“I don’t think about death, because I will always be here. This box with my films and shelves with my books convince me that I have a hundred or two years left. Death is a form of reckoning with space for a wonderful luxury to be alive. ” (“The Rules of the Life of Ray Bradbury”) RAYMOND DOUGLAS “RAY” Bradbury is an American science fiction writer. Critics attribute some of his works to magical realism. Ray Bradbury was born on August 22, 1920 in Waukegan, Illinois. The second name – Douglas – he received in honor of the famous actor of the time Douglas Fairbanks. Father – Leonard Spalding Bradbury (a descendant of the English first settlers). Mother – Marie Esther Moberg, Swedish by birth. In 1934, the Bradbury family moved to Los Angeles, where Ray lived his whole life. The writer’s childhood and youth passed during the Great Depression, he didn’t have money for university education, nevertheless, having made the decision to become a writer at almost 12 years old, Ray followed him with enviable persistence, never thinking about another profession. As a young man, he sold newspapers, then lived for several years at the expense of his wife, until in 1950 his first major work, Martian Chronicles, was finally published. Then, after writing the novel “451 degrees Fahrenheit” in 1953 and publishing it in the first issues of Playboy magazine, his fame grew to worldwide fame. Ray Bradbury is often called the master of fiction, one of the best science fiction writers and the founder of many traditions of the genre. In fact, Bradbury is not a science fiction, since his work should be attributed to “large”, extra-genre literature, and he has only a small fraction of truly fantastic works. For the most part, Bradbury’s works are short stories of a non-entertaining nature, containing short sketches that come down to dramatic, psychological moments, based mainly on dialogues, monologues, and reflections of heroes. Despite the obvious talent for inventing various stories, often entertaining and original, the writer is often limited to plotless sketches, very metaphorical, full of hidden meaning or not bearing a certain semantic load at all. And even in well-tailored works, Bradbury can easily break the narrative, get away from the details, leaving the action at the time of intense passions. Also, practically in no writer’s work can one be convicted of moralizing and imposing one’s point of view: in 99% of the works, the author remains behind the scenes. The situation may develop arbitrarily biased, but Bradbury will never lead the reader to a conclusion. It is as if he sees his task as to excite the reader, aggravate the situation and leave, leaving him to reflect on the book. And if Bradbury departed from his other creative principles, then his “language”, that is, the ways of expressing images, thoughts, almost never changed. The characteristic features of his language are “watercolor”, a minimum of details, descriptions, details, actions. There is not even so much fantasticness (lack of realism) as neglect of the likelihood of credibility. This trait applies to both plots (fantasy easily coexists with fairy tales, a detective with a melodrama, sweeping the boundaries of genres), and language: Bradbury neglects descriptions of places of action, the appearance of the characters, names, dates, numbers. Naturally, in his works you will not find technical details and fiction in the technical field. Accordingly, without raising the plot base to absolute, Bradbury easily changes the styles and genres of his works. In the stories of the same year of writing, one can easily find fiction, melodrama, and detective story, and fantasy, and historical sketches, etc. As far as judging by essays and interviews, Bradbury preaches literature of feelings, not thoughts. Emotions, not actions. States, not events. In his youth, he once burned all his unsuccessful weak stories, making a grandiose fire in his own area. “Burned two million words,” he said sadly. This spectacle later formed the basis of his debut novel, “451 degrees Fahrenheit,” about burning books and a story on the same topic. Bradbury’s work is the opposite of the classic story short prose with intrigue and shock ending. If the reader is waiting for entertainment and intrigue, he will most likely be disappointed. It is interesting that such stories of mood, feelings, sketches, in which the author himself lives, are closer to the mature reader. Most Bradbury fans are middle-aged and elderly. The master himself is known among his colleagues, American science fiction writers, as a “good old storyteller,” to whom he is very respectful. Bradbury stands for spiritual values, and above all for fantasy, creativity. Almost the highest value Bradbury declares the inner world of man, his worldview, fantasy. The writer recognizes the ability of a person to feel, empathize as the main quality.