The old man of sci-fi has died! A candle has gone out in the house of literature. And, yes, there are more candles getting lit daily, but there are candles, and then there are candles.
Yes, death is a lonely business, Mr. Bradbury, but I know you shall RIP.
With Bradbury’s passing, I feel a disturbance in the force; I feel like the young man I was who read his work has also departed, his particles scattered to dark matter that I can make no sense of. All I am left with is impressions. Not of my life, but my life as a story within Bradbury’s books or his fiction as a narrative within my known reality. I really can’t tell which is which.
He’s out there now, the way I like to see it, adding his indelible atoms to the cosmos, relaxing in the constellation Libra and sipping his dandelion wine in peace. It’s odd, but there’s a part of me that believes that when writers die, the material world is momentarily unbalanced and it will take a while for the creative equilibrium in life to come back. A single death, but especially one of such creative force, needs numerous lives to fill the gap. I wonder if the birth of creativity also needs an equal number of deaths to allow it the life it needs?
It’s a silly notion I have, but sometimes I think about the idea of meeting writers I love, maybe a few of them even reading a novel I will eventually publish. And although there are a slew of fantastic contemporary writers I’d love to chinwag with, I find that when I think about it, all the writers I would really love to confab with are the dead ones: Dylan Thomas, Angela Carter, Mervyn Peake, Rabelais, Oscar Wilde, Charles Dickens, Hermann Hesse, Henry Miller, Tove Jansson, Ted Hughes, Fritz Leiber, Bruno Schultz, Keith Roberts, Arthur Rimbaud, Rilke, Arthur Machen, Caradog Prichard, John Kennedy Toole, and more.
I’m not even sure why I entertain such thoughts. It’s not like it’s going to happen. But I can’t let go of the possibility that it might even though I know it to be a fucked-up desire. There is something in the total absurdity of this thought that keeps me sane and keeps me writing.
“If you just present the events to the reader, then the complexity of human motive will spin off that. If you try too hard to determine the way the reader sees character and motivation, you will actually restrict the reader’s interpretive opportunities. By limiting the amount of guidance you give, you automatically get the depth and complexity of interpretation you want. Because that’s what we readers do in real life — we interpret people’s actions and thus assign them ‘motive’ and ‘character.’” M John Harrison