On obvious secrets

“If it seems I’ve come the long way around, perhaps I have. But I wanted to show what we all have in us, that is has always been there, and so few of us bother to notice. When people ask me where I get my ideas, I laugh. How strange – we’re so busy looking out, to find ways and means, we forget to look in.”

Ray Bradbury, Zen in the art of writing. How to keep and feed a muse. p. 36

On experiences, creativity, inspiration…

(…) Similarly, in a lifetime, we stuff ourselves with sounds, sights, smells, tastes, and textures of people, animals, landscapes, events, large and small. We stuff ourselves with these impressions and experiences and our reaction to them. Into our subconscious go not only factual data but reactive data, our movement toward or away from the sensed events.

These are the stuffs, the foods, on which The Muse grows. This is the storehouse, the file, to which we must return every waking hour to check reality against memory, and in sleep to check memory against memory, which means ghost against ghost, in order to exorcise them, if necessary.

What is The Subconscious to every other man, in its creative aspect becomes, for writers, The Muse. They are two names for one thing. But no matter what we call it, here is the core of the individual we pretend to extol, to whom we build shrines and hold lip services in our democratic society. Here is the stuff of originality. For it is in the totality of experience reckoned with, filed, and forgotten, that each man is truly different from all others in the world. For no man sees the same events in the same order, in his life. One man sees death younger than another, one man knows love more quickly than another. Two men, as we know, seeing the same accident, file it with different cross-references, in another part of their own alien alphabet. There are not one-hundred elements, but two billion elements in the world. All would assay differently in the spectroscopes and scales.

BRADBURY, Ray. Zen in the art of writing. How to keep and feed a muse. pp 33-34