Philip K. Dick Books

Being interested in speculative reality and philosophy, this was a must read. I was not disappointed.
Philip K Dick writes, "All responsible writers, to some degree, have become involuntary criers of doom, because doom is in the wind...and the doom stories are intended to call attention to reality."
This is made all the more relevant by the fact that the human folly that gave way to encroaching doom(war) ~ as the interviews and essays complied for this book run anywhere from twenty five to fifty five years ago ~ is far more manifest and pervasive in our own perceived time. That much closer.

Part five: Essays and Speeches, deals with schizophrenia, LSD and Gnosticism. He delves into the Jungian concept of synchronicity regarding his own life, and the inexplicable coincidences in his novel, "Flow My Tears, The Policeman Said"...(also see the movie, "Waking Life")..of "fiction mimicking truth, and truth mimicking fiction."
What he refers to as "a dangerous overlap, a dangerous blur." Take a look with *open* eyes at the society we've created and you realize that the "dangerous blur" is scarcely acknowledged it is so routine, so deeply solidified. 'Entertainment'(of the mindless sort) has proven to be the ultimate vehicle for Big Brother totalitarianism, so to speak.

The final section, Exegesis, at times feels like listening in on a discussion, a contemplation, within his own conscience, on the matter of God/Cosmos: "Creator: time past. Holy Spirit: time is. Christ: time completed."
Overall, a fascinating and unique read.

THE SHIFTING REALITIES OF PKD is a perfect title for this material. It was in his speeches to college students that PKD exposed his mental terrain--holding little back. Here he discussed his two obsessions: What is reality? & What constitutes an authentic human? This material shows how Dick used his sci-fi novels to poke holes in simpler cosmologies. Dick made the universe his own sandbox.

In THE ANDROID & THE HUMAN he says that free will may be an illusion. Were humans also controlled by tropisms that are so evident in the growth of plants? He sounded out his greatest fear as ýThe reduction of humans to mere use--men made into machines, ... what I regard as the greatest evil imaginable.ý Dick saw the time to come when a writer would be stopped not by unplugging his electric keyboard but by someone unplugging the man himself.

In MAN, ANDROID & MACHINE Dick found a hopeful theory at the end of his dark tunnel. In this essay he discussed Teilhard De Chardinýs Noosphere, ýcomposed of holographic & informational projections in a unified and continually processed Gestalt,ý--a summation of the globeýs intelligence. Dick never worried about the label ýmade in a laboratory.... the entire universe is one vast laboratory,ý he writes. Here he also lays bare his own reality--one composed of a series of crystallized dreams. He cites Ursula Le Guinýs THE LATHE OF HEAVEN as his model for ýunderstanding the nature of our worldý. He adds: ýI myself have derived much of the material for my writing from dreams.ý PKD challenged the reader to pry beneath the facade of daily existence and knead the silly putty of the dream world into some recognized shape.

While I've read this entire book cover-to-cover, I have probably read the last half (Part Five: Essays and Speeches, and Part Six: Selections from the Exegesis) at least four times. That's where the real philosophy is. Or perhaps I should say the real mysticism. Actually, P.D.K.'s thought was a combination of philosophy and mysticism, not unlike the works of Pythagoras or Plato. Indeed, I would not hesitate to place him in such exalted company.

Dick's Gnosticism is the Gnostisism of true revelation, of epiphany and theogony (of union with the divine.) Yes, some people arrogantly write this off as the rantings of a "schizophenic", but then they would no doubt apply that same meaningless, garbage diagnosis to every great mystic teacher or shaman.

Here you get the revelations of his novel ,_Valis_, developed and fleshed out in a much more satisfying manner. Indeed, unless you are fortunate enough to track down a copy of his mythical _Exegesis_ this is the best expression of his thought that you will find.

One last note, as much as I agree with the gnostic idea of a transcedent God (or Logos, or Tao) breaking through into our material "Black Iron Prison", I do have a problem with his concept of a Yaldaboath (i.e. deranged, lesser, creator god.) You see, human materialistic, hyper-rational, civilization functions as such a lesser "god." Have we not made money, science, and ego into idols that are worshipped in their own right to the exclusion of the the true transcendant God? You simply do not need to posit the existance of such a supernatural demiurge, devil, or "Moloch" (as Ginsberg called it.) Human ignorance and evil are quite up to the role.

(...)

This book is a gathering of eclectic, mostly non-fictional, writings by one of my favourite authors -Philip K. Dick. I have given it a five star rating in spite of the fact that the material is of uneven quality. Dick can't talk to us anymore since he died in 1982, and so it is wonderful and special to come across these writings. From a literary point of view they are invaluable as spotlights on the mind of the author of such brilliant, disturbing and important works such as The Three Stigmata of Palmer Eldritch, Ubik, The Man In the High Castle, Faith of Our Fathers, etc. But these works also stand on their own for their intelligent, creative and transcendent analysis of what it is to be human. If you have any interest in Gnosticism, you are in for a treat, since Dick is a kind of Gnostic warrior, and offers up many fascinating, and at times, profoundly uplifting Gnostic thoughts and speculations. There is much more -biographical material, thoughts on SF as a genre, comments on other SF works and writers, political commentary, musical musings, two excellent completed chapters from an abandoned sequel to The Man In the High Castle, and even a brilliant pitch for a never-made television sit-com about angels visiting earth on commission to help clients out of tight jams. Some of this material is frightening, since Dick is constantly challenging the very concept of reality. As with all of Dick's writing -fiction and non-fiction -there is a mind expanding effect. Your universe is never the same after reading him -it will be enlarged or even multiplied, as well as being rendered a lot stranger. All P.K. Dick fans should have this book, but anyone wanting to learn more about the views of one of the brightest, most intriguing minds of the past century will find it an invaluable and entertaining book to read. Lawrence Sutin has done us all a wonderful service by making these pieces available, some of them for the first time. These are peculiar and magical writings from a 20th Century savant. Read it. It could change your life.

PKD is my number-one writer, both for style, but more particularly for ideas. There is so much in this book that shows the man was a thinker, an explorer of ideas not just for the novels and short stories he could generate from them. With PKD, ideas developed a unique philosophy which is why his fiction is founded on such a firm basis. Even when his ideas change and we can see the change (for example 'The Three Stigmata of Palmer Eldritch' and 'A Scanner Darkly') there is no contradiction involved, just a clear evolution. For PKD fans who haven't yet read his non-SF novels I encourage you to do so - I would be surprised if you were disappointed.

PKD has also left a great legacy of pithy quotes - such as 'reality is what is left behind when you stop believing in something'. My favourite, however, he wrote in a forward to one of the anthologies of short stories. He said that science fiction is not about 'what if ......' it's about 'My God! what if .....'.

There is a lot of this in his philosophy too.

This book, third in a set of five from Citadel Press (who are doing similar definitive collections of Robert Bloch & Theodore Sturgeon), collects all of Dick's short stories, the vast majority of them from the 50s - not coincidentally, the high-water mark of the sf pulps. All are introduced by later-era sf writers like Tom Disch, Norman Spinrad & this volume's John Brunner; unfortunately, all take pains to point out that the true value of these stories was in their raw wealth of ideas, which Dick later cannibalized and expanded upon in his novels. During his short-story tyro period, Dick wrote fast and furious (how does a story a week sound?) and the conventional wisdom states that these tales are too one-dimensional, formulaic and crudely-written to have much artistic quality on their own merits. I strongly disagree. While Dick's later novels are of course worth reading, these early stories literally SEETHE with fevered imagination: it's important to note that he does not employ recurring characters or settings here. He literally starts each story with a blank canvas, which only makes his prolific output that much more astounding. All of his obsessions and central themes are already present, but emerging as they did against the backdrop of the American 50s, the oft-noted 'flaws' in these small gems lend an eerily authentic surrealism and subversive power that his 60s and 70s work (when the world he lived in was already waist-deep in 'science fiction time', to use a Spinrad phrase) somewhat lack. Actually, Dick's COLLECTED STORIES, like much of the most resonant 50s sf, can be savored as much for their horror-story frissons, or their mythic and allegorical properties, as they can as pure speculative fiction. (And one could make the argument that such work, produced under the spectres of McCarthyism, The Bomb, flying-saucer sightings, a growing militarism and the incipient gray-flannelled paranoia festering in the newly-minted utopia of suburbia, was much more daring and revolutionary than similar Dick-inspired work published in the far-less-restrictive, anything-goes 60s). Sure, many of the characters in COLLECTED STORIES read like print versions of Kenneth Tobey and Morris Ankrum, but therein lies their power; they're true to the era in a way that 'better-written', more fully developed protagonists probably couldn't be. Anyway, to cut a long-winded sermon short, readers drawn to either sf or horror, as well as those who nominally detest both genres but do enjoy a touch of strangeness and obsessiveness in their fiction, should run out and buy SECOND VARIETY and the other four books in this series. You may be surprised to find many of these 'one-dimensional' stories, written hastily for money, clinging like burrs to your subconscious long after the work of Great Authors have slid noiselessly from memory. Mandatory reading.

In May of 1987 Underwood-Miller published a five volume set titled "The Collected Stories of Philip K. Dick". The third volume of the collection was subtitled "The Father-Thing". In April of 1991 the Carroll Group republished the third volume changing the subtitle to "Second Variety". In addition to the change of title this volume now contains the story "Second Variety" which was originally in the second volume of the Underwood-Miller set. It seems clear that they made these changes in order to take advantage of the release of "Total Recall", which was around the time of the Carroll Group's re-release of the second volume of the series, and that did have the cascading effect of destroying the chronological approach that the original set of books used, but that doesn't change the fact that this is an excellent series of books and well worth owning by anyone who loves science fiction. Ultimately, this book contains the same stories as volume 3 in the original set, with the addition of "Second Variety" as the last story in the book.

There are 24 stories in this book, with a greater number of longer stories than were in the first two volumes of the series. While Dick's short stories are excellent, the novelette length gives him a bit more room to really explore some of his ideas, something which he uses to great effect in several of this book's stories. One theme which appears in several of the stories here is that of mutation. Dick clearly rejected John W. Campbell Jr.'s idea that mutations should always be viewed as good and leading humanity into the future. This idea is central to stories like "The Golden Man" , "A World of Talent", and "Psi-man Heal My Child", though that is not to say that Dick viewed mutations as bad either, simply that he used a more balanced and realistic approach to the subject.

Another theme which appears in several stories in this volume is that of humanity losing control of their technology, and we see this in such stories as "The Last of the Masters",
"To Serve the Master", and the title story "Second Variety", which was the basis for the 1996 film "Screamers". Along the same lines, we see mankind on the brink of elimination in stories like "Tony and the Beetles", and "Pay for the Printer" along with several of the stories which I had already mentioned. It is not surprising that Dick revisited many of these ideas over and over, as most authors do. Dick also had an incredible output of stories during the early fifties was incredible, with nearly all of the stories in the first three volumes were written between 1952 and 1954, so again one would expect a fair amount of repeated themes. What is surprising is that he manages to make the stories fresh by taking the reader in different directions each time.

This is a great volume in a great collection of Philip K. Dick's work. While changed slightly from the original collection, which was ranked 3rd on the Locus poll for collections in 1988, the completeness of the collection is still in tact. Outside of the stories I have already listed, there are other very good ones as well, such as "The Father-Thing", "Foster, You're Dead", and "Shell Game". The longer stories in this volume put it in front of the first two volumes in terms of the overall quality, but the whole series is certainly worthwhile.

The man is good. If you have not read any of Philip K. Dick I would highly recommend any of his books. He is by far the best Sci-Fi writer ever. Some of my favorite short stories from this book are "The Father-Thing, The Golden Man, The Hanging Stranger." Heck, they are all good. They remind me more of episodes of "The Twilight Zone" then just Sci-Fi.

Although not on quite the same level of Volumes One and Two in this five book set of all of Philip K. Dick's short fiction, Second Variety and Other Classic Stories is a worthwhile read for any PKD fan.

Dick cranked out stories very quickly in his early years, and some of these tales do have a certain sense of being rushed, but others, including the title story are nothing short of brilliant. As usual, Dick focuses on dystopic futures that are politically and/or environmentally ravaged; usually these stories have a level of humor too, but others in this collection are more purely downbeat.

While some stories are just okay, I particularly enjoyed "The Golden Man," "Second Variety" and "Foster, You're Dead." There are some other great ones, too. I would recommend this to any science fiction fan who wants to read some truly original fiction; this is another good collection of Dick's short stories.

There would be little point in giving a synopsis of each of the 24 stories in this book. That would give a false sense of repetition since many feature images of ash and overturned bathtubs -- the aftermath of nuclear war -- or struggles between mutants and normal humans, each fearing their extinction. But they don't seem any more repetitious than a skilled musician working variations on a theme for that is what many are. These stories, written in 1953 and 1954 -- with one exception, are arranged chronologically, so the student of Dick can see him play with an idea for two or three stories in a row.

Along the way we get the humor, intricate plotting, and sudden reversals in our moral sympathies characteristic of Dick. And there are the machines that so often are a force of death in Dick though they behave more and more like life. Such is the case with the title story, one of Dick's most paranoid and basis for the movie _Screamers_. When sophisticated weapons take on human guise and began to stalk man, what Dick calls his grand theme, knowing who is human and who only pretends to be, is starkly exhibited.

Other famous stories are "The Golden Man" with its purging of mutants before they infect the human gene pool, "The Father-Thing" which is what a boy realizes has replaced his real father, and "Sales Pitch", a story which anticipates, with its all purpose android advertising its virtues through rather thuggish means, the work of Ron Goulart.

There are some memorable stories not so well known. "Foster, You're Dead" was originally conceived as a protest against a remark by President Eisenhower that citizens should be responsible for their own bomb shelters. Its young hero lives terrified in a world where making knives from scratch and digging underground shelters are parts of the school curriculum and each new year brings the newest model of bomb shelter, terrified because his father can't afford to buy one for the family. "War Veteran" reads like a futuristic _Mission Impossible_ episode. The spirit of Charles Fort may be at work in "Null-O", a satire on the absurd philosophy that no distinctions between things are valid, a philosophy practiced by "perfect paranoids". (Fort may have inspired the weakest and first story in the collection, "Fair Game", with its van Vogtian plotting giving way at the end to a silly twist.)

Dick fans will see "Shell Game", with its colony of paranoids, as sort of a test run for Dick's _Clans of the Alphane Moon_, and the time jumping child of "A World of Talent" is reminiscent of Manfred Steiner in Dick's _Martian Time-Slip_. This collection also features one of Dick's occasional fantasies, "Upon the Dull Earth".

Any admirer of Dick will want to read this collection, and those needing an introduction to his work will find no bad stories in this exhibit of 14 months in Dick's career.

It's amazing that people can judge a book by reading excerpts on the net. Critical Theory and Science Fiction is not an easy read but CT never was or will be. You don't have to agree with the Marxist theories of Bloch and Adorno, Carl Freedman uses to make his various points, to appreciate his insights and the challenges he throws at the reader. That is what academics are supposed to do and not to wallow in old cliche's and easy answers. The "excursuses" (his term) into classic SF novels such as Stanislaw Lem's SOLARIS, Ursula Le Guin's THE DISPOSSESSED, Joanna Russ' THE TWO OF THEM, Samuel Delany's STARS IN MY POCKET LIKE GRAINS OF SANDS and the greatest SF writer, Philip K Dick's THE MAN IN THE HIGH CASTLE are lessons every SF reader and writer should make their own. At least Freedman is raising the level of SF discourse beyond Star Trek Convensions or Star Wars hype.

I cannot understand why this Dick book has been out of print for years. Some of his most interesting characters and concepts found in later books evolved from this one, his most intelligent post-bomb novel. His flare for the unusal and his this -ain't -quite -what -it -seems twists keeps the reader guessing throughout. Even though we get just a glimpse of who the characters are before the nuclear destruction, we are sympathetic to their attempt to eek out an existance and share their hopes for a new world. Their personal evolution is wonderfully illustrated.

Minotauro is an old and prestigious sci-fi collection that made available to Spanish speaking public many genre classic as Bradbury's "Martian Chronicles", Wyndham's "The Day of the Triffids" or Sturgeon's "More Than Human". The editorial house has recently re-edited in a smaller and modern pocket-book format most of the titles available.
The present one is a beautiful hardcover re-edition.

This book earned 1963 Hugo Prize and well deserved. PKD shows his master writing craft depicting an alternate world in which Allied has lost the war with the Axis.
USA is dismembered into three different countries: one under the influence of the Germans, one under Japanese influence and a feeble third one in the middle of the other two.
The plot follows different threads showing how life is in this barren new world. Germans had expanded over Africa and carried there their "final solution" schema. In contrast the Japanese show a more humanistic and restrained politic, but falling back in technological aspects, they are menaced with extinction.

Two books inside this book pick up the center of the show: the Chinese book of Changes (I Ching) and the fictional "The Grasshopper Lies Heavy" describing an alternate world more near to ours but NOT the same. This last twist is a provoking "what if" inside another one.

PKD describes his characters with a firm hand, giving them deep human traits. They strive to survive against dangerous odds. At the same time they try to discover the ultimate sense of life.

As I've seen in some other great sci-fi books, behind the surface of the current action lay powerful moral and ethic questions.
The end of the novel satisfactorily closes all threads.

When I first read this book in the early '60s, I was puzzled by the I Ching and started studying it and finally consulting it. A great experience to be sure.
This book is a real Classic with capital letter. Enjoy!
Reviewed by Max Yofre.

It is worth remembering that Phillip Dick was writing mind-boggling novels of profound ideas using speculative technologies as a canvas when most science fiction writers were writing at an intellectual level little removed from the contemporaneous Buck Rogers comic strips. As an adolescent consumer of such forgettable trash I stumbled across Eye in the Sky and was transformed. Not all at once, mind you, since most of the book was wasted on me. But the vivid quality of its bizarreness made it unforgettable. A dozen years later, reading the bible for a college class, and my most noteworthy discovery was that the Old Testament had been the inspiration of most wonderfully surreal parts of Eye in the Sky.

"Eye" is certainly not a religious book, and it seems much less a sci-fi book than an ingeniously outlandish (and very funny) Aesopian fable about the havoc that results when people project their internal illusions onto the real world. Here Dick's handful of 1950's protagonists are victims of a cyclotron disaster which leaves them serially capable of reordering the physical universe. As he passes the transforming world sequentially through the characters' peculiar mindsets, their screw-loose visions collide comically, and each sees the others' naked worldview unfiltered.

It's a profoundly shrewd and subversive way of portraying humanity, and it continues to color my vision of human nature to this day as much as it entertains the hell out me every time I decide to reread it.

While much of the work from Mr. Lupoff I have read is adequate, this single piece stands out in my mind. He has been able to capture the crazy world within world view multiple level of reality pretty well. The eternal hope that something like this could occur, while extraordinary, would be quite exciting. I don't want to give away the story, since short stories rely on the last page blast, but suffice to say it is well worth the read.

Philip K. Dick was one of science fiction's short story "master craftsmen", though he was better known for his novels. His short stories are reminicent of Frederic Brown's, but usually Dick's were better paced and fuller. Published almost exclusively in SF magazines, most of his best stories were printed in Del Ray's "The Best of Philip K. Dick" collection. A good handful of these are some of the authentic gems of short SF. Towering above all the others (including the others collected in this volume), however, is "Frozen Journey", published in this volume with the less effective title "I Hope I Shall Arrive Soon". This was one of the first Dick stories to see "mainstream" print, as it first appeared in "Playboy", usually the domain of writers like Roth and Mailer. This short story brings together so many Dick themes in one place, it's like a pure distillation of his explorations; the unclear nature of reality, the difficulty of gender relations, the mistrust of technology, and the tendency to mental instability. But there is also something new here, a powerfully moving evocation of the effect of one man's guilt and sorrow on his consciousness and his resulting isolation from other people. In this story, Dick is able to wed his well-noted ontological ambiguity seemlessly with his compassion for humanity's predicament, something only partially achieved by his best novels (though some come close, notably "Do Androids Dream of Electric Sheep?"). All of the elements of the story serve to demonstrate the central tragedy, bring us in to the heart of the protagonist, make us see through his troubled eyes (even at the reality he has become blind to), and move us to reflect on the profound metaphor Dick has created: life as a frozen journey through space, alone with the shadows in our minds and hearts, broken by the sorrows of lost love, corrupted conscience, impending decay and death. Not since the "half-life" concept in "Unik" has Dick created such a potent and bleak image. To my mind this story represents a special kind of apex for Dick, his deepest expression of tragedy. It deserves to stand among the best such in English in short story form.

This book deservedly earned 1963 Hugo Prize.
PKD shows his master writing craft depicting an alternate world in which the Allies has lost the war with the Axis.
USA is dismembered into three different countries: one under the influence of the Germans, one under Japanese influence and a feeble third one in the middle of the other two.

The plot follows different threads showing how life is in this barren new world. Germans had expanded over Africa and carried there their "final solution" schema. In contrast the Japanese show more humanistic and restrained politic, but falling back in technological aspects, they are menaced with extinction by Germany unstoppable rise.

There are two other books inside this book which take up the center of the show. One the Chinese book of Changes (I Ching) and the fictional "The Grasshopper Lies Heavy" describing an alternate world more near to ours but NOT the same as ours. This last twist is a provoking "what if" inside another one, showing PKD style.

PKD describes his characters with a firm hand, giving them deep human traits. They strive to survive against dangerous odds. At the same time they try to discover the ultimate sense of life.
As usual with PKD writings a deep melancholic undercurrent traverse the whole story.

As I've seen in some other great sci-fi books, behind the surface of the current action lay powerful moral and ethic questions.
The end of the novel satisfactorily closes all threads.

When I first read this book in the early '60s, I was puzzled by the I Ching and started studying it and finally consulting it. A great experience to be sure.
This book is a real Classic with capital letter. Not only sci-fi fans may appreciate it general (open-minded) public too!
Enjoy!
Reviewed by Max Yofre.

this is the essential, seminal work in PKD studies. read it.
excellent overview of the various SF conventions that PKD played with, and precise prolegomeno of various critical attempts to define what his unique contribution was. analysis of all the novels, some of which i have mixed feelings about, sometimes KSR is perhaps too hasty in his critical disapproval of various moves PKD made. there are always levels upon levels, subtleties within subtleties. much of what is most of value in pkd, beyond the gnostic mindblowing stuff, is often what seems at first the most oddball/bonehead move. "god in the gubbish-heap" should be kept in mind, and a litmus test for the careful hermeneutic.

when KSR discusses the novels he likes, here we get a more detailed, "fair" perspective, althought the lights KSR applies are often harsh and exacting. I am impressed by the example of a rigorous approach applied to such a large project, but felt that much was left out in KSR's brisk negative appraisals of various of the mid-level novels. I do feel that it is necessary to group PKD novels in terms of which are "great" (at least a dozen, i'd say) which are "still valuable" and which are, at best, "hastily constructed" and KSR's work has laid a solid foundation for critics to expound upon, and argue about for years, forging simulacra upon simulacra of interpretation and representation further andriodizing and humanifying PKD's shining memory