Zen in the Art of Writing

original. Within half a day of reading Kilbracken's postcard, I had first-drafted the tale.

Enough now. There you have it. There are one hundred stories from almost forty years of my life contained in my collected stories. They contain half the damning truths I suspected at midnight, and half of the saving truths I re-found next noon. If anything is taught here, it is simply the charting of the life of someone who started out to somewhere-and went. I have not so much thought my way through life as done things and found what it was and who I was after the doing. Each tale was a way of finding selves. Each self found each day slightly different from the one found twenty-four hours earlier.

It all started that autumn day in 1932 when Mr. Electrico gave me the two gifts. I don't know if I believe in previous lives, I'm not sure I can live forever. But that young boy believed in both and I have let him have his head. He has written my stories and books for me. He runs the Ouija Board and says Aye or Nay to submerged truths or half-truths. He is the skin through which, by osmosis, all the stuffs pass and put themselves on paper. I have trusted his passions, his fears, and his joys. He has, as a result, rarely failed me. When it is a long damp November in my soul, and I think too much and perceive too little, I know it is high time to get back to that boy with the tennis shoes, the high fevers, the multitudinous joys, and the terrible nightmares. I'm not sure where he leaves off and I start. But I'm proud of the tandem team. What else can I do but wish him well, and at the same time acknowledge and wish two other people well? In the same month that I married my wife Marguerite, I became affiliated with my literary representative and closest friend, Don Congdon. Maggie typed and criticized my stories, Don criticized and sold the results. With the two of them as teammates these past thirtythree years, how could I have failed? We are the Connemara Lightfoots, the Queen's Own Evaders. And we're still sprinting for that exit.

1980

INVESTING DIMES: FAHRENHEIT 451

I didn't know it, but I was literally writing a dime novel. In the spring of 1950 it cost me nine dollars and eighty cents in dimes to write and finish the first draft of The Fire Man, which later became Fahrenheit 451.

In all the years from 1941 to that time, I had done most of my typing in the family garages, either in Venice, California (where we lived because we were poor, not because it was the 'in' place to be), or behind the tract house where my wife, Marguerite, and I raised our family. I was driven out of my garage by my loving children, who insisted on coming around to the rear window and singing and tapping on the panes. Father had to choose between finishing a story or playing with the girls. I chose to play, of course, which endangered the family income. An office had to be found. We couldn't afford one.

Finally, I located just the place, the typing room in the basement of the library at the University of California at Los Angeles. There, in neat rows, were a score or more of old Remington or Underwood typewriters which rented out at a dime a half hour. You thrust your dime in, the clock ticked madly, and you typed wildly, to finish before the half hour ran out. Thus I was twice driven; by children to leave home, and by a typewriter timing device to be a maniac at the keys. Time was indeed money. I finished the first draft in roughly nine days. At 25,000 words, it was half the novel it eventually would become.

Between investing dimes and going insane when the typewriter jammed (for there went your precious time!) and whipping pages in and out of the device, I wandered upstairs. There I strolled, lost in love, down the corridors, and through the stacks, touching books, pulling volumes out, turning pages, thrusting volumes back, drowning in all the good stuffs that are the essence of libraries. What a place, don't you agree, to write a novel about burning books in the Future!

So much for pasts. What about Fahrenheit 451 in this day and age? Have I changed my mind about much that it said to me, when I was a younger writer? Only if by change you mean has my love of libraries widened and deepened, to which the answer is a yes that ricochets off the stacks and dusts talcum off the librarian's cheek. Since writing this book, I have spun more stories, novels, essays, and poems about writers than any other writer in history that I can think of. I have written poems about Melville, Melville and Emily Dickinson, Emily Dickinson and Charles Dickens, Hawthorne, Poe, Edgar Rice Burroughs, and along the way I compared Jules Verne and his Mad Captain to Melville and his equally obsessed mariner. I have scribbled poems about librarians, taken night trains with my favorite authors across the continental wilderness, staying up all night gabbling and drinking, drinking and chatting. I warned Melville, in one poem, to stay away from land (it never was his stuff!) and turned Bernard Shaw into a robot, so as to conveniently stow him aboard a rocket and wake him on the long journey to Alpha Centauri to hear his Prefaces piped off his tongue and into my delighted ear. I have written a Time Machine story in which I hum back to sit at the deathbeds of Wilde, Melville, and Poe to tell of my love and warm their bones in their last hours… But, enough. As you can see, I am madness-maddened when it comes to books, writers, and the great granary silos where their wits are stored.

Recently, with the Studio Theatre Playhouse in Los Angeles at hand, I called all my characters from F. 451 out of the shadows. What's new, I said to Montag, Clarisse, Faber, Beatty, since last we met in 1953?

I asked. They answered.

They wrote new scenes, revealed odd parts of their as yet undiscovered souls and dreams. The result was a two-act drama, staged with good results, and in the main, fine reviews.

Beatty came farthest out of the wings in answer to my question:

How did it start? Why did you make the decision to become Fire Chief, a burner of books? Beatty's surprising answer came in a scene where he takes our hero Guy Montag home to his apartment.

Entering, Montag is stunned to discover the thousands upon thousands of books lining the walls of the Fire Chief's hidden library! Montag turns and cries out to his superior:

'But you're the Chief Burner! You can't have books on your premises!'

To which the Chief, with a dry light smile, replies:

'It's not owning books that's a crime, Montag, it's reading them! Yes, that's right. I own books, but don't read them!'

Montag, in shock, awaits Beatty's explanation.

'Don't you see the beauty, Montag? I never read them. Not one book, not one chapter, not one page, not one paragraph. I do play with ironies, don't I? To have thousands of books and never crack one, to turn your back on the lot and say: No. It's like having a house full of beautiful women and, smiling, not touching… one. So, you see, I'm not a criminal at all. If you ever catch me reading one, yes, then turn me in! But this place is as pure as a twelveyearold virgin girl's cream-white summer night bedroom. These books die on the shelves. Why? Because I say so. I do not give them sustenance, no hope with hand or eye or tongue. They are no better than dust.'

Montag protests, 'I don't see how you can't be-'

'Tempted?' cries the Fire Chief. 'Oh, that was long ago. The apple is eaten and gone. The snake has returned to its tree. The garden has grown to weed and rust.'

'Once-' Montag hesitates, then continues, 'Once you must have loved books very much.'

'Touche!' the Fire Chief responds. 'Below the belt. On the chin. Through the heart. Ripping the gut. Oh, look at me, Montag. The man who loved books, no, the boy who was wild for them, insane for them, who climbed the stacks like a chimpanzee gone mad for them.

'I ate them like salad, books were my sandwich for lunch, my tiffin and dinner and midnight munch. I tore out the pages, ate them with salt, doused them with relish, gnawed on the bindings, turned the chapters with my tongue! Books by the dozen, the score and the billion. I carried so many home I was hunchbacked for years. Philosophy, art history, politics, social science, the poem, the essay, the grandiose play, you name 'em, I ate 'em. And then… and then…' The Fire Chiefs voice fades.

Montag prompts: 'And then?'

'Why, life happened to me.' The Fire Chief shuts his eyes to remember. 'Life. The usual. The same. The love that wasn't quite right, the dream that went sour, the sex that fell apart, the deaths that came swiftly to