي برادبيري؟
  
  ربّما لأنّه من القلّة التي تنظرُ إلى الكتابة بصفتها “لذة ومتعة” عوضًا عن كونها معاناة. لأنَّ تأمّلات راي برادبيري في الكتابة تحتوي طاقة تحفيزية هائلة، لأنّه يحرضنا على تحويل الكتابة إلى لعبة، إلى مدينة ملاهي عملاقة يدلفُ إليها الكاتبُ قفزًا، حيثُ الطفل في داخلك هو الكاتب في داخلك، وينبغي عليك أن تتمسَّك به.
  
  يعتبر كتاب “الزِّن في فنٍّ الكتابة” إضافة نوعية إلى المكتبة العربية، وفكرة جديدة نقترحها على الكاتب العربي، لكي يتخفّف من بعض الكليشيهات المرافقة لهويته الكتابية (البؤس والمعاناة)، وليضفي على رحلته الكتابية الكثير من الانتعاش.
  
  فخورة بهذا الكتاب، وسعيدة لأنني كنت جزءا من الفريق الذي ساهم في ترجمته. أتمنى أن يعجبكم.
  
  
• 
  Jason Koivu

  WHOOP! POW! Ray Bradbury's book on writing is BAMMO! The man's enthusiasm leaps off the page, and if nothing else, that exuberance will carry you with a full head of steam straight from this book and into your own book. Reading Zen in the Art of Writing is like having the best kind of encouraging friend pat you on the back while shouting "YOU CAN DO IT!!!"
  
  Although some of his ideas and style is dated, there's still a great deal to be absorbed herein, after all, he is one of the best American writers of the past century.
  
  Keep at it and write with the electricity that runs through you, that seems to be the words of wisdom Bradbury wants you to take away from Zen in the Art of Writing, a title that made me a reluctant reader. The application of zen, or maybe I mean its popularized conception, to the mechanics of writing had me worrying that it would be too much about spiritualism (I know, I know...) or that the approach to the craft would be meditative in technique. The only thing Bradbury wants you, the writer to meditate about is how best to get off your ass, stay off your ass, and keep on writing. Now stop reading reviews and get to it!
• 
  Spencer Orey

  Read this if you're a huge Bradbury fan and want to read more about him and the famous things he wrote. It's not great if you're looking for practical information for aspiring writers or advanced tools for writers who want to improve their craft. I'm a Bradbury fan, so I liked the book. But overall, it felt pretty out of touch for aspiring writers today. I guess it's valuable as a statement of how things used to be in the writers market?
  
  In terms of writing advice, it kind of boils down to "be imaginative as you can and work super hard!"
  
  It's not bad or anything, but if you're specifically looking for a helpful or just inspiring book about writing, you can pretty easily do better than this.
  
  Edit: I've been thinking about this book again, and I got one specific tool out of it that I think is worth sharing.
  
  There's a chapter where Bradbury states that for a long time he'd start a short story on Monday, keep working on it all week, and then send it out on Saturday. That's a very fast timeframe for most of us, but Bradbury was a legendarily fast writer. The tool I got: a short story can be written in a small set duration of time, and that you can send it out and move right on. You can treat short stories like a work week: start on Monday, end on on Saturday. I know it it sounds a little basic, as tools go, but I found it really grounding. Sometimes writing can feel endless, especially when working on a novel. But this book reminds us that we can always set aside a week (or two, or three, or whatever we need) to write a full short story to completion. Thanks, Bradbury.
• 
  فؤاد

  اگر قرار باشد که برای ضمیر ناخودآگاه یا فرشتۀ الهام مان رژیم غذایی خاصی را تدارک ببینیم، چه صورت غذایی باید تهیه کنیم؟
  
  شاید بشود این جوری شروع کرد:
  هر روز خدا از عمرتان را شعر بخوانید. شعر عضلاتی را در ذهن به کار می اندازد که آدم معمولاً به کار نمی گیرد. شعر حس ها را گسترش می دهد و در اوج شادابی و بیداری نگه می دارد. شعر انسان را نسبت به بویایی، شنوایی، چشایی و لامسه، بیدارتر، حساس تر و آگاه تر می کند. بالاتر از همه، شعر پر از استعاره و تشبیه است که همچون گل های کاغذی ژاپنی می توانند به صورت اشکالی عظیم به بیرون شکوفا شوند. دفترهای اشعار آکنده از ایده های بسیار است، ولی به ندرت دیده ام که معلم های داستان نویسی مرور آن ها را به شاگردان خویش توصیه کنند. بسیاری از قصه های من محصول مستقیم خواندن شعرهای زیباست. یک استعاره ناگهان بر سر من جهیده، چرخی به من داده و مرا به درون قصه ای دوانده.
  
  چه نوع اشعاری بخوانیم؟ هر شعری که موی را بر بدن انسان راست کند. برای درک کامل اشعار زیاد به خودتان فشار نیاورید. می گویید که دایلان تامس یا تی اس الیوت را نمی فهمید؟ بله، ولی سلول های مغز و اعصابِ ذهن ناخودآگاه درونتان می فهمد. بخوانیدش، چنان که اسبی را با نگاه چشمانتان می خوانید.
  
  دیگر چه غذایی را در رژیم خودمان باید بگنجانیم؟
  مجموعه های مقالات. از زنبورداری، سنگ تراشی یا بشکه سازی. این جاست که آدم باید نقش هنردوستی مبتدی را بر عهده بگیرد. تمام این ها در نهایت حکم سنگی را دارد که در چاهی می اندازید، هر بار که از ضمیر ناخودآگاه شما طنینی بر می خیزد، خود را بهتر می شناسید. طنین خفیف می تواند ایده ای را برانگیزد و طنینی بلندتر، قصه ای را ثمر دهد.
  
  کتاب هایی را انتخاب کنید که حس تشخیص رنگ و ابعاد و اندازه های جهان را در شما تقویت کند. این همه تأکید بر حواس از چه روست؟ برای آن که خواننده را متقاعد کنید که خودش در آن جا حضور دارد. اگر خواننده تان گرمی آفتاب را بر پوستش و وزش باد را بر آستین پیراهنش حس کند، نیمی از نبرد را برده اید. غیر محتمل ترین قصه ها را می توان باورپذیر ساخت اگر خوانندۀ شما به یاری حواسش حتم کند که در وسط واقعه ایستاده است.
  
  شعر و مقاله، بسیار خب. داستان کوتاه چه؟ البته! آثار نویسنده هایی را بخوانید که جوری می نویسند که آرزو دارید روزی بتوانید نظیر آن ها بنویسید، که دید و طرز فکرشان به شما شبیه است، ولی کار کسانی را هم بخوانید که مثل شما فکر نمی کنند و میل ندارید که شبیه آن ها بنویسید. بخوانید تا در جهاتی برانگیخته شوید که ممکن است سال های سال پا به آن نگذارید. [و نیز: آدمی نمی داند چه چیزهایی در جهان هست که ممکن است برایش جذاب باشد، به خاطر همین باید مدام ناشناخته ها را خواند و کاوید.]
• 
  Mohamed Al

  إذا كنت تبحث عن ذلك الكتاب الذي سيكشف لك أخيرًا كل ما أردت معرفته من أسرار الكتابة التي تواطأ الأدباء، جيلاً بعد جيل، على الاحتفاظ بها سرًّا وتناقلها في حلقاتهم المغلقة .. فهذا الكتاب ليس لك!
  
  أولاً لأنه لا يوجد، ولن يوجد، كتابٌ كهذا، سيجعلك بين ليلةٍ وضحاها كاتبًا إذا اتبعت الإرشادات بطريقة صحيحة. وثانيًا لأن السرّ الثاني في الكتابة هو المزيد من الكتابة (وهذه بالمناسبة إحدى الطرق، إلى جانب القراءة بطبيعة الحال، التي كان يمارسها راي براديبري للتّمكن من الكتابة).
  
  أما السرّ الأول الذي أتنازل بالكشف عنه لجموع القرّاء، هو القراءة عن تجارب الكتّاب مع الكتابة، ليس لأنها ستكشف لك أسرار الكتابة كما سبق وذكرت، بل لأنها ببساطة ستساعدك لترويض ربة الإلهام.
  
  فكما أن فعل القراءة معدٍ، كذلك هو فعل الكتابة، بل أجزم أن عدواه أسرع انتشارًا من عدوى القراءة. وبما أن فرص المرء للجلوس مع كبار الكتاب (للتعرض لعدوى الكتابة) ضئيلة، لا يبقى لديه سوى القراءة عن تجاربهم داعيًا ربة الإلهام في نفس الوقت أن تصيبه بالمرض .. مرض الكتابة اللذيذ!
• 
  Shane

  There are a lot of reviews written about this short but excellent book written in the tradition of Stephen King's "On Writing", or the other way around, given that Bradbury wrote his tome first. Yet there is an energy in this book that is infectious and it points the finger to us as writers to say - "get serious about this art or get out." His prescriptions for writing are no less demanding:
  1) Write one short story a week for 5 years. Perhaps after this rigour, some good stuff might come out (Bradbury wrote one short story a week for 10 years before writing "The Lake"). Quantity leads to quality.
  2)Engage in word association games to provide plots
  3) Let events simmer for years - 20 to 30 years is okay - before writing about them
  4) Draw from childhood where most of the skeletons in the closet lie.
  
  And yet there were lines of inspiration that I have memorized for use when I am at my lowest:
  "We(writers) are trying to release the truth in all of us"
  "Slanting for the commercial or literary markets are unhappy ways for writers to live in the world"
  On writing - "you grow ravenous", "you run fevers".
  "You must stay drunk on writing so reality does not destroy you"
  
  He also lived at a time when he could sell his prodigious output to pulp magazines, even as an emerging writer at the age of 24, for $20-40 per story, way back in 1944 - enough to make a living off his work. I've seen going rates for stories these days as low as $10.00; sometimes reward is just the honour of being published - inflation seems to have gone in reverse in the publishing business, at least, where writer compensation is concerned.
  
  This is certainly an inspiring book for today's aspiring writer to keep by his side as a testament to a great author who was totally dedicated to his craft and who consequently reaped the rewards of that total immersion.
• 
  ☘Misericordia☘ ⚡ϟ⚡⛈⚡☁ ❇️❤❣

  I LOVE Ray Branduty. His style. His insight. His vision. His everything. Probably it all was summed up nicely by himself in his ZEN of Writing.
  This volume is full of zen, hands down. Lots of incredible insight. Lots of wonderful essays on how Ray Bradbury became the visionary we've all come to know and respect and love and look up to.
  Hands down one of the finest books on writing ever. Worthy of 500 stars and more. A lot MORE!
  (I've no idea how come I've read this one just now and not ages before. A treasure I stumbled upon at random.)
  A fav for years to come.
  Respect. And Zen.
  
  Q:
  Since then, I have never listened to anyone who criticized my taste in space travel, sideshows or gorillas. When this occurs, I pack up my dinosaurs and leave the room. (c)
  Q:
  "What's that dinosaur doing lying here on the beach?" I said.
  My wife, very wisely, had no answer. (c)
  Q:
  First I rummaged my mind for words that could describe my personal nightmares, fears of night and time from my childhood, and shaped stories from these. (c)
  Q:
  I was amused and somewhat astonished at a critic a few years back who wrote an article analyzing Dandelion Wine plus the more realistic works of Sinclair Lewis, wondering how I could have been born and raised in Waukegan, which I renamed Green Town for my novel, and not noticed how ugly the harbor was and how depressing the coal docks and railyards down below the town.
  But, of course, I had noticed them and, genetic enchanter that I was, was fascinated by their beauty. Trains and boxcars and the smell of coal and fire are not ugly to children. Ugliness is a concept that we happen on later and become self-conscious about. Counting boxcars is a prime activity of boys. Their elders fret and fume and jeer at the train that holds them up, but boys happily count and cry the names of the cars as they pass from far places. And again, that supposedly ugly railyard was where carnivals and circuses arrived with elephants who washed the brick pavements with mighty steaming acid waters at five in the dark morning. (c)
  Q:
  In other words, if your boy is a poet, horse manure can only mean flowers to him; which is, of course, what horse manure has always been about. (c)
  Q:
  Literary history is filled with writers who, rightly or wrongly, felt they could tidy up, improve upon, or revolutionize a given field. So, many of us plunge forward where angels leave no dustprint. (c)
  Q:
  But the subliminal eye is shrewd. (c)
• 
  Paperback

  Short version: This is the best writing book I have ever read.
  Long version: This isn't going to be a very eloquent review. Good books on writing are difficult to find. For several of my classes, professors have assigned books about writing techniques, and all of them have been terrible. Some of them have graphs, others have ways of mapping out character development, but generally these books try to break writing down to its skeletal form and make a biology lesson of it. It ends up being overly technical and discouraging for new writers.
  Bradbury's book, on the other hand, deals more with how your imagination can work for you. He starts off Zen by stating that you only need two things in writing: "zest and gusto." According to him, once you lose your zest for writing, your stories will fall apart. He insists on writing what you're passionate about, and suggests ways of keeping your passion going. This may seem like common sense, but it's the most helpful advice I've ever received from a How-To writing book.
  
  (One piece of advice he offers is to put your nightmares in your stories. He says that if you're writing suspense, what scares you will scare your readers. He gives examples of how he drew on his fears and translated them into his novels. I tried it, and it definitely worked for me.)
• 
  Virginie Roy

  I have to start with a confession: this is my first book by Bradbury. It could seem strange to begin with this essay/memoir, but I wanted to see what he had to say about the writing process. Now, I want to read his novels even more, because he talks about creativity the same way I do. He seems touched by the same things I am.
  
  My 3* rating may be difficult to understand. In fact, I had to skim through some less interesting parts... but there were also some treasures among those essays, so it was totally worth it! I discovered a very interesting person behind the words I read. And I'm sad knowing he passed away almost ten years ago... I feel like I just found someone I could have been friend with, but we're living in two different eras. I'm sure Bradbury could have turn this idea into a short story in a couple of hours!
• 
  Gerhard

  “There is only one type of story in the world. Your story.”
  
  There is a wonderful scene early on in Lovecraft Country by Matt Ruff, which I am reading at the moment, where Atticus is reading ‘The Martian Chronicles’ by Ray Bradbury. His father takes a rather dim view of such “mostly white-authored genres”, pointing out that Edgar Rice Burroughs’ John Carter, for example, was “A Confederate officer” (Gasp!)
  
  “I do love them,” George agreed. “But stories are like people, Atticus. Loving them doesn’t make them perfect. You try to cherish their virtues and overlook their flaws. The flaws are still there, though.”
  
  This exchange reminded me of another book I finished recently, ‘Astounding: John W. Campbell, Isaac Asimov, Robert A. Heinlein, L. Ron Hubbard, and the Golden Age of Science Fiction’ by Alec Nevala-Lee, which is a depressing forensic account of the misogyny, racism and other prejudicial behaviour associated with Campbell as editor and his coterie of writers.
  
  Interestingly, Bradbury was way too esoteric a writer for the pages of Astounding, so Campbell passed on the opportunity of publishing one of the most influential writers in any genre, period. A fascinating tidbit I learnt from ‘Zen in the Art of Writing’ is that one of the first reviews of ‘The Martian Chronicles’ was by none other than Christopher Isherwood, who recognised it immediately as a future classic.
  
  What I loved about this book is that it is far more than a ‘how to’ writing guide. Actually, its advice in that regard is rather esoteric, with Bradbury (unhelpfully) pointing to his habit of writing one story a week for a decade! Quantity will eventually deliver quantity, he espouses (calculating that he wrote about a million words before producing his first halfway decent story, ‘The Lake’, which appeared in 1944 in Weird Tales.)
  
  No, the true value of this collection of essays, culled from Bradbury’s extensive career – covering his novels and play and screenplay writing, and a generous dash of his poetry – is that it is a window giving a bright view onto my own personal Golden Age of SF. And as Bradbury says, quite prophetically:
  
  While our art cannot, as we wish it could, save us from wars, privation, envy, greed, old age, or death, it can revitalise us amidst it all.
• 
  Kenny

  What a fantastic book, and a quick read to boot.
• 
  غيث الحوسني

  الكتابة لم تعد سراً إنها أحد أكثر التجليات الإنسانية التي وصل إليه الإنسان لكننا عن الإنسان القديم نتقدم بكوننا أدركنا أن الكتابة فناً من الفنون الخالدة.
  
  اعترف أنني كما هو واضح أحد الفضوليين الذين يقرأون هذا الكتاب بدافع الاستياء والثرثرة لا أكثر، ليس لدي فكرة أو مشروع كتابي، ومع ذلك هو يصلح لهذا النوع من القراء !
  
  "زن" كلمة بوذية تعني الاستغراق في التفكير والتأمل. الجميل أن برادبيري كان يريد تحرير الكاتب من عبودية التبعية للآخرين ممن كان لهم بصماتهم الخاصة في الكتابة كافكا وجويس وسارتر وغيرهم، أن يحررهم من سطوة هؤلاء الكتاب على وعينا الداخلي، آن أن نتوقف عن ذلك ونثق بمخيلتنا وما تمنحنا البيئة حولنا من أفكار وقصص يمكن خلقها وإحيائها من جديد، لا شيء أنأى عن الإبداع وأكثر تدميراً له ممن يدعون المعرفة ولا يتركون لتفكيرهم الانطلاق معتمدين على تغذية إلهامهم في غالب الأحيان على ما يقرأون من مجلات ودوريات و واتساب واختلاس جمل هنا وهناك ... هؤلاء يكذبون، فمن الكذب أن تكتب لتجني الشهرة والأرباح !
  
  لم أفكر يوماً أن أحداً يكتب سيرة حياة للكتابة، الكتابة وفقط، بصفتها بطلاً يحب اللعب والمرح ليس كما فهمناه من قبل عملاً جاداً فحسب، يخبرنا برادبيري بأن الكتابة تحدٍ فكري مثل أن تمسك المشرط وتفتح جسم المريض دون أن تقتله !
  
  الوعي هو عدو الفن، والكتابة فن، وهنا الورطة التي يدخلنا برادبيري في دوامتها؛ تذكر عازف البيانو الذي قال إنه إذا لم يتدرب يومياً فسيعرف هو ذلك، وإذا لم يتدرب ليومين سيعرف النقاد ذلك، وبعد ثلاثة أيام سيعرف الجمهور ذلك، فالأمر نفسه ينطبق على الكتّاب .... إذا لم تكتب كل يوم ستتكدس فيك السموم وتبدأ بالموت !
• 
  عبدالرحمن عقاب

  لم أقرأ يومًا لـ (راي برادبيري) ولا أظنّ أني سافعل لاحقًا! فلست من محبّي أدب الخيال العلمي والأعاجيب المفتعلة.
  
  لكنّ كتابه هذا يستحقّ الاحتفاء والثناء. فقد أبدع "برادبيري" في دراسة نفسه، وسرد تجربته في الكتابة الإبداعية. والتي ترتكز على قوّة اللاوعي (التلقائية) والتدريب المكثّف (الكمّ الذي يهيء للكيف) بالإضافة إلى تحويل العمل إلى حبّ ومتعة.  
  
  في سيرته شغفٌ بالإبداع، ولعبٌ جميل في المخيلة، وانتباه ذكيّ لخبايا النفس، ومتعةٌ للقاريء، ودروس ملهمة للكاتب المبتديء.
  
  -          لا بدّ من توجيه جزيل الشكر لفريق الترجمة المبدع. فما أجمل الكتب التي تنسى وانت تقرأها أنّها مترجمة.
  
  -          ملاحظة: لن يسبق الكتاب الإلكتروني الكتاب الورقيَ ولن يغلبه. على الأقلّ عندي. قرأت الكتاب ملفًا إلكترونيًا، ولشديد إعجابي بأجزاء كثيرة منه، بحثت عنه طويلاً حتى رُزقته ورقيًا... وأعدت قراءته. و��ا أشد الفرق بين القراءتين!
• 
  Fateme Beygi

  اگه برای بردبری اون ملاقات و اون نامه نقطه ی عطف و نقطه ی تایید مسیرش بود برای منم خوندن این کتاب بعد چند سالی که خریدم نقطه ی تایید بود. تاییدی از یه آدم بزرگ و باتجربه. اگه فقط سه سل قبل کتاب رو می خوندم می گفتم اینا فقط حرفه اما حالا که کلی تمرین کردم و همین مسیر رو رفتم می فهمم که همه اش حقیقته که اگه نبود من صفحه به صفحه و سطر به سطر به وجد نم�� اومدم تا بگم که این رو تجربه کردم یا این همون حرف منه یا این مرد چقدر ذهنش شبیه منه یا اینی که می گه که منم. لحظه به لحظه ی خوندن این کتاب برای من مرور زمان هایی بود که به مشق نویسندگی گذروندم و چیزی که از خودم ساختم و ذهنی که پرورش دادم. خوشحالم که راه رو درست رفتم، روش هام صحیح بوده و نتیجه هم گرفتم. حتی از شیوه هایی که خودم استفاده کرده بودم به دیگران پیشنهاد می دادم و وقتی دیدم بردبری رو هم همونا رو ارائه کرده، همون چیزهای ساده اما به شدت مهم و کارآمد رو دوست داشتم خودم رو تشویق کنم که خوب اومدی، درست اومدی و ادامه بده.
  
  بخونین و لذت جادوی کلمات این مرد رو ببری�� که روحش در آرامش باشه.
  این حرف ها نه از سر ذوقن، نه بیهوده، نه دلخوش کننده؛ بلکه خود حقیقتن و وقتی درکش می کنین که توی دلش باشین یا از سرگذرونده باشینش.
• 
  Riku Sayuj

  Nothing particularly new is told but Ray writes with such a passion and gusto that the book becomes a joy to read. References to stories and novels that I have not read abound and hence it was difficult to follow the train of thought. The poems at the end were a real bonus.
• 
  Ahmed Oraby

  لو فكرت أعمل bookshelf وسميته cute books أكيد إن الكتاب ده هيكون على قمته
  كتاب شجعني على إني أبدأ بتسجيل أي شيء وكل شيء، حتى أكثرها تفاهة يعني
  شكرًا للمترجمين، بثينة وأحمد وهيفاء وعلي والجميع
• 
  Jessica

  "You must stay drunk on writing so reality cannot destroy you."
• 
  Heidi The Reader

  Ray Bradbury, a titan author of American science fiction, shares remembrances and anecdotes from his lifetime. Within the essays, Bradbury shares both his passion for writing and the methods with which he accomplished it.
  
  "And what, you ask, does writing teach us? First and foremost, it reminds us that we are alive and that it is a gift and a privilege, not a right. ... Secondly, writing is survival." pg 12, ebook
  
  From his childhood days in Waukegan, Illinois, to penning screen plays in Ireland, Bradbury mined his life experiences with his subconscious mind and unearthed, so to speak, the stories that he wrote.
  
  "And when a man talks from his heart, in his moment of truth, he speaks poetry." pg 32, ebook
  
  Bradbury also highlights the importance of writing at least a little bit every day. Through his habit of writing an essay a week, Bradbury cranked out hundreds during his lifetime. Though he admits not all of them were brilliant, each one brought something to his experience, whether that was honing his craft or creating avenues towards other brighter stories.
  
  Recommended for aspiring authors or any reader who is a fan of Bradbury. This book shines a spotlight on both the man and his creations.
• 
  فهد الفهد

  الزن في الكتابة
  
  كتبت ذات يوم أنه يجب على كل مؤلف أن يضع كتاباً عن الكتب والكتابة، يأخذنا إلى عالمه الداخلي، الكتب التي صاغته وكيف كتب الكتب التي عرفناه من خلالها، كيف اصطاد أفكاره الأولى، وكيف حلم بالكتب التي صارت لاحقاً حقيقة واقعة، كيف كانت أحلامه ككاتب شاب مضطرب، نوع من حكمة الشيوخ وذكريات ممتعة ومحفزة للكتاب الشباب، نادرة هي الكتب التي تكتب بهذه الدوافع، يبدو لي أن تلاعب الروائيين الطويل بالشخصيات والأفكار أنساهم كيف يتعاملون مع شخصيتهم وأفكارهم، كيف يعرضونها ويعرضون مراحل نموها وتكونها.
  
  يمنحنا راي برادبوري لمحة صغيرة من عالمه الكتابي، وهي لمحة لا تكفي ولكنها تجعلنا نقترب منه قليلاً.
  
• 
  Elizabeth Bedlam

  Meh, it’s good but…. “Let Me Tell You: New Stories, Essays, and Other Writings” from Shirley Jackson is better.
• 
  Brian

  
  
  Another update 5/19/20: Bradbury suggests reading poetry every day. Even if you don't get it, try. I don't get it. Still trying. Every day. Reading Whitman.
  
  Update 5/16/20: The best advice comes back to me when I need it, although I can't recall when I want it, such as writing a review (get my lazy bones in a notepad while I read).
  
  Two things have come back to me:
  1. Bradbury gives the stages in beginning: Work-Relaxation-No Thinking. This applies to writing, but applies to everything requiring effort. The advice has helped me with a new job.
  
  2. Movies. Bradbury watched movies. He recommended watching good and bad, learning from both, and creating cinematic replication through poetic expression.
  -------------------
  
  
  Inspiration.
  
  Catch Bradbury's love and passion to write. Learn to step out of your car after work and resist an urge to sprint upstairs to grab your laptop, or your pen and paper.
  It starts there.
  
  Why do I read?
  Love, passion.
  Why do I write?
  How can I know if I don't practice writing?
  
  Something in me, like Kafka trapped in my soul, since as a child I walked into the elementary library and felt the way I imagine Moses felt when a burning bush spoke to him in a dry wilderness of failure.
  
  I haven't practiced in years. Only old prose poetry once in awhile. So why write?
  The desire remains, like fragrance and smeared lipstick fading from my neck.
  
  An answer.
  I have found a world to play in.
  I learn. I create. I build.
  I fall in love.
  I learn passion. I learn the classic, sacred cliche: fire.
  
  Bradbury explains where to go in my present experience.
  I recommend this to any and all writers on every level.
  
  Bradbury has it.
  
  
• 
  Algernon (Darth Anyan)

  
  I believe one thing holds it all together. Everything I’ve ever done was done with excitement, because I wanted to do it, because I loved doing it. The greatest man in the world for me, one day, was Lon Chaney, was Orson Welles in ‘Citizen Kane’, was Laurence Olivier in ‘Richard III’. The men change, but one thing remains always the same: the fever, the ardor, the delight.
  
  This is probably the one thing that I envy the most about Bradbury: his talent to express his enthusiasm with words, his unapologetic pride in being a dreamer, his faith that we can learn from the past and that we can use literature and poetry not as a means to escape from reality, but as a tool to make our dreams come true.
  My rating for this collection of autobiographical essays that cover decades of lectures and interviews and book launchings has more to do with my fanboy credentials than with any perceived value to students of creative writing, but I am myself feeling unapologetic about singing Bradbury’s praise.
  
  About the time I finished highschool, forced to confront the fact that I had no idea what I want to do with my life, I toyed with the idea of becoming a writer. I was a voracious consumer of books and cinema, absorbing all these fictional worlds, and thought that if they can do it, maybe so could I.
  One of the very first essays in this Bradbury collection explains why my plans never got off the ground: Bradbury can later talk at length about his enchanted childhood memories or about his own passion for reading and watching movies or about ways to lure and capture the elusive muse of artistic inspiration, but the true secret of his success is discipline and hard work.
  For more than fifty years, he got up every morning and wrote one thousand or two thousand words. Later in the day, he came back and rewrote everything several times, until he was satisfied with the phrasing and the structure. He did this all on his own, year after year, with little commercial or publishing success. But it was the thing that he loved most in the world, and he kept at it until he became better, until the distance between an idea and its expression on paper was erased. For all his long career, Bradbury ignored both critics and praise, struggling to remain true to his inner vision, to his balancing act between childhood innocence and bleak visions of the future, to his faith that we as humans are not victims of predestination but we have the power to shape our own destinies.
  
  “I have never listened to anyone who criticized my taste in space travel, sideshows or gorillas. When this occurs, I pack up my dinosaurs and leave the room.”
  
  [a rendition of ‘I Did It My Way’ is appropriate here]
  
  Biographical details and the way they are reflected in the opus of the author are all fascinating in themselves, but the real focus of the exercise is creativity, that most elusive of the arrows in a writer’s arsenal, and this is where the term ‘ZEN’ from the title of the collection comes into play.
  You, me, and anybody on this planet could and should be a writer, should be able to express his or her personality in words, give back a little of the treasure chest of experience and emotions gathered over a lifetime.
  
  “If it seems I've come the long way around, perhaps I have. But I wanted to show what we all have in us, that it has always been there, and so few of us bother to notice. When people ask me where I get my ideas, I laugh. How strange -- we're so busy looking out, to find ways and means, we forget to look in.”
  
  What the orientals have to teach us is that contemplation is just as important as action. Action in writer’s terms means getting up each morning and putting down your ideas, your dreams and nightmares on paper. Contemplation is looking at the meaning of what you are doing, gazing at your own experience and trying to make sense of it in the larger social and emotional context.
  ‘Zen’ is that special ingredient that Westerners seem to ignore or gloss over and it means inner peace and beauty, patience and generosity, the place where ideas trump action and plot.
  
  “Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations.”
  
  or, in another place,
  
  “I thought you could beat, pummel, and thrash an idea into existence. Under such treatment, of course, any decent idea folds up its paws, turns on its back, fixes its eyes on eternity, and dies.”
  
  Just be yourself, be honest and diligent and the muse will come to you when least expected, just like a stray cat that will run away if you try to force it, yet will come back in curious earnest if you turn your back to it and engage in something interesting.
  Everything and anything could be a source of inspiration, from the works of other authors and poets, to the most mundane of household items. Your task is to entice the muse with everything that surrounds you, trash and treasure alike. Your task is to care deeply about the world you live in, to be curious and engaged in life, to understand your past and your future and your role in it by constantly questioning established thinking and ready-made answers.
  
  “Ours is a culture and a time immensely rich in trash as it is in treasures.”
  
  Authors are part of the world and not some detached, esoteric minds dwelling in ivory towers. Some of the harshest words in the essays are reserved for high-brow authors who cater to elitist literary magazines and despise low-brow popular entertainment for the masses. I don’t want to spend too much time refuting their existential angst, probably because I had enjoyed some of their output.
  Much more fascinating in this collection for me is the way Ray Bradbury’s career, starting in the early fifties and going on into the nineties, is a mirror of the public’s initial disdain of speculative fiction as pure escapism and low-brow literature, not worthy of academic consideration, transformed through the talent of Golden Age authors into the most pure and honest expression of our modern age woes and aspirations.
  
  Librarians were stunned to find that science-fiction books were not only being borrowed in the tens of thousands, but stolen and never returned!
  “What’s in these books that makes them as irresistible as Cracker Jack?”
  
  For Ray Bradbury the answer to this dilemma is in the issues these authors tackled in their high adventure yarns, going back to the fundamental myths and legends of our racial memory, such as Joseph Campbell or Mircea Eliade were teaching about in university courses.
  
  The children sensed, if they could not speak, that the entire history of mankind is problem solving, or science-fiction swallowing ideas, digesting them, and excreting formulas for survival. You can’t have one without the other. No fantasy, no reality. No studies concerning loss, no gain. No imagination, no will. No impossible dreams: No possible solutions.
  
  For Bradbury, Asimov, Clarke, Heinlein, Vonnegut Jr and the others, speculative fiction was never about entertainment or escapism – it was about our common future and the way only by imagining it today we can bring it about tomorrow.
  
  >>><<<>>><<<
  
  And his advice for prospective writers: be true to yourself, work hard every day to bring your dream to life, don’t sweat it if the going gets rough and at all times, keep a good hold on your sense of wonder : it’s your most precious asset.
  
  We never sit anything out.
  We are cups, constantly and quietly being filled.
  The trick is, knowing how to tip ourselves over and let the beautiful stuff out.
  
  - - - -
  
  “Go, children. Run and read. Read and run. Show and tell.”
  
• 
  Shaimaa Ali

  سمعت عن هذا الكتاب لأول مرة من خلال المخرج الشاب عمرو سلامة .. لا أدرى أين الآن (سواء صفحته على الفيسبوك او تمبلر) .. لكن ما يعنينى هو وقوع هذا الكتاب الساحر تحت يدى مترجماً من خلال مكتبة تنمية ..
  
  الكتاب ليس قصصياً .. بل هو عبارة عن عدة مقالات اجتمعت على شىء واحد وهو الإبداع .. ستعجب عزيزى القارىء بقدرة برادبيرى الفائقة على تناول موضوع الشغف بعملية الكتابة .. سواء كنت كاتباً او قارئاً أو عاملاً بصناعة السينما، أو أى مجال يعتمد على الموهبة والإبتكار .. ستجد أن أساسه الذى يرتكز عليه هو الشغف ..
  حلّقت فى عالم برادبيرى الأدبى .. وعشت بالفعل أفضل سويعاتى معه .. لم يكتف فقط بهذا وإنما أهدانى نهاية أخرى مختلفة لرائعته الأشهر ( فهرنهايت 451) .. ردت على السؤال الأهم بالقصة وهو لماذا يقومون بحرق الكتب؟ ، كما أظهر "كلاريس"الشخصية التى اختفت فى القصة الأصلية ..
  الآن أترككم مع بعض المقتطفات:
  ====================
  * إذا كنت تكتب بلا لذة، بلا متعة، بلا حب، بلا لهو، فأنت نصف كاتب فقط. هذا يعني أنك مشغول جداً بإبقاء عينك على السوق، أو أنك تنصت بأذن واحدة لما تقوله النخب الطليعية. هذا يعنى أنك لا تكون نفسك، أنت حتى لا تعرف نفسك.
  أول ما ينبغي للكاتب أن يكونه، هو أن يكون متشوقاً. يجب أن يكون شيئاً مصنوعاً من النشاط والحمى. دون حيوية كهذه، سيكون من الأفضل له أن يخرج لقطف المشمش وحفر الخنادق،
  يعلم الله أن هذا سيكون أفضل لصحته.
  
  * وانت تسأل ؟ مالذي تعلمنا إياه الكتابة؟
  أولاً وقبل أى شىء، إنها تذكرنابأننا أحياء، وأن الحياة هدية وإمتياز وليست حقاً. يجب علينا أن نستحق الحياة بمجرد أن نحصل عليها. الحياة تطلب أن نرد لها الجميل لأنها منحتنا الحركة. وحيث أن الفن الذى نصنعه لا يستطيع - كما نتمنى - أن ينقذنا من الحروب والحرمان والحسد والجشع والشيخوخة والموت.
  إلا أنه يستطيع أن يبعثنا فى خضم ذلك كله.
  ثانياً: الكتابة منجاة، أى فن، أى عمل جيد، هو بالتأكيد منجاة. عدم الكتابة بالنسبة للكثيرين منا يعنى الموت. يجب علينا أن نتسلح كل يوم. مع أننا نعرف -على الأرجح- بأن هذه الحرب لا يمكن الإنتصار فيها تماماً. ولكن علينا أن نحارب ، حتى لو كان ذلك لجولة صغيرة. إن أقل جهد تبذله للفوز يعنى فى نهاية اليوم شكلاً من أشكال الإنتصار.
  
  * كيف تتسلق شجرة الحياة؟،
  تلقى بالصخور على نفسك،
  ثم تعاود النزول دون أن تكسر عظامك أو روحك ..
  
  * إنها المرة الأولى التى أصادف فيها شهادة من فنان، فى أى مجال من مجالات الفن، يقول فيها أن العملية الإبداعية تحتاج إلى جهد بدنى، تحتاج أن يضع الفنان فيها من دمه ولحمه، أن يستمتع بها كمزحة أو مغامرة مدهشة.
  كيف أصبحت الكتابة مختلفة عن مهنة عمال المصانع الثقيلة!
  
  * كما ترون، انا حالة من الجنون عندما يتعلق الأمر بالكتب والكتاب، وبتلك الصوامع الضخمة التي تخزن فيها أفكارهم.
  
  
  
• 
  Gabrielle

  A short, (obviously) gorgeously written little collection of essays on the topic of writing.
  
  If you are looking for a practical guide, this is not the book for you: I think that in collecting those little snippets, Mr. Bradbury was looking for to inspire and encourage rather than to actually give a master class on writing. In fact, it seems evident to me reading it that his own process was so spontaneous that he could not have given much practical advice had he been pressed to.
  
  Mostly, these essays are made to assure people interested in writing that they should write about what they feel passionate about, keep exploring the stuff that excites them as it will create a subconscious mulch from which ideas will eventually grow, and that genre literature is just as important as so-called literary fiction.
  
  I underlined many eloquent and inspiring passages that I will probably need to re-read a few times in my attempts at finally squeezing a story out of my brain; but it gets 3 stars because as lovely as it is to read, I really wished Mr. Bradbury has written advice that was a bit less lyrical and a bit more practical for aspiring writers of speculative fiction.
  
  
  Oh, also, there's nothing in here about Zen in the Buddhism sense of the word ;-)
• 
  Kate Savage

  Do I want to try to write like Ray Bradbury? No, I don't think so. But I once sat in that middle school English class listening to a cassette tape with the gravelly-voice narration of The Veldt and thought the shudder in my spine was some holy spirit saying I had found the apex of the literary arts. And anyway I'm desperate and will take advice anywhere.
  
  Here's a list of his most compelling pointers:
  1) Write every day.
  2) Make a list of nouns that get at you in some way. These will be the centers of the stories you write (Bradbury's own lists include "THE MEADOW. THE TOY CHEST. THE MONSTER. TYRANNOSAURUS REX. THE TOWN CLOCK. THE OLD MAN. THE OLD WOMAN. THE TELEPHONE. THE SIDEWALKS. THE COFFIN. THE ELECTRIC CHAIR. THE MAGICIAN." And of course: "THE THING AT THE TOP OF THE STAIRS.")
  3) Experience whatever you can. You're feeding your subconscious, which is your muse.
  4) Read poetry every day.
  5) Make your readers use all of their senses (which will make the most far-fetched stuff believable)
  6) Write FAST. Bradbury's own schedule at some point was: write a 1st draft of a story on Monday, 2nd draft on Tuesday, 3rd on Wednesday, etc., and mail it off at noon on Saturday. Bradbury wrote the first draft of
  Fahrenheit 451 on a library typewriter that cost 10 cents every 30 minutes. He would feed it a dime and race to spit out as much as possible with the clock ticking.
  7) Don't be embarrassed. Or anyway act in spite of your embarrassment. You won't write and maybe you'll do away with yourself if you try to hide the shameful bits that make you feel alive. For Bradbury this is the thrill of the circus and interstellar space and dinosaurs. Snobbery will destroy you. This also means writing without concern for the market or literary praise.
  
  Most of this advice is given in the first three essays. The remaining made me begin despairing: did the time spent building Disney's gee-whiz World of the Future addle Bradbury's dystopianism, torque him into someone a little too nauseatingly happy? Give me Bradbury the crank over Bradbury the booster any day. It doesn't seem very motivating to write if you think that the best that could happen is you'll make it big and begin to believe, dewy-eyed, in Disney and America and progress.
• 
  Nad Gandia

  `Mentir dulcemente y probar que la mentira es verdad... Todo, al fin y al cabo, es una promesa. Lo que parece una mentira es una ruinosa necesidad que desea nacer... ´
  
  `Y, cuando se les entibian las almas, todos eran poetas.´
  
  `Así es la vida que he tenido. Borracho y a cargo de una bicicleta, como una vez dijo un informe policial irlandés.
  Borracho de vida, y sin conocer el rumbo siguiente. Pero antes del amanecer uno ya está en marcha. ¿Y el viaje? Exactamente la mitad terror, la mitad júbilo.´
  
  Una recopilación de varios artículos que escribió Bradbury en varias revistas a través de los años, enfocado a su estilo de trabajo narrativo. Es sorprendente, cómo incluso en esos artículos no se desprende de su faceta más poética. Nos habla de su estilo de trabajo, de su evolución a través del tiempo como escritor, desconocía por completo la faceta de dramaturgo del autor, me ha sorprendido descubrirlo en este conjunto de artículos. En cuanto al contenido de esta recopilación no tiene más misterio que el del trabajo en sí. Me explico, en mi faceta personal tengo dos amigos que sí han tenido cierto éxito escribiendo, yo tengo también la afición de escribir y muchas veces entre cervezas nos ponemos a hablar sobre el tema de escribir, en resumen, siempre decimos que la creatividad tiene un 90% de trabajo y un 10% de imaginación. A través del error y de la práctica vamos consiguiendo cosas que ni nos imaginamos. Y todo escritor que se precie dice lo mismo, la base es el trabajo constante de lo que esté haciendo, independientemente de si es escribir, pintar, ilustrar o crear una campaña publicitaria. Dicho esto, en el final de esta recopilación nos deleita con algunos de los poemas que escribió, otra faceta que desconocía por completo de Bradbury y que me sorprendió gratamente. He preferido acompañar la reseña de la anterior reflexión porque el autor, por sí mismo describe todo lo que pretendía escribir con la maestría suficiente como para no tener nada que decir sobre su obra. Incluso para Borges, Bradbbury fue uno de los mejores escritores del siglo pasado, dejo por aquí una señalización que hace al autor con respecto al trabajo creativo y un fragmento de uno de los poemas que se encuentran al final del libro.
  
  `Fracasar es rendirse. Pero uno está en medio de un proceso móvil. Entonces no hay nada que fracase. Todo continúa. Se ha hecho el trabajo. Si está bien, uno aprende. Si está mal, aprende todavía más. El único fracaso es detenerse. No trabajar es apagarse, endurecerse, ponerse nervioso; no trabajar daña el proceso creativo.´
  
  Y el fragmento de uno de los poemas del final:
  
  Fuera con eso.
  El mañana estará vacío
  si nadie lo azuza hacia la vida
  Con una movediza mirada.
  Que el cuerpo guíe a la mente
  y la sangre sea lazarillo.
  Y tú entrénate y ensaya
  para encontrar el universo
  del centro de tu alma
  sabiendo que hacer y estar en movimiento
  — Hacer es ser—
  da siempre resultado.
  
  Y dejo por aquí un fragmento de lo que escribió Borges en la primera edición de Crónicas Marcianas a modo de introducción:
  
  ¿Cómo pueden tocarme estas fantasías; y de una manera tan íntima? Toda literatura (me atrevo a contestar) es simbólica; hay unas pocas experiencias fundamentales y es indiferente que un escritor, para transmitirlas, recurra a lo “fantástico” o a lo “real”, a Macbeth o a Raskolnikov, a la invasión de Bélgica en agosto de 1914 o a una invasión de Marte. ¿Qué importa la novela, o la novelería de la ciencia ficción? En este libro de apariencia fantasmagórica, Bradbury ha puesto sus largos domingos vacíos, su tedio americano, su soledad, como los puso Sinclair Lewis en Main Street.
  Acaso “La tercera expedición” es la historia más alarmante de este volumen. Su horror (sospecho) es metafísico; la incertidumbre sobre la identidad de los huéspedes del capitán John Black insinúa incómodamente que tampoco sabemos quiénes somos ni cómo es, para Dios, nuestra cara. Quiero asimismo destacar el episodio titulado “El marciano”, que encierra una patética variación del mito de Proteo.
  
  Hacia 1909 leí, con fascinada angustia, en el crepúsculo de una casa grande que ya no existe, Los primeros hombres en la Luna, de Wells. Por virtud de estas Crónicas, de concepción y ejecución muy diversa, me ha sido dado revivir, en los últimos días del otoño de 1954, aquellos deleitables terrores.
  
  
  
  
• 
  Nourhan Khaled

  ربمـا سنة 2021 سوف تكون سنة جيدة, مادمت قد بدأتها بهكذا كتاب عظيم ومميز للغاية,
  كم كنتُ حمقـاء حينمـا تركت هذا الكتاب بعيداً عني, نادمة حقـاً على هذا,
  ولكن الان بعد أن اكملت هذا الكتاب الأكثر من رائع, لقد عشقت كل كلمة وكل فكرة وضعت هنـا,
  لم أشعر أنني كنت اقرأ كتاب مـا ,, كنت أشعر أننـي امام "راي براديبري" وهو يحكي لي عن حياته, ومراهقته وشبابه,
  افكاره الغريبة والجميلة والمميزة .. المخاوف التي كانت تملئه والأفكار التي كانت منقذته
  شيء جميل ان تقرأ كتاب عن حياة شخص ما غريب تماماً عنك, ولكن في الوقت نفسه تتشابه افكارك ومخاوفك واحلامك وكل شيء اخر,
  الشيء الوحيد الذي كان ينقص هذا الكتاب هو المزيد من الأوراق , ولكن كما قال "راي براديبري" افضل شيء تفعله عندما تكتب هو ان تعرف متى تتوقف وتختم.
  انا لا احب اعادة الكتب التي قرأتها ولكن هذا الكتاب بالتأكيد سوف اعيد قراءته بعد فترة ما, لشدة جماله وقربه الى قلبي.♥
• 
  Barbara (The Bibliophage)

  No one writes quite like Ray Bradbury. Perhaps that’s an understatement, but as I was reading Zen in the Art of Writing, I was again reminded of his brilliance. He has impeccable control of the English language. But at the same time, his sentences are playful and colorful. His thinking is philosophical and, at the same time lighthearted.
  
  “But ideas lie everywhere, like apples fallen and melting in the grass for lack of wayfaring strangers with an eye and a tongue for beauty, whether absurd, horrific, or genteel.”
  
  Picking up this book, at this moment was kismet for me. As I said out loud to someone recently, I’d like to write more and maybe even get paid for it again. In this collection of essays, Bradbury reminds me that I have to do my work first. Writing a thousand words every day is a given. And Bradbury talks about what it was like for him to develop the discipline. But he also describes how he created writing prompts based on his world, past, present, and future.
  
  “When people ask me where I get my ideas, I laugh. How strange—we’re so busy looking out, to find ways and means, we forget to look in.”
  
  Full review at
  TheBibliophage.com.
• 
  Ramin Azodi

  اهمیتی نداره نویسندهٔ تازه کار هستید یا کار کشته و حتی اهمیتی نداره که می‌خواهید نویسنده باشید یا نه! این کتابیه که برای خلاق بودن در زندگی حتمن باید بخونیدش.
  
  خود من از اون دسته آدم‌هایی هستم که با این تیپ کتاب‌های آموزش فلان هنر اصلن حال نمی‌کنم اما به جرات می‌تونم بگم خوندن این کتاب رو اینقدر طول دادم که برای مدت بیشتری لذت ببرم. هنوز هم قبل از نوشتن؛ به سراغش میروم و گپ و گفت دوستانه‌ای باهم می‌کنیم.
  
  راجع‌به عنوان نسبتن ترسناک کتاب هم همین نقل قول ری برادبری، نویسنده ی کتاب، کافیه: "این عنوان را البته مخصوصا انتخاب کردم که جلب نظر کند!" در کل از اسم کتاب نترسید؛ ری برادبری از ساده ترین و بی شیله پیله‌ترین نویسنده‌هاییه که میتونید پیدا کنید و این صداقت و معصومیت کودکانه‌اش توی آثارش هم به وضوح آشکاره