The poetic style that he developed is admirably suited to the heartfelt themes that he explores in a cornucopia of highly imaginative stories.He cultivated this style through eclectic imitation and dogged determination.He also refused to use a computer, and he successfully avoided flying in an airplane for the first six decades of his life.
This enchanting of the audience, similar to casting a magic spell, is what Bradbury attempts to do with his kaleidoscopic style: to transform colorful pieces of reality into a glittering picture that will emotionally intensify the lives of his readers.
Bradbury’s writing is profoundly autobiographical, and childhood, adolescent, and adult experiences generated many of his stories.
Bradbury has been called a romantic, and his romanticism often surfaces in the themes he investigates: the conflict between human vitality and spiritless mechanism, between the creative individual and the conforming group, between imagination and reason, between intuition and logic, between the innocence of childhood and the corruptions of adulthood, and between the shadow and the light in every human soul.
His stories make clear that, in all these conflicts, human beings, not machines, are at the center of his vision.
Bradbury, like all human beings, is made of time, and human beings, like rivers, flow and change.
Adapting the ancient Greek philosopher Heraclitus’s famous statement that one cannot step into the same river twice, one could say that no person ever steps twice into the same self.
A sizable segment sees his work as reactionary, antitechnological, and anti-utopian.
As one of these critics has put it, Bradbury is a science-fiction writer for people who do not really like science fiction.
Certainly, his science-fiction stories have revealed that cultivated and craftsmanlike writing is possible in what was seen, before he began to publish, as a vulgar genre.
Within the science-fiction community, however, sharp differences of opinion exist about Bradbury’s contributions.