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It was gray and pink and soft and its trun O}k turned up and he was sitting at the table surrounded by decorations and smells of Christmas when his father sa P}id, "Why are you crying?" "Other women get rings, watches," his mother scr Q}eamed, her eyes slitted, her teeth bared. He had never seen her look ugly. "I get this crappy radio." R} His father slapped her. In Sher- rill's imagination the s S}ound made the bells jingle on the Christmas tree. His father got his hat and coat and left the house. His mother t T}urned back to the stove where she was cook- ing his breakfast, her tears sizzling when they hit the skillet. Withou U}t a word she put a plate before him and left the room. V} He sat clutching the toy elephant, unable to eat, afraid to cry aloud. He sat for hours, more than alone, terr W}ified of being forever alone. His mother came into the room, took his untouched plate, dumped it into the garbage. X} "Go tell your father his Christmas dinner is ready," she said. It was a voice he did not recognize. Y} He did not want to face his father but he was afraid for his mother to speak to him again. Z} Carrying the elephant, he walked out of the house, pushed through the gate. The sun was bright but the wind was [}cold and he had forgotten his coat; his mother had forgotten to tell him. He went to the hen house, the hog pens, the \}corral, the garage. He found his father in the barn sitting on the tractor as though he were driving it. Sherri ]}ll was afraid to speak to him and on the verge of crying again when his father said, "I never wanted to be married." ^} His father got off the tractor. He took off his heavy coat and draped it over _} Sherrill's shoulders. Back at the house they all sat down and with- out a word tried to eat. After they had given `} up the meal, Sherrill's father listened to the radio for a while, but when he went to milk, Sherrill's mot a}her turned it off. Until his father died, she never turned the radio on, although she sometimes told Sher b}rill programs he might enjoy listening to. c} (ROBERT FLYNN is the author of "North to Yesterday" and other acclaimed novels and plays. Recently, d}his "Seasonal Rain and Other Stories," an anthology of his fiction, was published by Corona.) e} hen he was seven, Sherrill got a stuffed elephant for Christmas. It was gray and pink and soft and its trun 7LFFSSTFTFFTLEPICTXTBYLPGAKPGAMAPAMAPLYPLRAHXWIKEKATAAMSCPGAPDLSAMDCMPTDLITg}MSKBMBMDMMANRP@AYAdAU@4@@A( .  .  ((( h} @aBV@BX"BBYBc80B2H@B@&B9aBi}9aBTB. BV!7/&"BXi#0$P--%-67&P-'(.__(.//).***.99+@&j},@6-@6-'6-AY36-Ad?6-AUK6-@4W6-@@c6-Ai(}u@ek} B6.ŠeadING cod6. D:READCOR.CMP+6. 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N`!0  p K&   ! 0Pp >!0  +  $ %}  $  .  $  00 $$  $00  0  @p + @%}  ! 0pp  !! P  p      / EK%$m (In the last issue of THE NEW ALADDIN, sci-fi genius Ray Bradbury talked with Chantal about his new novel, com- pute)}rs, nightmares, horror movies, and other frights and delights. The visit continues this issue with more thoughts )}on films and a look into the future.) )} CHANTAL: The last time I spoke with you, we talked about "Something Wicked This Way Comes," wh)}ich remains one of my favorite movies. Is it still one of yours? )} BRADBURY: Oh, yes, I was delighted with it. Of course, I fought to have it made correctly, and that i)}s the way it turned out. CHANTAL: In the Hollywood system )}so many people who write movies and see their stories destroyed on screen are devastated. Was it a difficult fight )} for you? BRADBURY: Yes, it was; and I was luck)}y they allowed me to fight, because as you know they have every right to throw you off the lot. Ron Miller, w)}ho is the wonderful head of Disney Studios, saw they were having problems and was wise enough and kind enough to allo)}w me to stay so that I could help them revise, rewrite, and reshoot the film. )} CHANTAL: After that project was finished what did you fi)}nd out about Ray Bradbury that you didn't know? BRADBURY: Well, I've always )}known that I was a good editor of my own work in fiction with the short stories and novels and poetry, but it was )}the very first time I had ever sat in a projection room with a film editor and helped him edit. For the last reel )} I made up an editing script of the major shots there in the final scene because I had a hunch the way it shou)}ld be edited and pasted together; and, by gosh, that's the way it turned out. My instincts were good, and I was able )}to save a scene that other- wise might have been thrown out. I had a wonderful film editor working with me, and w)}e cooperated and I learned something and he learned something. )} CHANTAL: Are you ready to make a movie again? Is it an experience you want to have again? )} BRADBURY: Oh, yes, but you do have to rest up in between films beca)}use it takes so much out of you. There are too many people involved, and the miracle is that we don't all kill )}one another. Motion pictures are just about the most impossible art form in the history of the world. Publishing )} is very easy, and producing a play is nothing compared to making a film. CHAN)}TAL: What makes Ray Bradbury angry? BRADBURY:)} Inefficiency. The inabil- ity of people to comprehend what it is they are doing - that can make me angry. I don')}t like to have to ex- plain things to people. I work well with directors or actors or other writers who underst)}and immediately what I am talking about. I don't want to have to take time to explain to anyone why I do what )}I do. You either like my work or you don't. CHANTAL: You're working on s)}ome other projects that I'm very interested in - particularly the opera. An opera by Ray Bradbury. It sounds wonderful)}. BRADBURY: I'm working on two musical things: an opera and a musical drama. )} Right now I'm working on an opera based on a story of mine...about a great white comet that comes through the )}universe every 40 years, and this blind space captain goes out to attack the comet that put out his eyes when he was a )}young astronaut. It's the concept of Herman Melville and the white whale, of course, carried into outer space bu)}t changing the whale into a comet and changing the sailing ship into a starship; so all the metaphors are trans)}formed from sea metaphors to space metaphors. I've had a wonderful time writing the arias for this opera because i)}t's a huge subject - all of space to play with. I've had a lot of fun with that. And at the same time I'm writ)}ing a musical drama based on my novel, "Fahrenheit 451," about book burning in the future. )} CHANTAL: Speaking of the future, what might we see in the next 20 years? )} BRADBURY: The video recorders (and) players are going to change our whole soci)}ety from top to bottom. They're in the process now. Eight years ago the first ones appeared on the scene. We didn't)} realize what was happening to us, how what we are going to see is the democratization of films, the democratizatio)}n of television, the democratization of education, because it's going to take power away from the networks, it's goin)}g to take power away from the studios, it's going to take power away from the theaters. It's going to deliver po)}wer to educate better, if it's used sensibly by educators in the schools. This one device is probably the most r)}evolu- tionary device, along with the com- puter, in the last 20 years. It will destroy theaters, but will help bu)}ild other kinds. It will make for demo- cratic production facilities where young directors and producers can make )} their own films, form their own companies, distribute VHS tapes through tape-of-the-month clubs, get peop)}le to subscribe to make films. I can imagine all kinds of new film companies springing up during the next 20 years.)} The networks are beginning to see it already. The theaters, the film producers are beginning to see that people ar)}e staying home. They're going to make their own popcorn, invite three friends in and each pay $1.00. They rent a)} film for the night and get some of the finest films in the history of the world. The best motion pictures ever mad)}e are right there in the shops this afternoon - the silent films, the dramatic films of the '20s, all the best com)}edies, the horror films, you name it; they're all available. That means the docu- mentaries I've been seeing - I've )}been a member of the documentary committee for the Academy Awards now for 20 years and I've seen 90 hours of film )} every January from every country in the world - some of the most important documentaries in every subject you want)} to think about - history, agri- culture, architecture, art history, world history, the history of the war, the holoc)}aust, you name it - most of those have never been seen on PBS or in schools. They're too expensive. If you try to )}buy a 16mm one-hour film, it costs you $400 to $500 dollars. Well, now with the VHS tape you can buy a tape )}for $20. Every school 15 years from now will have one large-screen VHS tape (player) in it. )} CHANTAL: Do you think someday we won't be looking at things on paper, but will be reading them on c)}omputers? BRADBURY: Well, they have to improve the quality of the type, because i)}t isn't good enough yet and the size of the machines is too large. We'll have all these things. We'll have comput- )} ers and we'll have books and we'll have magazines. There are more maga- zines today than ever. There are more spec)}ialty magazines. The newspapers may be dying in some places, but smaller ones are growing up. Here in Los Angel)}es we have dozens of local newspapers that are doing very well, and our big newspapers are doing very well here. Th)}e L.A. Times has got a million-and-a-half circulation every day. That's very respectable, isn't it? Things change )}and then they come back again. It looks like something's dead and then it returns. )} CHANTAL: Well, one thing that doesn't change is how fascinating you are. I always come away after talkin)}g to you more curious about the things around me. )} BRADBURY: I'm glad. CHANTAL: Thank you so much and )} good-bye. Next time, dear reader, we'll talk with another interesting guest. Until then, this is Chantal in Holl)}ywood wishing you a happy, star-filled tomorrow. (CHANTAL )}is the Hollywood correspon- dent for ABC-TV's "Good Morning America.") com- pute(nTU%xPICTLEBYLTXTAMATAPGSCAKPGAMDLTDLITKBAMPGAPDLSTMSMDMMMBDCMP-} -}# (} B#6. D:REF.CMP6.renCE s栠B-}26.( by JIM CHANEY B6. 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P*6"&"6"66 2}P* @IA)a))) P& @6&2&F6 @* IA)A9!2}!9 !@6"2&R&22F6 9I!!)1)a92}  6&F)9) &JF!2}J)!&F )) 2}&&F!)*))&6%5V%)*2}*K:%:Y%&:&>O+n:I&;")*)+o{:Zy%JI2}&6/+/*n)jVV*&"9/+/>/[:)&*!/+2}6I/_J&%/_n'/!/)2}5YE&q)+?//&O$&/?O:.)96*+6P p p2}p&`@p`P0p.&0!!*&/ 2}&)&&!+$@N.$6!&@2}i%!+@`IUP 5&!) &@ TFeT 92 }% + @AIUA! % ) &/ $/fE6$!&2!}/ 9*iE)!&%/*& &%/+v%%*&$!9%2"}+ Y?Y51%!&/ &"/f&&D!2#}* 6?%y%%/!0$&)%&0&9)&D0!%+2$} *))I9010)&0O/p656%+ 2%}&/J$& )_ ?/>%)*oJ0401p&o*NP!+/2&}?[%0@.)e%e`P)50P*/?.:.:*p+O`[jV2'}%%1`?PP?.@)P*>/+@`@`.* `+2(}/P ! `*+6f5 `&>)4 ! `*-;vB`&2)}K&Y(9(!P`%.)66240@P);&-y$Q! @P.;^2*}42!4!@`.)&&-9@!1@0 )I.p0%/?F2+}+/>+*!!?;.?;*)+p !>/.+&&*Q!%O*)2,}o+*!!o.++*o_.&:*Q_.`.):P:p2-}+&*!p**p*&.!!:p6**&$p)p*J!*5&2.})*& 5))J0_0*+&$  )*6@0o52/}**+&@@&%*/.**`  /6*$P6&20})P0! !9*" &*$$00@& 91%&!@!0!0!8! )21}5)&$ "  &!&* P@!0!")50P$ 622}6*!!`@ !!(*& %p0&&F&"I 23}0p% )@!9!99*&&@10& &V"6)9;0$0!0i)96&* .%!p!@$24}0F"&&)*@)%T  99!9&P%0$ &."69!P4p 25} !9))(66`0$ f"V&"pp )@!y!96pU`0& 6&26}"66) @@  I9&@00$ 666690E%E  !@27}!9Y6!0$V6669!/ !$9**)96)28}50$ 4f6&Y0*%55 ! !Y*))*V%))%5P0$ &29}6:&Y5%&+%P ! 09*I6$. E)0  $@$0" 6&P2:} &N)@! !@()`p +&!E%)  $` F%%&:% 2;}0!%0o0  %P$P0*/ !)O`1@0.*)+?0 !_.`P@J2<}? @@?`PJ*;/ %*+?`P+V%O /`p.:Z+09/2=}+: !5?/.? 4.+_//*+/ !/o*o*?+:.O 4*&)Z2>}_*+_/Z?! %&z_&_/Z./04*:)+O;:*??*+?0J2?}:)J>**! * `*/N/./O*:*%$ : *`*/kO*:*+`?/..>2@}O:?&0 ?/+/Z?+/%&4.)/./&&6&&&60/ You've just finished reading the Tastings column and you are ready to whip up some fabulous chicken in red wine6B}. You gather up your system, grabbing a disk drive with one hand, a monitor with the other, the computer under you6C}r arm and cables clenched in your teeth. Clear off a counter or two and you are ready to start cooking. 6D} But, wait a minute! This is the age of high technol6E}ogy, you shouldn't have to drag your whole system into the kitchen to prepare one of Gus' recipes. You'll never h6F}ave to do that again. On disk 2 side 1 you will find a program called "PRINTXT.BAS". Running this program allows y6G}ou to print out any of the text files found in THE NEW ALADDIN. 6H} Here's how it works: Copy PRINTXT.BAS to a separate diskette. Then copy any of the text files you 6I} wish to print out onto the same diskette. Run PRINTXT.BAS and tell it which file you'd like to print. In the 6J}case of Tastings you would type D:TASTE.TXT. (For the names of the other articles run a directory, from DOS, of t6K}he disk on which that article appears.) PRINTXT.BAS6L} is set up to run on all Epson printers. While this should work for most printers the code in line 10 can be modi6M}fied for your particular system configuration. One caveat to note: P6N}RINTXT.BAS will not correctly print out articles with graphics embedded in them. For example, Corporate Carol and 6O}Reading Corner cannot be printed out in their entirety using this program. 6P} In volume 1.2 we provided readers with a routine to print out the cover graphics from the articles and now 6Q} we've provided a routine that will print the text files. What's next? A routine that will print out the file6R}s, like Corporate Carol and The Reading Corner, which have graphics embedded in them. As you might imagine, 6S}this is taking some doing, but we're working on it. It is our g6T}oal to give computers more and more reasons to be in your homes and offices eating precious electricity. By br6U}inging you enter- tainment, interesting information and useful tidbits, like this text printing routine, we hop6V}e we are achieving our goal. Have a suggestion toward this end? Or maybe a computer problem we might be able to h6W}elp with? Drop us a line here at The Reference Shelf and we'll do our best. (The address is listed in DIR:ETC.) 6X} In the meantime we'll keep looking for ways to help you get more power from your 8-bit machine and help you 6Y} get more out of computing. Until next time, enjoy the text prin6Z}ting routine. Hopefully this will stop all the mail we've been getting asking how to get vinaigrette sauce out of ke6[}yboards. ng the Tastings column and you are ready to whip up some fabulous chicken in red wine4  L0ANT@<@<AA A%;@`,;@:]},16-E-@@H3V6-%@Z }3>:@',>:@,>:@`,6-%@ (}-@@:^}F(&X-@@(&|THE NEW ALADDIN TEXT FILE DUMP v.1.0|{-@@:_}@(&R-@@{($THIS ROUTINE WILL ALLOW YOU TO PRINTx-@@:`}=(#A Ԡ FILE FROM THE NEW ALADDIN.O-@@x($THIS ROUTINE WORKS WITH Π CODEt-@@<:a}("PRINTERS. IT IS DESIGNED TO PRINTN-@@ t(!Ԡ٠ FILES, i.e. TASTINGS.w-@@?(%TEXT F:b}ILES END WITH A Ԡ EXTENDER.Q-@@w(!PLEASE ENTER FILE TO PRINT IN THEg-@@8(FOLLOWING FO:c}RMAT ԠJ-@@c(ENTER FILE TO PRINTg @@ B @X:d}67@<@,. 567@`<@`,. D67@,.X-@@@()@2%!67%@ <%@ :e},.>:,% <H36-%@!"@a-6-@A-@@D3H F @0P8@ B.-:f}@@f&135 8d"@ B" An +(}%-@@L("Ҡ - EITHER PRINT:g}ER IS NOT ON^-@@ ("OR FILE WAS NOT FOUND - TRY AGAIN.x%2A!@@9-@A:h}= _2s-@Aw z @ D:PRINTXT.BAS%;@`,;@8bQRTAMMSMDAMASCDLITDLTMMPGPGPGAPATAMTLEKBAKDLS>j} >k} e (}@e% Bp7AYA A0SAAveAR@D6.ҺadvE>l}RTIsemD6-?:m}@@<@,X26.(NEXT PAGE ۟ . LAST ۞ .. MENU X6-?:n}'A @D9A@BKA@@]Ahś(UA@AR'AAA$9>o}ABARKACARUӛ)[AD@'AE@9AF@KAG@[>p}*[AH'AI@9APKAQ[Ҡ+[AR'A>q}S@d9ATKAU[ҠZoA`'AaAV9AK>r}A@]BBAoAY@4ndAdAU'6-%+$A ,D6-?:<<<A <@,N A@>s}Z"d A@s 6-?:, "@AP u/"@6-%@#!/6-w5"@6->t}&@) 56-x AM-@@`F2A(@@&P:'@,J M$>u} ARR;B`,;AF,;@U,;@@,;@,;@@,;@Q,* 6-C:,6-B!6-C:>v},*6-C:,ii6._hhhhhhhhhؠԄձ˦L i@`8 ɀɠͥԐթԥOF67@>w},.3`ΰȐ@i `8@ɀఴO6-C:, @@6.6HHHffok ԍЎйsйg g>x}fhhh@006.&pp@T A*[-@@ D:RETAIL.TXTP6-?:<@<@>y}<<B`,[@,T%6-F:AV,%AV$F:AW,H6-P:+'A ,%?,&@T6-.N67%@,.>z} '67B`,. K67%@,.7%@<BY,N$ ]6-?:{}]A9@ ==6.3hՠ` ީ`` f+@@ D:CH>|}AR.TXTT6-?:<@<@<B<A$,fAVAR$x6.Page )67@,.=:%@,B67B:,%@>}},. of a67B:,%@,.=:%@,x67B:,%@,. -?:<<Bs~}+1AVARCAUAgA @:-@@:( ŠԠ>}ˠŠ:-@@:(٠86-F:Ad,$AdAU8"AUAP>}7 AP+)AY7% D:TOC.RUNhBAYrBJ;@B,A6.*hhh˪hhBhEhDhI>}hH V˽Cԩ`J6-C:,|BY;@W,P6.9hhhhhhhؠ`ˑ`Y6-C:,Bm>};A,m6.VpppNPBss67@,.`>}NBf'67A,.>}A6B6-?: