“Buried in Colorado All Alone” — Joy Williams

“Buried in Colorado All Alone”

by

Joy Williams

from 99 Stories of God


The girl from the pharmacy who delivered Darvon to Philip K. Dick, the science fiction writer, wore a golden fish necklace.

“What does that mean?” asked Dick.

She touched it and said, “This is a sign worn by the early Christians so that they would recognize one another.”

“In that instant,” Dick writes, “I suddenly experienced anamnesis, a Greek word meaning, literally, loss of forgetfulness.”

Anamnesis is brought on by the action of the Holy Spirit. The person remembers his true identity throughout all his lives. The person recognizes the world for what it is—his own prior thought formations—and this generates the flash. He now knows where he is.

BURIED IN COLORADO ALL ALONE

Read “Waterspider,” a goofy postmodern time travel story by Philip K. Dick

“Waterspider”

by

Philip K. Dick


I

That morning, as he carefully shaved his head until it glistened, Aaron Tozzo pondered a vision too unfortunate to be endured. He saw in his mind fifteen convicts from Nachbaren Slager, each man only one inch high, in a ship the size of a child’s balloon. The ship, traveling at almost the speed of light, continued on forever, with the men aboard neither knowing nor caring what became of them.

The worst part of the vision was just that in all probability it was true.

He dried his head, rubbed oil into his skin, then touched the button within his throat. When contact with the Bureau switchboard had been established, Tozzo said, “I admit we can do nothing to get those fifteen men back, but at least we can refuse to send any more.”

His comment, recorded by the switchboard, was passed on to his co-workers. They all agreed; he listened to their voices chiming in as he put on his smock, slippers and overcoat. Obviously, the flight had been an error; even the public knew that now. But —

“But we’re going on,” Edwin Fermeti, Tozzo’s superior, said above the clamor. “We’ve already got the volunteers.”

“Also from Nachbaren Slager?” Tozzo asked. Naturally the prisoners there would volunteer; their lifespan at the camp was no more than five or six years. And if this flight to Proxima were successful, the men aboard would obtain their freedom. They would not have to return to any of the five inhabited planets within the Sol System.

“Why does it matter where they originate?” Fermeti said smoothly. Continue reading “Read “Waterspider,” a goofy postmodern time travel story by Philip K. Dick”

Read “A Little Something for Us Tempunauts,” a short story by Philip K. Dick

“A Little Something for Us Tempunauts”

by

Philip K. Dick


Wearily, Addison Doug plodded up the long path of synthetic redwood rounds, step by step, his head down a little, moving as if he were in actual physical pain. The girl watched him, wanting to help him, hurt within her to see how worn and unhappy he was, but at the same time she rejoiced that he was there at all. On and on, toward her, without glancing up, going by feel. . . like he’s done this many times, she thought suddenly. Knows the way too well. Why?

“Addi,” she called, and ran toward him. “They said on the TV you were dead. All of you were killed!”

He paused, wiping back his dark hair, which was no longer long; just before the launch they had cropped it. But he had evidently forgotten. “You believe everything you see on TV?” he said, and came on again, haltingly, but smiling now. And reaching up for her.

God, it felt good to hold him, and to have him clutch at her again, with more strength than she had expected. “I was going to find somebody else,” she gasped. “To replace you.”

“I’ll knock your head off if you do,” he said. “Anyhow, that isn’t possible; nobody could replace me.”

“But what about the implosion?” she said. “On reentry; they said –”

“I forget,” Addison said, in the tone he used when he meant, I’m not going to discuss it. The tone had always angered her before, but not now. This time she sensed how awful the memory was. “I’m going to stay at your place a couple of days,” he said, as together they moved up the path toward the open front door of the tilted A-frame house. “If that’s okay. And Benz and Crayne will be joining me, later on; maybe even as soon as tonight. We’ve got a lot to talk over and figure out.”

“Then all three of you survived.” She gazed up into his careworn face. “Everything they said on TV. . .” She understood, then. Or believed she did. “It was a cover story. For — political purposes, to fool the Russians. Right? I mean, the Soviet Union’ll think the launch was a failure because on reentry –”

“No,” he said. “A chrononaut will be joining us, most likely. To help figure out what happened. General Toad said one of them is already on his way here; they got clearance already. Because of the gravity of the situation.”

“Jesus,” the girl said, stricken. “Then who’s the cover story for?”

“Let’s have something to drink,” Addison said. “And then I’ll outline it all for you.”

“Only thing I’ve got at the moment is California brandy.”

Addison Doug said, “I’d drink anything right now, the way I feel.” He dropped to the couch, leaned back, and sighed a ragged, distressed sigh, as the girl hurriedly began fixing both of them a drink.

The FM-radio in the car yammered, “. . . grieves at the stricken turn of events precipitating out of an unheralded. . .”

“Official nonsense babble,” Crayne said, shutting off the radio. He and Benz were having trouble finding the house, having been there only once before. It struck Crayne that this was somewhat informal a way of convening a conference of this importance, meeting at Addison’s chick’s pad out here in the boondocks of Ojai. On the other hand, they wouldn’t be pestered by the curious. And they probably didn’t have much time. But that was hard to say; about that no one knew for sure. Continue reading “Read “A Little Something for Us Tempunauts,” a short story by Philip K. Dick”

Read “The Eye of the Sybil,” a short story by Philip K. Dick

“The Eye of the Sybil”

by

Philip K. Dick


How is it that our ancient Roman Republic guards itself against those who would destroy it? We Romans, although only mortals like other mortals, draw on the help of beings enormously superior to ourselves. These wise and kind entities, who originate from worlds unknown to us, are ready to assist the Republic when it is in peril. When it is not in peril, they sink back out of sight — to return when we need them.

Take the case of the assassination of Julius Caesar: a case which apparently was closed when those who conspired to murder him were themselves murdered. But how did we Romans determine who had done this foul deed? And, more important, how did we bring these conspirators to justice? We had outside help; we had the assistance of the Cumean Sibyl who knows a thousand years ahead what will happen, and who gives us, in written form, her advice. All Romans are aware of the existence of the Sibylline Books. We open them whenever the need arises.

I myself, Philos Diktos of Tyana, have seen the Sibylline Books. Many leading Roman citizens, members of the Senate especially, have consulted them. But I have seen the Sibyl herself, and I of my own experience know something about her which few men know. Now that I am old — regretfully, but of the necessity which binds all mortal men — I am willing to confess that once, quite by accident I suppose, I in the course of my priestly duties saw how the Sibyl is capable of seeing down the corridors of time; I know what permits her to do this, as she developed out of the prior Greek Sibyl at Delphi, in that so highly venerated land, Greece.

Few men know this, and perhaps the Sibyl, reaching out through time to strike at me for speaking aloud, will silence me forever. It is quite possible, therefore, that before I can finish this scroll I will be found dead, my head split like one of those overripe melons from the Levant which we Romans prize so. In any case, being old, I will boldly say.

I had been quarreling with my wife that morning — I was not old then, and the dreadful murder of Julius Caesar had just taken place. At that time no one was sure who had done it. Treason against the State! Murder most ugly — a thousand knife wounds in the body of the man who had come to stabilize our quaking society. . . with the approval of the Sibyl, in her temple; we had seen the texts she had written to that effect. We knew that she had expected Caesar to bring his army across the river and into Rome, and to accept the crown of Caesar.

“You witless fool,” my wife was saying to me that morning. “If the Sibyl were so wise as you think, she would have anticipated this assassination.”

“Maybe she did,” I answered.

“I think she’s a fake,” my wife Xantippe said to me, grimacing in that way she has, which is so repulsive. She is — I should say was — of a higher social class than I, and always made me conscious of it. “You priests make up those texts; you write them yourselves — you say what you think in such a vague way that any interpretation can be made of it. You’re bilking the citizens, especially the well-to-do.” By that she meant her own family.

I said hotly, leaping up from the breakfast table, “She is inspired; she is a prophetess — she knows the future. Evidently there was no way the assassination of our great leader, whom the people loved so, could be averted.”

“The Sibyl is a hoax,” my wife said, and started buttering yet another roll, in her usual greedy fashion.

“I have seen the great books –”

How does she know the future?” my wife demanded. At that I had to admit I didn’t know; I was crestfallen — I, a priest at Cumae, an employee of the Roman State. I felt humiliated.

“It’s a money game,” my wife was saying as I strode out the door. Even though it was only dawn — fair Aurora, the goddess of dawn, was showing that white light over the world, the light we regard as sacred, from which many of our inspired visions come — I made my way, on foot, to the lovely temple where I work.

No one else had arrived yet, except the armed guards loitering outside; they glanced at me in surprise to see me so early, then nodded as they recognized me. No one but a recognized priest of the temple at Cumae is allowed in; even Caesar himself must depend on us. Continue reading “Read “The Eye of the Sybil,” a short story by Philip K. Dick”

Read Philip K. Dick’s short story “The Day Mr. Computer Fell out of Its Tree”

“The Day Mr. Computer Fell out of Its Tree”

by

Philip K. Dick


He awoke, and sensed at once that something dreadful was wrong. Oh God, he thought as he realized that Mr. Bed had deposited him in a muddled heap against the wall. It’s beginning again, he realized. And the Directorate West promised us infinite perfection. This is what we get, he realized, for believing in what mere humans say.

As best he could he struggled out of his bedclothes, got shakily to his feet and made his way across the room to Mr. Closet.

“I’d like a natty sharkskin gray double-breasted suit,” he informed it, speaking crisply into the microphone on Mr. Closet’s door. “A red shirt, blue socks, and –” But it was no use. Already the slot was vibrating as a huge pair of women’s silk bloomers came sliding out.

“You get what you see,” Mr. Closet’s metallic voice came to him, echoing hollowly.

Glumly, Joe Contemptible put on the bloomers. At least it was better than nothing — like the day in Dreadful August when the vast polyencephalic computer in Queens had served up everyone in Greater America nothing but a handkerchief to wear.

Going to the bathroom, Joe Contemptible washed his face — and found the liquid which he was splashing on himself to be warm root beer. Christ, he thought. Mr. Computer is even zanier this time than ever before. It’s been reading old Phil Dick science fiction stories, he decided. That’s what we get for providing Mr. Computer with every kind of archaic trash in the world to read and store in its memory banks.

He finished combing his hair — without making use of the root beer — and then, having dried himself, entered the kitchen to see if Mr. Coffeepot was at least a sane fragment in a reality deteriorating all around him.

No luck. Mr. Coffeepot obligingly presented him with a dixie cup of soap. Well, so much for that.

The real problem, however, came when he tried to open Mr. Door. Mr. Door would not open; instead it complained tinnily: “The paths of glory lead but to the grave.”

“Meaning what?” Joe demanded, angry, now. This weird business was no longer fun. Not that it had ever been the times before — except, perhaps, when Mr. Computer had served him with roast pheasant for breakfast.

“Meaning,” Mr. Door said, “that you’re wasting your time, fucker. You’re not getting to the office today nohow.”

This proved to be true. The door would not open; despite his efforts the mechanism, controlled miles away from the polyencephalic master matrix, refused to budge.

Breakfast, then? Joe Contemptible punched buttons on the control module of Mr. Food — and found himself staring at a plate of fertilizer.

He thereupon picked up the phone and savagely attacked the numbers which would put him in touch with the local police.

“Loony Tunes Incorporated,” the face on the vidscreen said. “An animated cartoon version of your sexual practices produced in one week, including GLORIOUS SOUND EFFECTS!”

Fuck it, Joe Contemptible said to himself and rang off. Continue reading “Read Philip K. Dick’s short story “The Day Mr. Computer Fell out of Its Tree””

“Cadbury, the Beaver Who Lacked” — Philip K. Dick

“Cadbury, the Beaver Who Lacked”

by

Philip K. Dick


Once, long ago, before money had been invented, a certain male beaver named Cadbury lived within a meager dam which he had constructed with his own teeth and feet, earning his living by gnawing down shrubs, trees and other growth in exchange for poker chips of several colors. The blue chips he liked best, but they came rarely, generally only due in payment for some uniquely huge gnawing-assignment. In all the passing years of work he had owned only three such chips, but he knew by inference that more must exist, and every now and then during the day’s gnawing he paused a moment, fixed a cup of instant coffee, and meditated on chips of all hues, the blues included.

His wife Hilda offered unasked-for advice whenever the opportunity presented itself. “Look at you,” she customarily would declare. “You really ought to see a psychiatrist. Your stack of white chips is only approximately half that of Ralf, Peter, Tom, Bob, Jack and Earl, all who live and gnaw around here, because you’re so busy woolgathering about your goddam blue chips which you’ll never get anyhow because frankly if the blunt truth were known you lack the talent, energy and drive.”

“Energy and drive,” Cadbury would moodily retort, “mean the same thing.” But nevertheless he perceived how right she was. This constituted his wife’s main fault: she invariably had truth on her side, whereas he had nothing but hot air. And truth, when pitted against hot air in the arena of life, generally carries the day.

Since Hilda was right, Cadbury dug up eight white chips from his secret chip-concealing place — a shallow depression under a minor rock — and walked two and three-quarters miles to the nearest psychiatrist, a mellow, do-nothing rabbit shaped like a bowling pin who, according to his wife, made fifteen thousand a year and so what about it.

“Clever sort of day,” Dr. Drat said amiably, unrolling two Tums for his tummy and leaning back in his extra-heavily padded swivel chair.

“Not so very darn clever,” Cadbury answered, “when you know you don’t have it in you ever to catch sight of a blue chip again, even though you work your ass off day in and day out, and what for? She spends it faster than I make it. Even if I did get my teeth in a blue chip it’d be gone overnight for something expensive and useless on the installment plan, such as for instance a twelve million candle-power self-recharging flashlight. With a lifetime guarantee.”

“Those are darn clever,” Dr. Drat said, “those what you said there, those self-recharging flashlights.”

“The only reason I came to you,” Cadbury said, “is because my wife made me. She can get me to do anything. If she said, ‘Swim out into the middle of the creek and drown,’ do you know what I’d do?”

“You’d rebel,” Dr. Drat said in his amiable voice, his hoppers up on the surface of his burled walnut desk.

“I’d kick in her fucking face,” Cadbury said. “I’d gnaw her to bits; I’d gnaw her right in half, right through the middle. You’re damn right. I mean, I’m not kidding; it’s a fact. I hate her.”

“How much,” Dr. Drat asked, “is your wife like your mother?”

“I never had a mother,” Cadbury said in a grumpy way — a way which he adopted from time to time: a regular characteristic with him, as Hilda had pointed out. “I was found floating in the Napa Slough in a shoebox with a handwritten note reading ‘FINDERS KEEPERS.’ ”

“What was your last dream?” Dr. Drat inquired.

“My last dream,” Cadbury said, “is — was — the same as all the others. I always dream I buy a two-cent mint at the drugstore, one of the flat chocolate-covered mints wrapped in green foil, and when I remove the foil it isn’t a mint. You know what it is?”

“Suppose you tell me what it is,” Dr. Drat said, in a voice suggesting that he really knew but no one was paying him to say it.

Cadbury said fiercely, “It’s a blue chip. Or rather it looks like a blue chip. It’s blue and it’s flat and round and the same size. But in the dream I always say ‘Maybe it’s just a blue mint.’ I mean, there must be such a thing as blue mints. I’d hate like to hell to store it in my secret chip-concealing place — a shallow depression under an ordinary-looking rock — and then there’d be this hot day, see, and afterwards when I went to get my blue chip — or rather supposed blue chip — I found it all melted because it really was a mint after all and not a blue chip. And who’d I sue? The manufacturer? Christ; he never claimed it was a blue chip; it clearly said, in my dream, on the green foil wrapper –”

“I think,” Dr. Drat broke in mildly, “that our time is up for today. We might well do some exploring of this aspect of your inner psyche next week because it appears to be leading us somewhere.”

Rising to his feet, Cadbury said, “What’s the matter with me, Dr. Drat? I want an answer; be frank — I can take it. Am I psychotic?”

“Well, you have illusions,” Dr. Drat said, after a meditative pause. “No, you’re not psychotic; you don’t hear the voice of Christ or anything like that telling you to go out and rape people. No, it’s illusions. About yourself, your work, your wife. There may be more. Goodbye.” He rose, too, hippity-hopped to the door of his office and politely but firmly opened it, exposing the tunnel out.

 

Read the rest of “Cadbury, the Beaver Who Lacked” by Philip K. Dick

We live in Philip K. Dick’s future, not George Orwell’s or Aldous Huxley’s

philip-k-dick-robert-crumb-portrait-weirdo

“Philip K. Dick and the Fake Humans” is a compelling essay by Henry Farrell published today in The Boston Review. From the essay:

This is not the dystopia we were promised. We are not learning to love Big Brother, who lives, if he lives at all, on a cluster of server farms, cooled by environmentally friendly technologies. Nor have we been lulled by Soma and subliminal brain programming into a hazy acquiescence to pervasive social hierarchies…

….Standard utopias and standard dystopias are each perfect after their own particular fashion. We live somewhere queasier—a world in which technology is developing in ways that make it increasingly hard to distinguish human beings from artificial things. The world that the Internet and social media have created is less a system than an ecology, a proliferation of unexpected niches, and entities created and adapted to exploit them in deceptive ways. Vast commercial architectures are being colonized by quasi-autonomous parasites. Scammers have built algorithms to write fake books from scratch to sell on Amazon, compiling and modifying text from other books and online sources such as Wikipedia, to fool buyers or to take advantage of loopholes in Amazon’s compensation structure. Much of the world’s financial system is made out of bots—automated systems designed to continually probe markets for fleeting arbitrage opportunities. Less sophisticated programs plague online commerce systems such as eBay and Amazon, occasionally with extraordinary consequences, as when two warring bots bid the price of a biology book up to $23,698,655.93 (plus $3.99 shipping).

In other words, we live in Philip K. Dick’s future, not George Orwell’s or Aldous Huxley’s

A review of Blade Runner 2049

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Film poster for Blade Runner 2049 by James Jean

I don’t remember how old I was the first time I saw Blade Runner (dir. Ridley Scott, 1982), but I do remember that it had an instant and formative aesthetic impact on me. Blade Runner’s dark atmosphere and noir rhythms were cut from a different cloth than the Star Wars and Spielberg films that were the VHS diet of my 1980’s boyhood. Blade Runner was an utterly perplexing film, a film that I longed to see again and again (we didn’t have it on tape), akin to Dune (dir. David Lynch, 1984), or The Thing (dir. John Carpenter, 1982)—dark, weird sci-fi visions that pushed their own archetypes through plot structures that my young brain couldn’t quite comprehend.

By the time Scott released his director’s cut of the film in 1993, I’d read Philip K. Dick’s source novel Do Androids Dream of Electric Sheep? and enough other dystopian fictions to understand the contours and content of Blade Runner in a way previously unavailable to me. And yet if the formal elements and philosophical themes of Blade Runner cohered for me, the central ambiguities, deferrals of meaning, and downright strangeness remained. I’d go on to watch Blade Runner dozens of times, even catching it on the big screen a few times, and riffing on it in pretty much every single film course I took in college. And while scenes and set-pieces remained imprinted in my brain, I still didn’t understand the film. Blade Runner is, after all, a film about not knowing.

Like its predecessor, Blade Runner 2049 (dir. Denis Villeneuve, 2017) is also a film about not knowing. Moody, atmospheric, and existentialist, the core questions it pokes at are central to the Philip K. Dick source material from which it originated: What is consciousness? Can consciousness know itself to be real? What does it mean to have–or not have—a soul?

Set three decades after the original, Blade Runner 2049 centers on KD6-3.7 (Ryan Gosling in Drive mode). K is a model Nexus-9, part of a new line of replicants created by Niander Wallace and his nefarious Wallace Corporation (Jared Leto, who chews up scenery with tacky aplomb). K is a blade runner, working for the LAPD to hunt down his own kind. At the outset of the film, K doesn’t recognize the earlier model Nexuses (Nexi?) he “retires” as his “own kind,” but it’s clear that the human inhabitants of BR ’49’s world revile all “skinjobs” as the same: scum, other, less human than human. K, beholden to his human masters, exterminates earlier-model replicants in order to keep the civil order that the corporate police state demands. This government relies on replicant slave labor, both off-world—where the wealthiest classes have escaped to—and back here on earth, which is recovering from a massive ecological collapse. The recovery is due entirely to Niander Wallace’s innovations in synthetic farming—and his reintroduction of the previously prohibited replicants.

Our boy K “retires” a Nexus-8 at the beginning of the film. This event leads to the film’s first clue: a box buried under a dead tree. This (Pandora’s) box is an ossuary, the coffin for a (ta da!) female replicant (a Nexus-7 if you’re counting). Skip the next paragraph if you don’t want any plot spoilers.

Continue reading “A review of Blade Runner 2049”

On Philip K. Dick’s novel A Maze of Death

maze

I finished Philip K. Dick’s 1970 novel A Maze of Death this afternoon. The end made me tear up a little, unexpectedly. It’s a sad end, profoundly sad in some ways, and the unexpectedness of the sadness, is, like, particularly sad.

Sad because I didn’t quite expect (hence that adverb unexpectedly) Dick to stick any kind of ending, what, after nearly 200 pages of cardboard characters wandering through a pulp fiction death maze, ventriloquized by the author to perform monologues on consciousness and perception and reality and religion and prayer and faith and afterlife and salvation and so on and so on and so on.

A Maze of Death has some strong moments and strong images—one-way space shuttles, organic 3-D printers, riffs on a deity that would necessarily absorb the concept of a non-deity, a cosmic recapitulation of Odin, space sex, etc.—but on the whole A Maze of Death peters out towards the end, its energy sapped as Dick tires of revolving through (and killing off) the cast of characters (and consciousnesses) he’s assembled in his Haunted (Space) House. The thin allegory he’s patched together crumbles. Or perhaps it was only an allegory assembled for its author’s sad delight. In any case, the whole does not cohere. But no matter.

Too, A Maze of Death suffers perhaps in comparison to its twin, Dick’s bouncier 1969 ensemble satire Ubik. Hell, Ubik probably peters out too, but it’s funnier and sharper. Still: A Maze of Death delivers a strong conclusion, a thesis statement that will resonate with anyone who’s ever envied a machine’s “Off” switch.

But book reviews aren’t supposed to start with endings, right?

What is A Maze of Death about? I mean, that’s what a book review is supposed to do, maybe? Give up some of the plot, the gist, right? The short short answer is Death. (And, like, how does consciousness mediate the ultimate promise of a life-maze that leads to Death, the apparent undoing of consciousness?). But wait, that’s not the plot, that’s like, theme, which is just a way of condensing the plot. This paragraph has gotten us nowhere. I’m going to get up off my ass and walk across the room I’m in to pick up Lawrence Sutin’s 1989 biography of PKD, Divine Invasions and crib from the “Chronological Survey and Guide” at its end. Okay, here, from the entry for Maze:

A group of colonists encounter inexplicable doings—including brutal murders—on the supposedly uninhabited planet Delmark-O. They then learn the truth of Milton’s maxim that the mind creates its own heavens and hells. … In his forward to Maze Phil cites the help of William Sarill in creating the “abstract, logical” religion posed in the novel; Sarill, in interview, says he only listened as Phil spun late-night theories.

—Okay, wait—I promise I’ll return to Sutin’s lucid summary—but Damn, that’s it right there— “Phil spun late-night theories” —much of Maze reads like a late night amphetamine rant about consciousness, man

The plots of Eye [in the Sky]Ubik, and Maze are strikingly similar: A group of individuals find themselves in a perplexing reality state and try to use each other’s individual perceptions (idios kosmos) to make sense of what is happening to them all (koinos kosmos). Only in Eye, written ten years earlier, is the effort successful. In Ubik and Maze, by contrast, individual insight and faith are the only means of piercing the reality puzzle. In Maze, Seth Morley alone escapes the dire fate of his fellow twenty-second-century Delmark-O “colonists” (who are in truth…

—Okay, wait, it looks like Sutin is eager to spoil the ending there—but honestly, the ending that I found so satisfying wasn’t the twist that Sutin goes on to describe in his summary. The ending that Dick gives to his main viewpoint character Seth Morley that I found so moving had nothing to do with plot. Sutin’s line “Morely alone escapes” echoes the actual language of Dick’s novel, which echoes the end of Moby-Dick, where Ishmael alone escapes the wreckage of the Pequod, which in turn echoes the book of Job, where a witness returns from disaster to exclaim, I only am escaped alone to tell thee. This is the core of storytelling, I suppose: witnessing, enduring, and telling again. But Dick’s Morely wants an out, an off switch, a way to break the circuit, to escape the maze. The end of the novel—am I spoiling, after I cut Sutin off for fear of spoiling? Very well, I spoil—the end of the novel posits storytelling as a kind of survival mechanism against the backdrop of the existential horror of endless and apparently meaningless space. And yet the hero Morely still wants out of the story, and Dick lets him out. Out into non-story, out into a kind of plant-like existence—life without consciousness, life without a story.

But what’s the story the others, the rest of the maze’s ensemble, create?—

There is a quaternity of gods in Maze—an admixture of Gnosticism, neo-Platonism, and Christianity; the Mentafacturer, who creates (God); the Intercessor, who through sacrifice lifts the Curse on creation (Christ); the Walker-on-Earth, who gives solace (Holy Spirit); and the Form Destroyer, whose distance from the divine spurs entropy (Satan/Archon/Demiurge)/ The tench, an old inhabitant of Delmark-O, is Phil’s “cypher” for Christ.

The “tench” is originally introduced as a kind of 3-D printer thing and I didn’t read it as a Christ figure at all, but what the hell do I know. In fact, I took the name (and figuration) to be a composite of the tensions between the characters—the allegorical forces at work in Dick’s muddy made-up late-night religion.

Anyway, I suppose you get some of the flavor of the novel there, dear reader—a mishmash of metaphysical mumbo jumbo, filtered through touches (and tenches) of space opera and good old fashioned haunted housery. A Maze of Death is a messy space horror that threatens to leave its readers unsatisfied right up until the final moments wherein it rings its sad coda, a reverberation that nullifies all its previous twists and turns in a soothing wash of emptiness. Not the best starting place for PKD, but I’m very glad I read it.

“Roog,” a short story by Philip K. Dick

“Roog”

by

Philip K. Dick


“Roog!” the dog said. He rested his paws on the top of the fence and looked around him.

The Roog came running into the yard.

It was early morning, and the sun had not really come up yet. The air was cold and gray, and the walls of the house were damp with moisture. The dog opened his jaws a little as he watched, his big black paws clutching the wood of the fence.

The Roog stood by the open gate, looking into the yard. He was a small Roog, thin and white, on wobbly legs. The Roog blinked at the dog, and the dog showed his teeth.

“Roog!” he said again. The sound echoed into the silent half darkness. Nothing moved nor stirred. The dog dropped down and walked back across the yard to the porch steps. He sat down on the bottom step and watched the Roog. The Roog glanced at him. Then he stretched his neck up to the window of the house, just above him. He sniffed at the window.

The dog came flashing across the yard. He hit the fence, and the gate shuddered and groaned. The Roog was walking quickly up the path, hurrying with funny little steps, mincing along. The dog lay down against the slats of the gate, breathing heavily, his red tongue hanging. He watched the Roog disappear.

The dog lay silently, his eyes bright and black. The day was beginning to come. The sky turned a little whiter, and from all around the sounds of people echoed through the morning air. Lights popped on behind shades. In the chilly dawn a window was opened.

The dog did not move. He watched the path.

In the kitchen Mrs. Cardossi poured water into the coffee pot. Steam rose from the water, blinding her. She set the pot down on the edge of the stove and went into the pantry. When she came back Alf was standing at the door of the kitchen. He put his glasses on.

“You bring the paper?” he said.

“It’s outside.”

Alf Cardossi walked across the kitchen. He threw the bolt on the back door and stepped out onto the porch. He looked into the gray, damp morning. At the fence Boris lay, black and furry, his tongue out.

“Put the tongue in,” Alf said. The dog looked quickly up. His tail beat against the ground. “The tongue,” Alf said. “Put the tongue in.”

The dog and the man looked at one another. The dog whined. His eyes were bright and feverish.

“Roog!” he said softly.

“What?” Alf looked around. “Someone coming? The paperboy come?”

The dog stared at him, his mouth open.

“You certainly upset these days,” Alf said. “You better take it easy. We both getting too old for excitement.”

He went inside the house.

The sun came up. The street became bright and alive with color. The postman went along the sidewalk with his letters and magazines. Some children hurried by, laughing and talking.

About 11:00, Mrs. Cardossi swept the front porch. She sniffed the air, pausing for a moment.

“It smells good today,” she said. “That means it’s going to be warm.” In the heat of the noonday sun the black dog lay stretched out full length, under the porch. His chest rose and fell. In the cherry tree the birds were playing, squawking and chattering to each other. Once in a while Boris raised his head and looked at them. Presently he got to his feet and trotted down under the tree.

He was standing under the tree when he saw the two Roogs sitting on the fence, watching him.

“He’s big,” the first Roog said. “Most Guardians aren’t as big as this.”

The other Roog nodded, his head wobbling on his neck. Boris watched them without moving, his body stiff and hard. The Roogs were silent, now, looking at the big dog with his shaggy ruff of white around his neck.

“How is the offering urn?” the first Roog said. “Is it almost full?”

“Yes.” The other nodded. “Almost ready.”

“You, there!” the first Roog said, raising his voice. “Do you hear me? We’ve decided to accept the offering, this time. So you remember to let us in. No nonsense, now.”

“Don’t forget,” the other added. “It won’t be long.”

Boris said nothing.

The two Roogs leaped off the fence and went over together just beyond the walk. One of them brought out a map and they studied it.

“This area really is none too good for a first trial,” the first Roog said. “Too many Guardians… Now, the northside area—”

“They  decided,” the other Roog said. “There are so many factors—”

“Of course.” They glanced at Boris and moved back farther from the fence. He could not hear the rest of what they were saying.

Presently the Roogs put their map away and went off down the path.

Boris walked over to the fence and sniffed at the boards. He smelled the sickly, rotten odor of Roogs and the hair stood up on his back.

That night when Alf Cardossi came home the dog was standing at the gate, looking up the walk. Alf opened the gate and went into the yard.

“How are you?” he said, thumping the dog’s side. “You stopped worrying? Seems like you been nervous of late. You didn’t used to be that way.”

Boris whined, looking intently up into the man’s face.

“You a good dog, Boris,” Alf said. “You pretty big, too, for a dog. You don’t remember long ago how you used to be only a little bit of a puppy.”

Boris leaned against the man’s leg.

“You a good dog,” Alf murmured. “I sure wish I knew what is on your mind.”

He went inside the house. Mrs. Cardossi was setting the table for dinner. Alf went into the living room and took his coat and hat off. He set his lunch pail down on the sideboard and came back into the kitchen.

“What’s the matter?” Mrs. Cardossi said.

“That dog got to stop making all that noise, barking. The neighbors going to complain to the police again.”

“I hope we don’t have to give him to your brother,” Mrs. Cardossi said, folding her arms. “But he sure goes crazy, especially on Friday morning, when the garbage men come.”

“Maybe he’ll calm down,” Alf said. He lit his pipe and smoked solemnly. “He didn’t used to be that way. Maybe he’ll get better, like he was.”

“We’ll see,” Mrs. Cardossi said.

The sun rose up, cold and ominous. Mist hung over all the trees and in the low places.

It was Friday morning.

The black dog lay under the porch, listening, his eyes wide and staring. His coat was stiff with hoarfrost and the breath from his nostrils made clouds of steam in the thin air. Suddenly he turned his head and leaped up.

From far off, a long way away, a faint sound came, a kind of crashing sound.

“Roog!” Boris cried, looking around. He hurried to the gate and stood up, his paws on top of the fence.

In the distance the sound came again, louder now, not as far away as before. It was a crashing, clanging sound, as if something were being rolled back, as if a great door were being opened

“Roog!” Boris cried. He stared up anxiously at the darkened windows above him. Nothing stirred, nothing.

And along the street the Roogs came. The Roogs and their truck moved along bouncing against the rough stones, crashing and whirring.

“Roog!” Boris cried, and he leaped, his eyes blazing. Then he became more calm. He settled himself down on the ground and waited, listening.

Out in front the Roogs stopped their truck. He could hear them opening the doors stepping down onto the sidewalk. Boris ran around in a little circle. He whined and his muzzle turned once again toward the house.

Inside the warm, dark bedroom, Mr. Cardossi sat up a little in bed and squinted at the clock.

“That damn dog,” he muttered. “That damn dog.” He turned his face toward the pillow and closed his eyes.

The Roogs were coming down the path, now. The first Roog pushed against the gate and the gate opened. The Roogs came into the yard. The dog backed away from them.

“Roog! Roog!” he cried. The horrid, bitter smell of Roogs came to his nose, and he turned away.

“The offering urn,” the first Roog said. “It is full, I think.” He smiled at the rigid, angry dog. “How very good of you,” he said

The Roogs came toward the metal can, and one of them took the lid from it.

“Roog! Roog!” Boris cried, huddled against the bottom of the porch steps. His body shook with horror. The Roogs were lifting up the big metal can, turning it on its side. The contents poured out onto the ground, and the Roogs scooped the sacks of bulging, splitting paper together, catching at the orange peels and fragments, the bits of toast and egg shells.

One of the Roogs popped an egg shell into his mouth. His teeth crunched the egg shell.

“Roog!” Boris cried hopelessly, almost to himself. The Roogs were almost finished with their work of gathering up the offering. They stopped for a moment, looking at Boris.

Then, slowly, silently, the Roogs looked up, up the side of the house, along the stucco, to the window, with its brown shade pulled tightly down.

“ROOG!” Boris screamed, and he came toward them, dancing with fury and dismay. Reluctantly, the Roogs turned away from the window. They went out through the gate, closing it behind them.

“Look at him,” the last Roog said with contempt, pulling his corner of the blanket up on his shoulder. Boris strained against the fence, his mouth open, snapping wddly. The biggest Roog began to wave his arms furiously and Boris retreated. He settled down at the bottom of the porch steps, his mouth still open, and from the depths of him an unhappy, terrible moan issued forth, a wail of misery and despair.

“Come on,” the other Roog said to the lingering Roog at the fence.

They walked up the path.

“Well, except for these little places around the Guardians, this area is well cleared,” the biggest Roog said. “I’ll be glad when this particular Guardian is done. He certainly causes us a lot of trouble.”

“Don’t be impatient,” one of the Roogs said. He grinned. “Our truck is full enough as it is. Let’s leave something for next week.”

All the Roogs laughed.

They went on up the path, carrying the offering in the dirty, sagging blanket.

Campbell, Dahl, Dick, Zelazny (Books acquired, 18 Sept. 2017)

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I returned to classes on Monday after 10 humid, uncomfortable, and often scary days “off” due to Hurricane Irma. In the slim hour and change between my last lecture and my kids’ school dismissal, I swung by my favorite used bookshop. I was worried that it might have flooded, but the waters didn’t get to the inventory (well over a million books).

I picked up a a PKD Daw edition, a mass market paperback, Deus Irae, co-authored with Roger Zelazny. I’ve been picking up pretty much any early PKD mass market ppbk; new editions of his stuff tend to be pretty boring. I had to pick between two editions:

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I also picked up Eddie Campbell’s Alec: How to Be an Artist, which I gobbled up the other day in two sittings. There’s a pretty neat canon of graphic novels at the end, which I’ll share later this week. The cover looks like an illustration of Roberto Bolaño to me.

I also picked up two Roald Dahl books we didn’t have, Esio Trot and Danny the Champion of the World, which my kids read immediately and greedily.

The shock of dysrecognition | Philip K. Dick defines science fiction

I will define science fiction, first, by saying what sf is not.  It cannot be defined as “a story (or novel or play) set in the future,” since there exists such a thing as space adventure, which is set in the future but is not sf: it is just that: adventures, fights and wars in the future in space involving super-advanced technology. Why, then, is it not science fiction? It would seem to be, and Doris Lessing (e.g.) supposes that it is. However, space adventure lacks the distinct new idea  that is the essential ingredient. Also, there can be science fiction set in the present: the alternate world story or novel. So if we separate sf from the future and also from ultra-advanced technology, what then do we have that can  be called sf?

We have a fictitious world; that is the first step: it is a society that does not in fact exist, but is predicated on our known society; that is, our known society acts as a jumping-off point for it; the society advances out of our own in some way, perhaps orthogonally, as with the alternate world story or novel. It is our world dislocated by some kind of mental effort on the part of the author, our world transformed into that which it is not or not yet. This world must differ from the given in at least one way, and this one way must be sufficient to give rise to events that could not occur in our society—or in any known society present or past. There must be a coherent idea involved in this dislocation; that is, the dislocation must be a conceptual one, not merely a trivial or bizarre one—this  is the essence of science fiction, the conceptual dislocation within the society so that as a result a new society is generated in the author’s mind, transferred to paper, and from paper it occurs as a convulsive shock in the reader’s mind, the shock of dysrecognition.  He knows that it is not his actual world that he is reading about.

Now, to separate science fiction from fantasy. This is impossible to do, and a moment’s thought will show why. Take psionics; take mutants such as we find in Ted Sturgeon’s wonderful MORE THAN HUMAN.  If the reader believes that such mutants could exist, then he will view Sturgeon’s novel as science fiction. If, however, he believes that such mutants are, like wizards and dragons, not possible, nor will ever be possible, then he is reading a fantasy novel. Fantasy involves that which general opinion regards as impossible; science fiction involves that which general opinion regards as possible under the right circumstances. This is in essence a judgment-call, since what is possible and what is not possible is not objectively known but is, rather, a subjective belief on the part of the author and of the reader.

Now to define good  science fiction. The conceptual dislocation—the new idea, in other words—must be truly new (or a new variation on an old one) and it must be intellectually stimulating to the reader; it must invade his mind and wake it up to the possibility of something he had not up to then thought of. Thus “good science fiction” is a value term, not an objective thing, and yet, I think, there really is such a thing, objectively, as good science fiction.

I think Dr. Willis McNelly at the California State University at Fullerton put it best when he said that the true protagonist of an sf story or novel is an idea and not a person. If it is good  sf the idea is new, it is stimulating, and, probably most important of all, it sets off a chain-reaction of ramification-ideas in the mind of the reader; it so-to-speak unlocks the reader’s mind so that that mind, like the author’s, begins to create. Thus sf is creative and it inspires creativity, which mainstream fiction by-and-large does not do. We who read sf (I am speaking as a reader now, not a writer) read it because we love to experience this chain-reaction of ideas being set off in our minds by something we read, something with a new idea in it; hence the very best science fiction ultimately winds up being a collaboration between author and reader, in which both create—and enjoy  doing it: joy is the essential and final ingredient of science fiction, the joy of discovery of newness.

(in a letter) May 14,1981

From a letter by Philip K. Dick, used as the preface to The Collected Stories of Philip K. Dick, Vol. 1.

Read Philip K. Dick’s short story “To Serve the Master”

“To Serve the Master”

by

Philip K. Dick


Applequist was cutting across a deserted field, up a narrow path beside the yawning crack of a ravine, when he heard the voice.

He stopped frozen, hand on his S-pistol. For a long time he listened, but there was only the distant lap of the wind among the broken trees along the ridge, a hollow murmuring that mixed with the rustle of the dry grass beside him. The sound had come from the ravine. Its bottom was snarled and debris-filled. He crouched down at the lip and tried to locate the voice.

There was no motion. Nothing to give away the place. His legs began to ache. Flies buzzed at him, settled on his sweating forehead. The sun made his head ache; the dust clouds had been thin the last few months.

His radiation-proof watch told him it was three o’clock. Finally he shrugged and got stiffly to his feet. The hell with it. Let them send out an armed team. It wasn’t his business; he was a letter carrier grade four, and a civilian.

As he climbed the hill toward the road, the sound came again. And this time, standing high above the ravine, he caught a flash of motion. Fear and puzzled disbelief touched him. It couldn’t be — but he had seen it with his own eyes. It wasn’t a newscircular rumor. Continue reading “Read Philip K. Dick’s short story “To Serve the Master””

Two Dicks (Books acquired, 17 July 2017)

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A Maze of Death, first DAW printing, 1983. Cover art by Bob Pepper.

The Transmigration of Timothy Archer, first Timescape printing, 1983.  Cover artist uncredited.

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I still regret that I failed to pick up this tattered copy of Clans of the Alphane:

Seriously though, these tasteful covers are pretty boring. Compare/contrast:

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Read “The Variable Man,” an early short story by Philip K. Dick

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“The Variable Man”

by

Philip K. Dick


Security Commissioner Reinhart rapidly climbed the front steps and entered the Council building. Council guards stepped quickly aside and he entered the familiar place of great whirring machines. His thin face rapt, eyes alight with emotion, Reinhart gazed intently up at the central SRB computer, studying its reading.

“Straight gain for the last quarter,” observed Kaplan, the lab organizer. He grinned proudly, as if personally responsible. “Not bad, Commissioner.”

“We’re catching up to them,” Reinhart retorted. “But too damn slowly. We must finally go over—and soon.”

Kaplan was in a talkative mood. “We design new offensive weapons, they counter with improved defenses. And nothing is actually made! Continual improvement, but neither we nor Centaurus can stop designing long enough to stabilize for production.”

“It will end,” Reinhart stated coldly, “as soon as Terra turns out a weapon for which Centaurus can build no defense.”

“Every weapon has a defense. Design and discord. Immediate obsolescence. Nothing lasts long enough to—”

“What we count on is the lag,” Reinhart broke in, annoyed. His hard gray eyes bored into the lab organizer and Kaplan slunk back. “The time lag between our offensive design and their counter development. The lag varies.” He waved impatiently toward the massed banks of SRB machines. “As you well know.”

At this moment, 9:30 AM, May 7, 2136, the statistical ratio on the SRB machines stood at 21-17 on the Centauran side of the ledger. All facts considered, the odds favored a successful repulsion by Proxima Centaurus of a Terran military attack. The ratio was based on the total information known to the SRB machines, on a gestalt of the vast flow of data that poured in endlessly from all sectors of the Sol and Centaurus systems.

21-17 on the Centauran side. But a month ago it had been 24-18 in the enemy’s favor. Things were improving, slowly but steadily. Centaurus, older and less virile than Terra, was unable to match Terra’s rate of technocratic advance. Terra was pulling ahead.

“If we went to war now,” Reinhart said thoughtfully, “we would lose. We’re not far enough along to risk an overt attack.” A harsh, ruthless glow twisted across his handsome features, distorting them into a stern mask. “But the odds are moving in our favor. Our offensive designs  are gradually gaining on their defenses.”

“Let’s hope the war comes soon,” Kaplan agreed. “We’re all on edge. This damn waiting….”

The war would come soon. Reinhart knew it intuitively. The air was full of tension, the elan. He left the SRB rooms and hurried down the corridor to his own elaborately guarded office in the Security wing. It wouldn’t be long. He could practically feel the hot breath of destiny on his neck—for him a pleasant feeling. His thin lips set in a humorless smile, showing an even line of white teeth against his tanned skin. It made him feel good, all right. He’d been working at it a long time. Continue reading “Read “The Variable Man,” an early short story by Philip K. Dick”

Books and reality are fused (Philip K. Dick)

…I can say with all truthfulness that for me the moment of greatest understanding in which I knew spiritual reality at last came in connection with emergency root-canal irrigation, two hours in the dentist chair. And twelve hours drinking bourbon-bad bourbon at that-and simply reading Dante without listening to the stereo or eating-there was no way I could eat-and suffering, and it was all worth it; I will never forget it. I am no different, then, from Timothy Archer. To me, too, books are real and alive; the voices of human beings issue forth from them and compel my assent, the way God compels our assent to world, as Tim said. When you have been in that much distress, you are not going to forget what you did and saw and thought and read that night; I did nothing, saw nothing, thought nothing; I read and I remember; I did not read Howard the Duck or The Fabulous Furry Freak Brothers or Snatch Comix that night; I read Dante’s Commedia, from Inferno through Purgatorio, until at last I arrived in the three colored rings of light … and the time was nine A.M. and I could get into my fucking car and shoot out into traffic and Dr. Davidson’s office, crying and cursing the whole way, with no breakfast, not even coffee, and stinking of sweat and bourbon, a sorry mess indeed, much gaped at by the dentist’s receptionist.

So for me in a certain unusual way-for certain unusual reasons-books and reality are fused; they join through one incident, one night of my life: my intellectual life and my practical life came together-nothing is more real than a badly infected tooth-and having done so they never completely came apart again. If I believed in God, I would say that he showed me something that night; he showed me the totality: pain, physical pain, drop by drop, and then, this being his dreadful grace, there came understanding … and what did I understand? That it is all real; the abscessed tooth and the root-canal irrigation, and, no less and no more…

From Philip K. Dick’s 1982 novel The Transmigration of Timothy Archer.

Disinformation (Philip K. Dick)

 It is like information theory; it is noise driving out signal. But it is noise posing as signal so you do not even recognize it as noise. The intelligence agencies call it disinformation, something the Soviet Bloc relies on heavily. If you can float enough disinformation into circulation you will totally abolish everyone’s contact with reality, probably your own included.

From Philip K. Dick’s 1982 novel The Transmigration of Timothy Archer.