(From Dali)
December 6, 1975. Forty years ago, to the day, I picked up the imported November issue of Rolling Stone from Cosmos, crossed a rainy melted Acland Street to read it at the Danube over a plate of wiener schnitzel. On the cover, a triumphant young Rod Stewart caressing his new lover Britt Ekland, both beaming out at me, asking “don’t you wish you were me, huh?” And Britt’s sinuous tanned arm was overprinted with “The Most Brilliant Mind on Any Planet: Philip K. Dick.”
And while it poured outside, I entered for the first time the strange haphazard maze-world into which he first beckons you, and where he then abandons you. Back at Cosmos, they sold me what they had - Time Out of Joint, The Three Stigmata of Palmer Eldritch and the subject of this piece, The Man in the High Castle. Over the years, I kept buying what I could find, even all the posthumously published manuscripts that each of his five wives kept finding in long forgotten cupboards. In the vain hope I would find my way back out of his time-slip labyrinth to find myself back at the Danube, with Angela saying “Ze rayn hav shtopped. Is safe to leave now.” No such luck. I was in, and it was not safe anymore.
I learned that after recently watching the ten episode series The Man in the High Castle produced by the same Ridley Scott who brought Blade Runner to a mesmerised world in 1983, but not before poor old PKD died of a heart attack. Although he’d written over a hundred and twenty short stories and forty-four or so novels, he spent most of his career as a writer in near-poverty, and never experienced the recognition mass appeal and fortune that he (and his heirs) now enjoy.
And yet, in a reality he never shared, Dick is now the most adapted SF author in the history of cinema. The list, growing all the time, includes Blade Runner (based on ‘Do Androids Dream of Electric Sheep’, Total Recall (based on ‘We Can Remember It for You Wholesale’), and others like ‘Screamers’, ‘The Adjustment Bureau’, ‘Minority Report’ with Tom Cruise, ‘Paycheck’ with Ben Affleck and Uma Thurman, and ‘A Scanner Darkly’, Keanu Reeves and Winona Ryder. Perhaps, gradually, Hollywood itself will be shifted into his maze-world.
Philip Kindred Dick was born six weeks premature on December 16, 1928, with a twin sister, Jane Charlotte Dick, whose death six weeks later profoundly affected PKD’s life, evidenced by the recurrent motif of the “phantom twin” in his writing.
Dick attended Berkeley High School in California, and though they did not know each other at the time, he and Ursula K. Le Guin graduated there together in 1947. He briefly attended the University of California, but dropped out because of on-going anxiety problems which would continue to dog him throughout his life, his five marriages and his long reliance on dexedrine and other stimulants.
In February, 1982, Dick was found unconscious on the floor of his home, having suffered a stroke. In the hospital, he suffered another, after which his brain activity ceased. Five days later, he was disconnected from life support and died. His ashes were buried in Riverside Cemetery in Fort Morgan, Colorado next to his twin sister Jane, whose tombstone had been inscribed with both their names when she died 53 years earlier.
His brief time at Berkley sparked his enduring interest in history, and philosophy. After reading the works of Plato and pondering the possibilities of metaphysical realms, Dick came to the conclusion that, in an entirely real sense, the world is not entirely real and there is no way to confirm whether it is truly there. Like the shadows in Plato’s Cave.
In 1978, PKD gave a talk he called “How to Build a Universe That Doesn’t Fall Apart Two Days Later.” He outlined the recurring themes of his work: ”The two basic topics which fascinate me are ‘What is reality?’ and ‘What constitutes the authentic human being?’ Over the twenty-seven years in which I have published novels and stories I have investigated these two interrelated topics over and over again. I consider them important topics. What are we? What is it which surrounds us, that we call the not-me, or the empirical or phenomenal world?”
PKD’s very first story Roog was about a dog who concluded that the garbagemen who came each week were stealing the food which his master kept storing away in a safe metal container. Every day he would carry out bags of food, stuff them into the metal container, and shut the lid tightly—and when the container was full, these strange-looking creatures came and stole everything but the can.
As he told his audience, ” the dog’s extrapolation was in a sense logical—given the facts at his disposal. Certainly, I decided, that dog sees the world quite differently than I do, or any humans do. And then I began to think, Maybe each human being lives in a unique world, a private world, a world different from those inhabited and experienced by all other humans. And that led me to wonder, If reality differs from person to person, can we speak of reality singular, or shouldn’t we really be talking about plural realities? And if there are plural realities, are some more true (more real) than others?.”
PKD deeply explored these questions in his book “The Man in the High Castle” which was published in the USA in 1962. It is also set in the USA in 1962. But the 1962 USA in the book and the 1962 USA in which you bought the book are slightly different. You see, in 1947 the Axis powers won World War II. The United States has been partitioned into three parts: The Japanese puppet state of the ‘Pacific States of America’ in the west, a ‘Greater Nazi Riech’ in the east, and a neutral zone that acts as a buffer between the two areas, called the ‘Rocky Mountain States.’ Very little is explained. Like the dog Roog, we have limited facts at our disposal.
The ten episode TV series is the creation of Frank Spotnitz working with Ridley Scott, who’d been trying for years to get a screen adaptation of the novel funded. When Amazon entered their content producing venture, they asked Scott for ideas. He had one.
Based on PKD’s 1960 novel, with certain changes, the series essentially faithful in theme and plot. In the novel there is a book “The Grasshopper Lies Heavy” which is banned by the Germans because it contains an imaginary USA who, with the Allies, had defeated the Nazis and the Japanese in 1945. In the series, this becomes a film, of the same name, and serves the same literary purpose.
The series is well paced, with plenty of dramatic tension, but the underlying tension comes from the other reality, the one we don’t share with the characters, living like Roogs with limited facts, like the people chained in Plato’s Cave. It’s like the tension of a dull headache, it will pass, it has to pass, this is just a headache, it’s not reality, is it?
Whether you find it interesting or a waste of time is ultimately whether you can be bothered with the imponderables that nagged Heraclitus, Plato, Pynchon, Borgès and of course Philip Kindred Dick (perhaps to death).
A long time ago, PKD wrote, referencing “The Weeping Philosopher” Heraclitus: “If two people dream the same dream it ceases to be an illusion; the basic test that distinguishes reality from hallucination is the ‘consensus gentium’, that one or several others see it too. This is the ‘idios kosmos’ the private dream, contrasted to the shared dream of us all, the ‘koinos kosmos’.”
Forty years ago, to the day, I encountered PKD at a bookshop called Cosmos, but to see whether it was an ‘idios’ or a ‘koinos’ one, I would need to return there, or to Angela at The Danube, but neither establishment survives, I’m told. At least not in this reality. It rains. It is not safe.
Recent Comments