{"id":32867,"date":"2012-06-06T15:00:14","date_gmt":"2012-06-06T19:00:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=32867"},"modified":"2016-04-03T18:12:11","modified_gmt":"2016-04-03T22:12:11","slug":"fact-checking-ray-bradbury","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2012\/06\/06\/fact-checking-ray-bradbury\/","title":{"rendered":"Fact-checking Ray Bradbury"},"content":{"rendered":"

\"\"<\/a><\/p>\n

I didn\u2019t grow up reading The Paris Review<\/em>. My earliest encounter with the magazine\u2014I\u2019m somewhat ashamed to admit\u2014came in graduate school, when I stumbled upon an interview with Milan Kundera<\/a>. (I was writing a paper on translation, and the quote I pulled didn\u2019t even make it into a footnote.) Had you asked me, a year or so later, when I found myself applying for an internship, what the magazine meant to me, I wouldn\u2019t have given you an honest answer. It didn\u2019t mean much of anything to me. I wanted a foot in the door in New York, and The Paris Review<\/em>\u2019s seemed as good a door as any.<\/p>\n

The latest issue, 191, had closed just before I started, so my first few weeks were quiet. I read submissions, delivered packages, distributed the mail. Then came my first real assignment: We were running an interview with Ray Bradbury, and it needed fact-checking. I volunteered.<\/p>\n

<\/p>\n

Ray Bradbury was, by then, eighty-nine years old. He\u2019d had a stroke in 1999, and it showed in the interview manuscript: he misremembered dates, names, years; he attributed books to the wrong authors; the quotes he offered from memory\u2014I remember one in particular from Moby-Dick<\/em>\u2014were nine-tenths\u00a0invention. It made for a lot of work. But what I found in the interview were things that had escaped me for much of my undergraduate and graduate years\u2014years spent earning a supposedly literary education. He promotes friendship, love, self-discovery, the daily intake of poetry. He instructs us to read from every kind of literature we feel drawn to. (Speaking about his own influences, he calls himself a \u201cconglomerate heap of trash.\u201d) He talks about the \u201cfiction of ideas,\u201d a term he uses to describe the need for literature to engage with major developments in science, art, and contemporary culture at large. He warns against the dangers of intellectual snobbery (\u201cIf I\u2019d found out that Norman Mailer liked me,\u201d he says, \u201cI\u2019d have killed myself\u201d). He asserts the primary importance of public libraries. In the early days of e-books and Kindles (\u201cThose aren\u2019t books,\u201d he says. \u201cA book has got to smell. You have to hold it in your hand and pray to it.\u201d), he makes a case for the printed page.<\/p>\n

If you haven\u2019t read his Paris Review<\/em> interview<\/a>, you should. Then, when you\u2019re done, and when you\u2019ve given it some time to soak in, read it again. It\u2019s the reason I took up an interest in my work at the Review<\/em>. It\u2019s the reason I\u2019m an editor. And it\u2019s a large part of the reason I write.<\/p>\n

Bradbury wouldn\u2019t have made it today as a writer in New York; he was too rough, too raw, too tender. (He attributed to New York critics a \u201cterrible creative negativism.\u201d) But Ray Bradbury, who never went to college and was entirely library educated, had what so many of the sophisticated, MFA-carrying writers today lack: passion, vitality, emotional awareness. And, maybe most admirably, he found a way to carry his imagination past the boundaries of childhood, where so many of us so often discard it.<\/p>\n

One section of the interview gave me more fact-checking trouble than all the rest combined: the part that deals with Bradbury\u2019s lifelong literary inspiration, Mr. Electrico. The story of their meeting is well-known\u2014he told it often\u2014but no one had ever confirmed Mr. Electrico\u2019s existence. (The director of the Center for Ray Bradbury Studies<\/a> later told me, over the phone, that the search for Mr. Electrico was the \u201cHoly Grail of Bradbury scholarship.\u201d) I combed through contemporary newspapers from Waukegan, Illinois; I posted on circus-history message boards<\/a>; I inquired into the American Circus Collection<\/a>\u2019s cache of posters and programs. Nothing. Not a trace.<\/p>\n

The entire section\u2014the best part of the interview, in my opinion, or at least the part most characteristic of his writing\u2014fell onto the chopping block. But it was so integral to the piece that editor Philip Gourevitch and fiction editor Nathaniel Rich found a way to keep it in, largely by introducing some factual doubt into the interviewer\u2019s lead-in question. And so it stands exactly as he recalled it: Ray Bradbury\u2019s story of running from a funeral to discover a Dill Brothers circus performer who\u2019d give purpose to the rest of his life.<\/p>\n

\u201cSeventy-seven years ago,\u201d he concludes, \u201cand I\u2019ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from his sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, \u2018Live forever.\u2019 And I decided to.\u201d<\/p>\n

It\u2019s so clearly too good to be true, isn\u2019t it? And I was the fact-checker. And yet, if they\u2019d cut a word of it, I would have invented a source and put it all back in.<\/p>\n

Stephen Hiltner is the associate editor of <\/em>The Paris Review.\u00a0You can find him online on\u00a0Instagram<\/a>\u00a0and\u00a0Twitter<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

I didn\u2019t grow up reading The Paris Review. My earliest encounter with the magazine\u2014I\u2019m somewhat ashamed to admit\u2014came in graduate school, when I stumbled upon an interview with Milan Kundera. (I was writing a paper on translation, and the quote I pulled didn\u2019t even make it into a footnote.) Had you asked me, a year […]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4393],"tags":[7791,7792,1132,5029,21779,7782],"class_list":["post-32867","post","type-post","status-publish","format-standard","hentry","category-first-person","tag-fact-checking","tag-farewell","tag-interviews","tag-ray-bradbury","tag-stephen-hiltner","tag-the-art-of-fiction"],"acf":[],"yoast_head":"\nFact-checking Ray Bradbury by Stephen Hiltner<\/title>\n<meta name=\"description\" content=\"June 6, 2012 \u2013 I didn\u2019t grow up reading The Paris Review. 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