Showing posts with label Philip K. Dick. Show all posts
Showing posts with label Philip K. Dick. Show all posts

Sunday, July 25, 2021

Philip K. Dick / A Game of Unchance


Philip K. Dick

A Game of Unchance

(1963-11-9)


While rolling a fifty-gallon drum of water from the canal to his potato garden, Bob Turk heard the roar, glanced up into the haze of the midafternoon Martian sky and saw the great blue interplan ship.
In the excitement he waved. And then he read the words painted on the side of the ship and his joy became alloyed with care. Because this great pitted hull, now lowering itself to a rear-end landing, was a carny ship, come to this region of the fourth planet to transact business.

Jossie Guy-Ryan / Philip K. Dick



Philip K. Dick


Dick’s premises are undeniably perfect as-is, instantly intriguing and in tune with our daydreams and pet theories about what the future might hold.

by Jessie Guy-Ryan

One night, I stumbled upon an online quotations database and searched for quotes from Philip K. Dick, as you do when you are slightly drunk and in a good mood and just suddenly thinking of a favorite author. I found, among others, a quote from Do Androids Dream of Electric Sheep? (famously adapted as Blade Runner) and posted it to my Tumblr.

Monday, June 28, 2021

Philip K. Dick / The Most Brilliant Sci-Fi Mind on Any Planet

Philip K. Dick


    THE MOST BRILLIANT SCI-FI MIND ON ANY PLANET: PHILIP K. DICK

    Burgling the Most Brilliant Sci-Fi Mind on Earth—It Is Earth, Isn’t It?

    by Paul Williams
    Rolling Stone, November 6, 1975


    Paul Williams, founder of ‘Crawdaddy’ and author of ‘Das Energi’ and ‘Outlaw Blues,’ has been correspond­ing with Philip K. Dick for over seven years. In a recent letter Dick admitted to Williams: “Ever since the police lost interest in me, there’s been nothing to live for.”

    Philip K. Dick's Androids / Victimized Victimizers


      PHILIP K. DICK’S ANDROIDS: VICTIMIZED VICTIMIZERS

      by Aaron Barlow
      Late in his career, in the essay “Man, Android and Machine,’’ Philip K. Dick said the android is “a thing somehow generated to deceive us in a cruel way, to cause us to think it to be one of ourselves.”1 This is merely a description: unsure of the exact nature of the android, Dick could attain no definition. Even a clear dividing line between android and human proved impossible. Though the dangers of deception are clearly depicted in his fiction, Dick’s androids are its instruments no more often than are men. Each can be a constant enemy, or an inconstant friend. Both human and android may be means to someone else’s end. Like a man, an android sometimes proves to be something more than this. Each can be a victim, harmed by the deceit as surely as the deceived. To be truly victimized, a being must have a life beyond its utilization. Dick’s androids often have this life, just as his humans do.

      Philip K. Dick / Do Androids Dream of Electric Sheep?



        Do Androids Dream of Electric Sheep?
        By Phillip K. Dick
        TO MAREN AUGUSTA BERGRUD AUGUST 10, 1923 — JUNE 14, 1967
        AND STILL I DREAM HE TREADS THE LAWN,
        WALKING GHOSTLY IN THE DEW,
        PIERCED BY MY GLAD SINGING THROUGH.
        Yeats
        AUCKLAND
        A TURTLE WHICH EXPLORER CAPTAIN COOK GAVE TO THE KING OF TONGA IN 1777 DIED YESTERDAY. IT WAS NEARLY 200 YEARS OLD.
        THE ANIMAL, CALLED TU’IMALILA, DIED AT THE ROYAL PALACE GROUND IN THE TONGAN CAPITAL OF NUKU, ALOFA.
        THE PEOPLE OF TONGA REGARDED THE ANIMAL AS A CHIEF AND SPECIAL KEEPERS WERE APPOINTED TO LOOK AFTER IT. IT WAS BLINDED IN A BUSH FIRE A FEW YEARS AGO.
        TONGA RADIO SAID TU’IMALILA’S CARCASS WOULD BE SENT TO THE AUCKLAND MUSEUM IN NEW ZEALAND.
        Reuters, 1966
        ONE
        A merry little surge of electricity piped by automatic alarm from the mood organ beside his bed awakened Rick Deckard. Surprised — it always surprised him to find himself awake without prior notice — he rose from the bed, stood up in his multicolored pajamas, and stretched. Now, in her bed, his wife Iran opened her gray, unmerry eyes, blinked, then groaned and shut her eyes again.

        Friday, April 23, 2021

        Italo Calvino and Philip K Dick / Two Dead Writers Come Alive In New Collections

        Italo Calvino

        Two Dead Writers Come Alive In New Collections

        BIOGRAPHY OF ITALO CALVINO

        October 2, 2014

        This month sees the publication of posthumous collections of short fiction by two 20th century literary giants, the Italian fantasist Italo Calvino, and the American science-fiction writer Philip K. Dick. Reading these two books is like partaking in one of those fabled banquets of desserts. I seized the opportunity to read as many of the stories as I could in one sitting.

        Wednesday, July 31, 2019

        Web Series Tied to ‘Blade Runner’ Is In the Works

        The Blade Runner Partnership A scene from the original version of “Blade Runner.”

        Web Series Tied to ‘Blade Runner’ Is In the Works


        BY BRAD STONE
        JUNE 4, 2009 2:17 PM

        Here is some news that will make fans of the 1982 science-fiction cult film “Blade Runner” shudder with either anticipation or trepidation.
        On Thursday the film’s director, Ridley Scott, announced that a new division of his commercials company, RSA Films, was working on a video series called “Purefold.” The series of linked 5- to 10-minute shorts, aimed first at the Web and then perhaps television, will be set at a point in time before 2019, when the Harrison Ford movie takes place in a dystopian Los Angeles.
        Mr. Scott, his brother Tony and his son Luke are developing the project in conjunction with the independent studio Ag8, which is run by one of the creators of “Where are the Joneses?” a British Web sitcom that solicited storyline suggestions from the audience. Similarly, “Purefold” will harvest story input from its viewers, in conjunction with the social media site FriendFeed.
        But the series won’t be hewing too closely to the specific characters or situations in “Blade Runner.” Some of that material stemmed from the Philip K. Dick novel “Do Androids Dream of Electric Sheep?” which the “Purefold” creators do not have rights to.
        “We don’t take any of the canon or copyrighted assets from the movie,” said David Bausola, founding partner of Ag8, who said he hoped the series would debut later this summer and that the first episodes would depict events about two years into the future. “It’s actually based on the same themes as ‘Blade Runner.’ It’s the search for what it means to be human and understanding the notion of empathy. We are inspired by ‘Blade Runner.’”
        Other partners in the project include the ad and marketing agencies WPP, Publicis, Aegis Media and Naked Communications. They will bring in advertisers whose products and brands — or hypothetical future versions of them — could be featured in the series.
        In an indication that the filmmakers are interested in exploring a new kind of collective, social creativity, the episodes in the series will be released under a Creative Commons license, marking the first time a major Hollywood director has embraced that alternative licensing scheme. The license means fans of the series can take the episodes and remix or otherwise repurpose them, and even make their versions available commercially under the same license.
        THE NEW YORK TIMES

        Tuesday, July 30, 2019

        Wake Up, Time To Die / 5 Things You Might Not Know About ‘Blade Runner’



        Wake Up, Time To Die: 5 Things You Might Not Know About ‘Blade Runner’


        Oliver Lyttelton 

        June 25, 2012 12:02 pm


        One of the many reasons “Prometheus” was eagerly anticipated by so many was the director’s track record in the sci-fi genre. Ridley Scott had only made two science fiction pictures before this year’s blockbuster, and both are considered classics (and arguably his best two films). The first was 1979’s “Alien,” the direct inspiration for “Prometheus.” And the second? 1982’s “Blade Runner,” the noirish mystery adaptation of Philip K. Dick‘s novel “Do Androids Dream Of Electric Sheep,” which has been one of the most talked about and influential science fiction films of all time, particularly in terms of its grim look at Los Angeles in 2019.
        The film, which follows Harrison Ford‘s “blade runner” Deckard as he’s tasked with tracking down four murderous “replicants” (life-like robots) who’ve escaped from an off-world colony and are hiding out on Earth, wasn’t a success when it first arrived, partly thanks to the tumultuous, compromised release, but the cult behind the picture has grown and grown over the years. And coincidentally, just as he gears up to work on the script with original scribe Hampton Fancher, we’ve hit the 30th anniversary of the film, which was released on June 25, 1982. To mark the occasion, we’ve pulled together five nuggets of information that you may not be aware of about Scott’s sci-fi classic — check them out below.
        null1. “All those moments will be lost in time, like tears in rain”


        We could have seen versions of the film directed by Martin Scorsese or “To Kill A Mockingbird” helmer Robert Mulligan



        In another, parallel world, it’s possible that we might not know Martin Scorsese as a man who made his name with the gangster movie, but as a science fiction pioneer who reinvented the genre before “Alien” or “Star Wars” came along. According to Paul Sammon‘s seminal making-of book “Future Noir,” Scorsese and screenwriter friend Jay Cocks (who would go on to co-write “Gangs Of New York” and the “Blade Runner“-like “Strange Days“) met with Philip K. Dick in 1969, two years after Marty’s feature debut “Who’s That Knocking At My Door?” and a year after the publication of Dick’s “Do Androids Dream Of Electric Sheep?,” to talk turning the novel into a film. Discussions proved fruitful, but the book went into development elsewhere: producer Herb Jaffe (“Fright Night“) optioned it in the 1970s, and got his son Robert (“Demon Seed“) to write a script, one that Dick hated so much that he joked about beating up the screenwriter. But it was writer Hampton Fancher and producer Michael Deeley who were the ones to get over most of the hurdles, although the first director attached wasn’t Ridley Scott, but was in fact Robert Mulligan (“To Kill A Mockingbird,” “Same Time Next Year“). The veteran helmer worked with Fancher on a script for three months, before becoming frustrated and quitting. Michael Apted, Bruce Beresford and Adrian Lyne were all considered to replace him before Scott, who’d been approached early on, became free, frustrated with slow progress on his version of “Dune,” and unable to get a green light on the historical epic “Tristan & Isolde.”

        null2. “More human than human is our motto”


        A version of the film starring Dustin Hoffman, Barbara Hershey, Debbie Harry, Sterling Hayden and Joe Pantoliano? It might have happened.



        When Fancher was writing his script, he envisioned it as a noirish tale with Robert Mitchum playing Deckard, and Sterling Hayden (who, as it turned out, made his last film with 1981’s “Venom“), but their age ultimately made this an unrealistic proposition. For Deckard, Scott spent months negotiating with Dustin Hoffman, but he the two couldn’t come to agreement on their approach for the character, so Hoffman left for new pastures (“Tootsie“). Beyond that, an extensive list of leading men were considered — “Future Noir” reveals that Tommy Lee Jones, Gene Hackman, Sean Connery, Jack Nicholson, Paul Newman, Clint Eastwood, Arnold Schwarzenegger, Al Pacino, Burt Reynolds, William Devane, Raul Julia, Scott Glenn, Frederic Forrest, Robert Duvall, Judd Hirsch, Cliff Gorman, Peter Falk and Nick Nolte were all possibilities, but it was early word on “Raiders Of The Lost Ark” that persuaded Scott that Harrison Ford was the best choice (actor Morgan Paull, who read the role of Deckard in screen tests, impressed Scott enough that he was cast as ill-fated blade runner Holden in the opening scenes).

        Still, Scott might have come to regret the choice, as the two clashed on set. Scott was still nervous with actors, and left Ford out to dry a little, the actor later saying, in Tom Shone‘s “Blockbuster,” “There was nothing for me to do but stand around and give some vain attempt to give some focus to Ridley’s sets.” In producer Alan Ladd Jr’s words, “Harrison wouldn’t speak to Ridley and Ridley wouldn’t speak to Harrison and I was stuck in the middle, ‘Could you tell him to do this, or tell him to do that?’ It was difficult.” Scott acknowledged later, “Harrison and I are very similar. It can be perceived that we’re bad tempered and crotchety and actually we’re not. We’re actually relatively good fun, [but] if you have a discerning actor, who is smarter than most, he’s gonna ask questions, and you’d better have your answers. If you haven’t got your answers there’s likely to be a row. You have a row and your adrenaline flushes out all the other stuff you’ve got going through your mind and you suddenly come up with a very distilled answer…rage flushes it out. I get very articulate.” But the two have subsequently made up, with Ford contributing to interviews for the 2007 release of the Final Cut.
        nullMeanwhile, Dick had suggested “Dallas” star Victoria Principal to play Rachael, and was thankfully ignored, and testing came down to three contenders — Nina Axelrod (who can be seen on the “Dangerous Days” documentary on the Final Cut release, and went on to become a casting director), Barbara Hershey, and Sean Young. The latter got the part, but Hershey made her mark: the story of a spider being devoured by its young that Rachael tells was her suggestion. Rutger Hauer was always Scott’s first choice, thanks to his work with Paul Verhoeven, and the director was clearly a particular fan of the Dutch helmer’s 1973 picture “Turkish Delight,” as he wanted to cast Hauer’s co-star in that film, Monique van de Ven, as fellow replicant Pris, but she had a scheduling conflict. Blondie frontwoman Debbie Harry was discussed at one point, while Stacey Nelkin also tested for the part, before getting another role in the film (see below); her screen test is also in “Dangerous Days.” Finally, former NFLer Frank McRae (“1941,” “48 Hrs“) was cast as Leon, until Brion James freaked out Scott’s secretary to the degree that he thought he had to cast him, while future “The Matrix” star Joe Pantoliano was in the running for Sylvester.


        null

        3. “I’ve seen things you people wouldn’t believe”


        The missing replicant that caused debate among fans for so long was actually a mistake, leftover from earlier drafts.



        Given the substantial changes from the source material, and the many writers involved, it’s no surprise that things got a little confusing, and that’s particularly true when it comes to the fifth and sixth replicants — in all versions before the Final Cut, Bryant tells Deckard there were four on the loose, but seconds later, says that six escaped, with one killed by an “electronic gate.” The fifth was actually a character called Mary, who’d been present in many earlier drafts. Fancher’s original take was very different; the replicants are simply called “androids,” and the Voight-Kampff test can detect them after only six questions (although Rachael makes it to thirteen, rather than a hundred). At the end, Batty kills Tyrell’s entire family, as well as Sebastian, while Rachael kills herself, so Deckard doesn’t have to do it. Mary, the sixth replicant, a maternal, housewife-like character analogous to Irmgard Baty in the novel, is included in this take, and survived to Fancher’s next draft, completed on July 24th, 1980. It’s mostly closer to the finished version, although concludes with Deckard killing Rachael. The first draft by David Webb Peoples (dated December 15th, 1980), broke away a little; it opens with Batty pulling Mary and Leon from an Off-world Termination Dump, and includes at least two extra Replicants; a character called Roger, who attacks Deckard in Leon’s hotel room, and Tyrell himself — Roy kills his creator, only to discover that the real Tyrell was placed in hibernation after getting a terminal disease, but passed away during a power outage a year earlier. It was also darker in the conclusion; Deckard makes Gaff take the Voight-Kampff test, and kills him, and again shoots Rachael in the finale. Mary survived until very late on; Scott cast actress Stacey Nelkin, who’d also tested for Pris, in the part, but it was excised before filming. However, the script inconsistency involving six escaped replicants went unnoticed, and was only fixed in the 2006 Final Cut version. A note on the title; Fancher’s first draft used the novel’s, before it was changed to “Dangerous Days.” The name “Blade Runner” actually came from a William S. Burroughs screenplay, an adaptation of the Alan E. Nourse novel “The Bladerunner,” which Scott got producer Michael Deeley to buy the rights to, but at the last minute, tried to change it to “Gotham City.” Understandably, “Batman” creator Bob Kane and DC Comics were reluctant to sell the rights…  



        null
        Harrinson Ford and Sean Young
        4. “Too bad she won’t live. But then again, who does?”



        There have been three sequel novels, as well as David Webb People’s ‘sidequel’ “Soldier,” and a video game with a narrative that runs alongside the original, with a new protagonist.



        Scott is finally getting moving on a sequel for “Blade Runner,” it would seem, but he’s far from the first to try. Soon after the release of the “Director’s Cut” helped to restore the reputation of the film, sci-fi author K.W. Jeter penned a novelistic sequel, “Blade Runner 2: The Edge Of Human,” published in 1995. Sticking mostly to the continuity of the film, it involves Sarah Tyrell, the human template for Rachael, hiring Deckard to hunt down the missing sixth replicant, even as the template for Roy Batty hires Holden (the blade runner in the opening scene, shot in the chest by Leon), to track down Deckard, who he thinks is the sixth replicant. Two further sequels follow: 1996’s “Blade Runner 3: Replicant Night,” which sees Deckard on Mars working as a consultant to a movie crew making a film based on his life (seriously…), and 2000’s “Blade Runner 4: Eye And Talon,” which follows Iris, another blade runner, on a quest to find Tyrell’s owl (again, we’re not making these plots up). The 1997 video game “Blade Runner” (there was an earlier 1985 game, based, confusingly, on Vangelis‘ score, rather than the film, which involves you hunting down “replidroids”) also builds out the universe, following blade runner Ray McCoy as he tries to hunt down more escaped replicants, taking place across the same timeline as the film. Deckard doesn’t appear, but Sean Young, Brion James, James Hong, Joe Turkel and William Sanderson all reprised their roles and lent their voices to the game (although Edward James Olmos refused to return as Gaff). Writer David Webb Peoples also penned a script called “Soldier,” which he considers to be a “sidequel” to “Blade Runner,” inspired by the deleted opening scene in an Off-world Termination Dump. The script included several references to “Blade Runner,” including a mention of the Tanhauser Gate and a glimpse of a spinner, but sadly, Paul W.S. Anderson was hired to direct, and turned it into a critically-reviled picture, and a box-office disaster. Other attempts were made at a sequel, however: Stuart Hazeldine (writer of Spielberg’s upcoming Moses movie and the aborted “Paradise Lost“) penned one on spec, entitled “Blade Runner Down,” in the late 1990s, and “Eagle Eye” writer Travis Wright and former partner John Glenn, worked on a potential sequel for producer Bud Yorkin in the 00s, which was said to explore questions like, in the writer’s own words “Is or isn’t Deckard a replicant? What happens to Rachel? What are the off world colonies like? What happens to replicants once Tyrell is killed by one of his creations?” More recently, Scott, his brother Tony and son Luke were said to be developing a web series called “Purefold,” inspired by the same themes as the film, but it never seemed to come to pass. Let’s hope the sequel is more successful.

        null5. “Death. Ah, well that’s a little out of my jurisdiction”



        The director’s cut was discovered entirely by accident.



        Budget overruns and poor test-screenings meant that Scott was overruled on several key decisions on the film as it came close to completion, most famously the ending (partially achieved with unused footage from “The Shining“) and the narration. For many years, it was thought that Scott’s original version hadn’t survived, but in 1989, Warner Bros sound preservationist Michael Arick stumbled across a rare 70mm print in the archives while looking for footage from “Gypsy.” Arick didn’t watch it, but it was sent to the Fairfax on Beverly Boulevard in L.A. the following year when they were holding a special festival of 70mm films. They were as surprised as anyone to find that they were screening a never-before-seen version of the film, and word of mouth soon led to sell-outs at additional screenings, which led Warners to plan a release. It was labelled as the “Director’s Cut,” but against the objections of Ridley Scott, who wanted to make further changes, but wasn’t given the time or budget to do so. It was only with the 2006 Final Cut that he was able to do those last alterations. It wasn’t just the film that took some time to see the light properly; Vangelis‘ score only got a proper release after the Director’s Cut in 1992, although bootlegs circulated throughout the 1980s. 

        Monday, July 29, 2019

        Philip K. Dick / A Visionary Among the Charlatans

        PHILIP K. DICK
        by Cristóbal Fortúnez

        PHILIP K. DICK: A VISIONARY AMONG THE CHARLATANS

        Philip Dick does not lead his critics an easy life, since he does not so much play the part of a guide through his phantasmagoric worlds as give the impression of one lost in their labyrinth. He has stood all the more in need of critical assistance, but he has not received it. A characteristic of Dick ’s work, after its ambiguity as to genre, is its tawdriness, which is reminiscent of the goods offered at country fairs by primitive craftsmen who are at once clever and naive, possessed of more talent than self-knowledge. Dick has as a rule taken over a rubble of building materials from the run-of-the-mill American professionals of SF, frequently adding a true gleam of originality to worn-out concepts, and erecting with such materials constructions truly his own. The world gone mad, with a spasmodic flow of time and a network of causes and effects which wriggles as if nauseated, the world of frenzied physics, is unquestionably his invention. If Dick’s writings are neither of uniform quality nor fully realized, still it is only by brute force that they can be jammed into that pulp of materials, destitute of intellectual value and original structure, which makes up SF. Its fans are attracted by the worst in Dick—the typical dash of American SF, reaching to the stars, and the headlong pace of action moving from one surprise to the next—but they hold it against him that, instead of unraveling puzzles, he leaves the reader at the end on the battlefield, enveloped in an aura of mystery as grotesque as it is strange. Yet his bizarre blending of hallucinogenic and palingenetic techniques have not won him many admirers outside the ghetto walls, since outsiders are repelled by the shoddiness of the props he has adopted from the inventory of SF.
        * * *
        by Stanisław Lem
        Translated from the Polish by Robert Abernathy
        No one in his right mind seeks the psychological truth about crime in detective stories. Whoever seeks such truth will turn rather to Crime and Punishment. In relation to Agatha Christie, Dostoevsky constitutes a higher court of appeal, yet no one in his right mind will condemn the English author’s stories on this account. They have a right to be treated as the entertaining thrillers they are, and the tasks Dostoevsky set himself are foreign to them.

        Philip K.Dick on Blade Runner

        • Philip K. Dick

          PHILIP K. DICK ON ‘BLADE RUNNER’

          With unflinching honesty, the author of Do Androids Dream of Electric Sheep? discusses its cinematic adaptation and the shock of reading the original screenplay, which made him think that he had died and been condemned to eternal torture.
          by James Van Hise
          Philip K. Dick is one of the unique writers working in the science-fiction genre. Over the past thirty years he has produced an impressive and varied body of work. No other author’s books quite match his distinctive style.
          One source of altered reality met another when Dick and Hollywood formed an uneasy alliance in order to bring the author’s startling visions to the screen. His 1966 short story, “We Can Remember It For You Wholesale,” is being produced at the Walt Disney Studios from a Dan O’Bannon screenplay, under the title Total Recall. His 1953 short story, “Second Variety,” has also been adapted by O’Bannon for Virginia Palance and Capital Pictures and will be film­ed under the title Claw. The first Dick adapta­tion to make it to the screen will be director Ridley Scott’s Blade Runner, based on Dick’s 1968 novel Do Androids Dream of Electric Sheep? and starring Harrison Ford.

          Sunday, July 28, 2019

          Blade Runner / Reviewed by Norman Spinrad


          • Blade Runner (1982) - Deckard (Harrison Ford)

            BLADE RUNNER (1982) 

            Reviewed by Norman Spinrad 

            [Starlog]

            Admission number one: my admiration for Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, the stupid name-change inflicted upon the film version, the despicable fact that Phil Dick’s name does not appear in ads and posters for Blade Runner which manage to plug the sound track album, foolish and inane public statements by Ridley Scott and Hampton Fancher, and bad word of mouth in the science-fiction writing community all conspired to send me into the theater expecting a bummer.

            Wednesday, December 6, 2017

            Darkness in literature / Philip K Dick's A Scanner Darkly



            Darkness in literature

            Philip K Dick's A Scanner Darkly

            Philip K Dick explores the psychological horrors lurking in the shadows of sunny 70s California in his cult classic, A Scanner Darkly

            Damien Walter
            Monday 17 December 2012 13.26 GMT


            Philip K Dick's partially autobiographical chronicle of 70s hippie drug culture takes place under the eternal sunshine of southern California. Even the book's nighttime is saturated with the electric glare of strip mall lighting and the glow of the television screen. And in a society that never switches off the lights, the dark has become internal. A Scanner Darkly is about a descent into the deep fears of our 24-hour consumer society: the twilight of intellectual and emotional collapse. The darkness of insanity.
            Dick dissects modern insanity through the cypher of Bob Arctor. Arctor is a man on the fringes of society. A man who realises one day that he hates his suburban existence, and so trades it in for a life among the hippie drop-outs, drug addicts and street people of Orange County, California. But Arctor is also Agent Fred, an undercover narcotics officer whose identity is hidden even from his police handlers by a "scramble suit" that makes him appear as an unmemorable blur. When an administrative error results in Agent Fred being assigned to monitor Bob Arctor, Arctor/Fred has the strange experience of monitoring his own activities through the holographic scanning equipment that gives the novel its title.

            A Scanner Darkly is late-phase Dick. It stems from the period following his revelatory religious experiences in 1974. The cult science fiction author spent the last decade of his life trying to understand a series of visions he experienced under the effects of sodium pentothal after a dental operation, a struggle charted in his biblical Exegesis and in the novels Radio Free Albemuth, Valis and The Divine Invasion. It's this phase of Dick's life that, more than any other, cemented his reputation as a modern-day mystic. But in Dick's own reflections on those years, it's clear he experienced a protracted mental breakdown or a series of psychological disorders brought on by drug abuse. The value of his later writing is not as mystical insight, but a social document concerning an all-too-common modern affliction.
            Bob Arctor's life is really Dick's life over a two-year period, from 1970-72, after his fourth wife Nancy left him. It was a restless life, sliding through relationships and jobs, and from city to city. Finding himself alone again, Dick filled his four-bedroom house with drifters and fell fully into drug addiction. A Scanner Darkly was born from this period and is a fascinating portrait of 70s Californian counter-culture.


            Arctor falls further than his creator. His dual life as an investigator and addict in thrall to the mysterious narcotic Substance D, lead him to a crisis. He ends up a low-functioning schizophrenic, embroiled in a plot to infiltrate the manufacturing cycle of Substance D. The darkness here is not in the high-concept sci fi or conspiracy theories that permeate much of Dick's fiction, but in the credible depiction of a life collapsing under the weight of a mental breakdown. Arctor slowly loses family and friends, work and livelihood. He falls between the cracks of society and becomes one of the broken, exploited and weak at the bottom of the heap.
            The theme of darkness runs through literature as a metaphor for our fears. As a society, we are so scared of insanity that we construct all kinds of guises to hide it from view: the lunatic, the criminal, the addict. And with these illusions in place we pretend lunacy, crime and addiction aren't right there waiting for us should misfortune find us. A Scanner Darkly is about the fragility of our lives and the obscure horror of insanity. In his later work, Dick explores what lies behind our fear of madness, and perhaps it's there that his work becomes true art. But in A Scanner Darkly he drives us down into our deepest fears and leaves us there, in the darkness.



            Monday, February 23, 2015

            Philip K. Dick / Prize Ship

            Philip K. Dick

            Prize Ship

            (1952-8-14)



            GENERAL THOMAS GROVES gazed glumly up at the battle maps on the wall. The thin black line, the iron ring around Ganymede, was still there. He waited a moment, vaguely hoping, but the line did not go away. At last he turned and made his way out of the chart wing, past the rows of desks.

            Monday, December 30, 2013

            Philip K. Dick / The Man Who Remembered the Future


            A Life of Philip K. Dick 

            The Man Who Remembered the Future

            By ANTHONY PEAKE

            December 30, 2013

            Philip K Dick with his wife Leslie (Tessa) Busby (married between 1973-1977). Photo courtesy of Tessa Dick.
            Philip K Dick with his wife Leslie (Tessa) Busby (married between 1973-1977). Photo courtesy of Tessa Dick.

            This year saw the 30th anniversary of the death of one of the most influential writers of all time, the iconic Philip K. Dick. Although virtually unknown outside of science fiction circles, during his lifetime Dick’s intriguing philosophy on the nature of reality has become a staple of the modern Hollywood movie. Huge blockbusters such as Total Recall, Minority Report, The Adjustment Bureau, Blade Runner, A Scanner Darkly and Paycheck were loosely based directly on his novels or short stories, and movies such as The Eternal Sunshine of the Spotless Mind, Memento, The Matrix, The Truman Show and Inception all owe a huge debt to his vision.

            One of the most intriguing themes of Dick’s writing was the concept of the “precog,” a person who could “see” the future before it happened. In 1954 Phil introduced the concept of precognition in his novel The World Jones Made. In this novel the eponymous anti-hero Floyd Jones can see exactly one year into the future. From then on “precogs” occur regularly in his novels and short stories, most notably in his 1956 short story The Minority Report, his 1964 novel Martian Time-SlipThe Three Stigmata of Palmer Eldritchand many others.
            What was it that made Philip K. Dick interested in precognition? It had not been a particular theme within classical science fiction nor had it been part of the books that the young Philip read during his childhood years and early teens. The answer may lie in one simple fact: Philip K. Dick himself was a “precog.” He was not writing fiction but heavily disguised autobiography. Let us review the evidence.
            Like many of his schoolmates, Phil was expected to attend the University of California in his hometown of Berkeley. But in order to do so he needed to reach the entrance grades required. This possibility started to fade rapidly when, during a crucial physics test, Phil couldn’t remember the key principle behind the displacement of water. As eight of the ten questions involved this principle, he was clearly in trouble. And then it happened: a voice clearly and precisely explained to the surprised young man the scientific principles he so desperately needed to understand. All Phil had to do was write down the words in his head. Phil received an ‘A’ grade.

            Although this “voice” effectively disappeared for many years, Phil continued to sense there was a part of him that was alien in some way. Throughout the 1950s the voice remained silent and then, under somewhat prosaic circumstances, it re-appeared. In an interview with his friend Greg Rickman, recorded in October 1981, Phil described how he had been watching a TV programme about the Galapagos turtles. The fight for survival of one particular female turtle had really upset him. After laying her eggs she had turned in the wrong direction and instead of going towards the sea she crawled inland. Soon the heat had brought about extreme dehydration. She was dying. As she began to fade her legs were still seen to be moving. The film had been edited to give the impression that the dying turtle was imagining she was back in the ocean. He went to bed with this tragic image in his mind. He woke up in the night to hear a voice. In careful and deliberate terms the entity explained to Phil that the turtle actually believed she was in the water:
            I was just terribly amazed and dumbfounded to hear that voice again. It wasn’t my own voice because one of the sentences the voice said was “And she shall see the sea” and I would not use the two words “see” and “sea” in the same sentence. It tends to do that, use word choices I don’t use. One time it used the expression “a very poisonous poison” which I would not use.1
            It is clear Phil recognised the voice as being the same entity that had helped him in his physics exam all those years before. It was back. He was to continue hearing this entity for many years, but only as a faint background whisper. In another 1981 interview he stated:
            I only hear the voice of the spirit when I am falling asleep or waking up. I have to be very receptive to hear it. It’s extremely faint. It sounds as though it is coming from a million miles away.2


            The “Voice” Returns

            In February and March 1974 the voice was to reappear and stay with him. It all started quite innocently. Phil had been in considerable pain after having a wisdom tooth pulled out. His wife, Tessa, called the dentist who prescribed painkillers. As Tessa did not want to leave her husband alone in such a state of agitation she asked if somebody could deliver the prescription to their house in Fullerton. Half an hour later the doorbell rang and Phil dashed to the door. On opening it he saw a young woman clutching the much-needed painkillers. Phil stood back stunned. Around the young woman’s neck was a necklace with a fish pendant. Phil recognised this as a symbol of something deep within himself. He asked her what it was and she explained it was a sign used by the early Christians as a code to show their secret beliefs to fellow Christians.
            Dick later reported this was the first time he experienced the pink light, the same light so central to the Beatles incident (described below). He said a beam of this light shot out of the pendant and entered his brain. This light opened up a part of his brain that had long been asleep. He described it in this way:
            I suddenly experienced what I later learned is called anamnesis – a Greek word meaning, literally, “loss of forgetfulness.” I remembered who I was and where I was. In an instant, in the twinkling of an eye, it all came back to me.3
            As we have already mentioned, up until March 1974 what Dick had called “the voice” manifested itself on rare occasions such as the incident during the school exam. But after Phil’s “anamnesis” his hidden partner was to become very active in his life. It decided that Phil had become far too slovenly in his personal appearance. He was made to go out and buy a pair of nasal hair-clippers and it suggested he trim his beard. The entity even had Phil go shopping for new trendy clothes.
            It was also concerned about the health of the shared body. It had Phil go through his drugs cabinet and forced him to throw out those medications that were proving problematical to his health. It discovered that wine was too acidic for his sensitive stomach and suggested he change to drinking beer. This being had many skills that Phil sadly lacked, such as business acumen. It realised he had made quite a mess of his tax matters and within weeks the entity sorted this out. It also had Phil sack his agent after it read over his royalty statements and discovered massive irregularities.
            All of these were minor interventions compared to its apogee, the saving of Phil’s son’s life. Phil describes how one morning he was lying in a semi-sleep state when he heard the voice announce that his recently born son, Christopher, had a potentially fatal birth defect and that urgent medical attention was needed. Indeed the voice was quite precise when it stated: “Your son has an undiagnosed right inguinal hernia. The hydrocele has burst, and it has descended into the scrotal sac. He requires immediate attention, or will soon die.” Phil told various versions of this story, including one involving him listening to the Beatles and the lyrics of “Strawberry Fields” were changed to give the instruction. Tessa, acting on her husband’s frantic instructions, took Christopher to the family doctor and it was, indeed, confirmed that Christopher had exactly the problem the “voice” had described and surgery was needed.


            Dick’s “Homoplasmate”

            What was the source of this “voice” and how did it have information unknown to Phil? Phil was to conclude that it was an immortal part of himself, something he called a “plasmate.” He argued this entity had bonded with him and in doing so had taken human form, something Phil termed a “homoplasmate.” He was later to describe how his mind had been invaded by a “transcendentally rational mind, as if I had been insane all my life and had suddenly become sane.” He explained that:
            …mental anguish was simply removed from me as if by divine fiat… some transcendental divine power which was not evil, but benign intervened to restore my mind and heal my body and give me a sense of the beauty, the joy, the sanity of the world.
            This being, set free from its shackles by Phil’s “anamneses,” was able to use its powers to help Phil precognise the future. Indeed, Phil realised this being had been the source of a series of peculiar precognitive incidents that had taken place throughout his life.
            For example, in his 1974 novel Flow My Tears the Policeman Said, Phil has a sequence in which one of his characters, Felix Buckman, is distraught at the death of his twin sister, Alys. He finds himself in an all-night gas station and there he meets up with a black stranger. Buckman and the black man start up a conversation. In the summer of 1978 Phil, uncharacteristically, decided to go out late at night to post a letter. In the darkness he noticed a man loitering by a parked car. Phil posted his letter and on the way back the man was still there. In a second uncharacteristic impulse Phil walked over to the man and asked if anything was the matter. The man replied that he was out of gas and he had no money with him. Much to his surprise Phil found himself digging into his pocket and giving the man some cash. The man asked for Phil’s address and said that he would return later and pay him back. As Phil entered his apartment he realised that the money would be of no use to his new friend. There were no gas stations within walking distance. Phil went back out, found the man, and offered to drive him to the nearest all-night gas station. As he stood watching the man fill up his metal gas can he had an alarming sensation of a déjà vu-like recognition:
            Suddenly I realised that this was the scene in my novel – the novel written eight years before. The all-night gas station was exactly as I had envisioned it in my inner eye when I wrote the scene – the glaring white light, the pump jockey – and now I saw something which I had not seen before. The stranger who I was helping was black.4
            Phil drove the black man back to his car, they shook hands and Phil never saw him again. He finishes off his description of this event with a slightly chilling comment:
            I was terribly shaken up by this experience. I had literally lived out a scene completely as it had appeared in my novel…. What could explain all this?5


            Uncanny Precognition

            In early 1974 Phil started a long-term correspondence with a graduate student called Gloria Bush. As time went on Phil described to Gloria some of his deepest thoughts, including his fascination regarding his own precognitive abilities. In a letter dated 9 May of that year he described to Gloria a particularly strange recurring dream he experienced in November 1971. In the dreams he always saw what looked like a Mexican city with “square arrangements of streets and yellow cabs.” The yellow cabs suggested to Phil a location in the USA rather than Mexico or Latin America. At the time of these dreams he was living in Marin County, north of San Francisco. In 1974 he was living in Fullerton, a southern suburb of Los Angeles. Right next to Fullerton is a place called Placentia which is a strongly Hispanic area. Phil explains to Claudia that he was convinced this was the place he saw in these dreams.6
            But Phil’s dreams in 1975 took a turn to the macabre. On 25 February he wrote a letter to Bush that was very different from those he had sent before. In a fascinating postscript to an otherwise standard letter, he mentions “the entity” again. It had clearly been manifesting itself within his life at that time. How regularly and to what intensity we cannot say as we have no other source other than this letter. However, it is clear Phil wanted to bring things to a head. He told Claudia:
            I was up to 5 a.m. on this last night. I did something I never did before; I commanded the entity to show itself to me – the entity which has been guiding me internally since March. A sort of dream-like period passed, then, of hypnogogic images of underwater cities, very nice, and then a stark single horrifying scene, inert but not still; a man lay dead, on his face, in a living room between the coffee table and the couch.7
            On 9 May 1974 he wrote another typewritten letter to Claudia stating that he felt “scared.” He didn’t elaborate on this comment but at the bottom of the letter is a handwritten note that states the following: “p.s. What scares me most, Claudia, is that I can often recall the future.”
            Almost exactly seven years later Phil had failed to answer a series of phone calls to his condominium. A group of neighbours then found his front door open. One witness, Mary Wilson, entered the condo and described how she initially thought nobody was home, but then she spotted Phil’s feet sticking out from behind a coffee table. She immediately asked her mother to phone Phil’s close friend, science-fiction writer Tim Powers. Powers jumped on his motorcycle to see what he could do to help. In his introduction to The Selected Letters of Philip K Dick Volume Four Powers describes what happened next:
            As I was putting the key in the ignition of my motorcycle I heard the sirens of the paramedics howl past me down Main Street. When I got to Phil’s place the paramedics and Mary Wilson were already there and the paramedic had lifted him from between the coffee table and the couch and carried him to his bed, and Mary and I answered a few hasty medical questions about him before they got him into a stretcher and carried him downstairs to the ambulance.8
            Phil’s February 1975 dream had come true in stunning detail. He had seen the circumstances of his own death.
            Who, or what, was the “entity” that seemed to share Phil’s life and know his future? Surprisingly enough Phil believed this being to be a version of himself that existed outside of time; a being that could observe the whole of Phil’s life from a position of timelessness. Phil believed that during his dreams, in his semi-waking states and during certain times of heightened awareness, this timeless part of himself could communicate and use its foreknowledge to assist him.
            In October 1977 Phil made a very curious statement during a radio interview at the Berkeley radio station KPFA FM. He described an incident that took place in 1951:
            Back at the time I was starting to write science fiction, I was asleep one night and I woke up and there was a figure standing at the edge of the bed, looking down at me. I grunted in amazement and all of a sudden my wife woke up and started screaming because she could see it too. She started screaming, but I recognised it and I started reassuring her, saying that it was me that was there and not to be afraid. Within the last two years – let’s say that was in 1951 – I’ve dreamed almost every night that I was back in that house, and I have a strong feeling that back then in 1951 or ’52 that I saw my future self, who had somehow, in some way we don’t understand – I wouldn’t call it occult – passed backward during one of my dreams now of that house, going back there and seeing myself again. So there really are some strange things…9
            If the figure at the end of the bed was a future version of Phil then that version would have foreknowledge of all Phil’s life-experiences between 1951 and 1977. Indeed, if Phil’s interpretation can be taken at face value, we have here evidence that in some way his mind from the mid-1970s was manifesting itself back within its own past.


            Vertical Vs. “Orthogonal Time”

            But Phil was not simply happy with accepting this may be the case, he wanted to create a model to explain such a belief. Immediately after the strange events of February and March 1974, or simply 2-3-74 as he termed them, Phil started to keep a journal. Initially in hand-written form and later as page after page of typewritten sheets with diagrams and side notes, this became known as his Exegesis. In effect this was Phil’s attempt to understand the source and meaning of the visions and revelations that he continued to receive until his death in March 1983.
            We are fortunate that in November 2011 a single volume containing all the main sections of this huge work was published by Houghton Mifflin Harcourt. Running to 976 pages this is a fascinating read and in it one can discover Phil’s own understanding of how a part of him could see the future. His solution was a radical re-interpretation of time itself – something Phil called “orthogonal time.”
            He proposes there are two variations of time, both of which exist at right angles to each other. We are usually only aware of “Vertical Time,” but there is another which runs at right angles to our space-time. He calls this “Orthogonal Time.” If we could perceive both times simultaneously it would look cubical, hence his term cubic time. He proposed that events are actually located within this cubic time. As such the idea of cause and effect cannot be applied within this model. Causality can run in reverse or act simultaneously with an event in the past or the future. In other words within orthogonal time all past and future states exist at this moment. In the whole of the Exegesis Phil makes one passing reference to a physicist by the name of Herman Minkowski, the teacher of the much more famous Albert Einstein. With reference to his own precognitions, Phil wrote:
            This is a disturbing new view but oddly enough it coincides with my dream experiences, my precognition of events moving this way from the future; I feel them inexorably approaching, not generated from the present, but somehow already there but not yet visible. If they are somehow “there” already, and we encounter them successively (the Minkowski block universe; events are all already there but we have to encounter them successively), then this view might be a correct view of time and causality.10
            Phil suggested that the basic premise of his short story Adjustment Team – that there exists a way in which the past can be “adjusted” to change the present – may be another of his fictionalised accounts of something that really takes place.11 
            Phil believed that part of us exists within orthogonal time and this alternate-consciousness can, under certain circumstances, communicate with the every-day self that perceives only linear time. This was the source of “the voice” and VALIS (Vast Active Living Intelligence System, Dick’s gnostic vision of one aspect of God). This is how, in dreams, Phil found himself back in his own past observing an earlier version of himself. In this way “the voice” was his own voice speaking from his own future. This entity created his plot-lines using material from his own future. Was this how the meeting with the black man at the gas station ended up in A Scanner Darkly? All information from all parts of our life is readily available to a mind open to receive it. Phil suggested in a letter to his friend Patricia Warrick, written in September 1981, that:
            The universe is an information retrieval system; which is to say, everything that has ever happened, ever been, each arrangement and detail – all are stored in the present moment as information; what we lack is the access or entry mechanism to this stored information… where the past of each object – all its prior manifestations along the Form axis – this is all stored in the present object and can be retrieved.12
            This is again astounding evidence that Phil seemed to be accessing information from some form of infinite data-field. It is very much in keeping with the work of modern-day researchers such as Ervin Laszlo and Bernard Haisch, both of whom suggest this “library” is, in fact, something known as the Zero-Point Field.13
            Is this the answer to the mystery of Phil’s precognitions? It certainly makes sense. The future and the past are simply illusions. Phillip K. Dick and every being that reads this article consist of two independent consciousnesses. One lives in linear time and the other in orthogonal time. And in this way we may all be immortal. After all, the transition between life and death takes place in linear, not orthogonal, time.
            In his novel Ubik Phil created a concept known as “Half Life.” This is a timeless place, hovering between life and death. Tibetan Buddhists call this the “Bardo State.” Is this from where Phil’s eternal mind communicated with him? To paraphrase the title of one of his most intriguing books, could it be we all exist in a place where “Time is Out of Joint”?
            For more on the above, read Anthony Peake’s book The Man Who Remembered the Future: A Life of Philip K. Dick.


            Footnotes

            1. Gregg Rickman, Philip K. Dick: The Last Testament, Fragments West, 1985, 23
            2. John Boonstra, Horselover Fat and The New Messiah, Hartford Advocate, 22 April 1981, reproduced inPKD Otako #06, 22
            3. ‘How to Build a Universe that Doesn’t Fall Apart Two Days Later’, published as an introduction to I Hope I Shall Arrive Soon, Doubleday, New York, 1985
            4. Lawrence Sutin (editor), The Shifting Realities of Philip K. Dick, Vintage, 1995, 268
            5. Ibid., 269
            6. The Selected Letters of Philip K Dick, 1974, Underwood-Miller, 1991, 101
            7. Philip K. Dick, Letter to Claudia Krenz, 25 February 1975
            8. The Selected Letters of Philip K Dick, 1975-76, Underwood-Miller, 1992, ix
            9. Richard A Lupoff,  A Conversation With Philip K Dick, Vol. 1, no. 2, August 1987, 45-54
            10. Philip K. Dick, The Exegesis of Philip K Dick, Hachette Littlehampton, Kindle Edition.
            11. Ibid.
            12. The Selected Letters of Philip K Dick, 1980-1982, Vol. 6, Underwood Books, 2009, 262
            13. Ervin Laszlo, Science and the Akashic Field: An Integral Theory of Everything, Inner Traditions, 2007

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            ANTHONY PEAKE is the author of a series of highly acclaimed books, all of which develop a hypothesis that he terms “Cheating the Ferryman.” In these books he presents an explanation for all of Philip K. Dick’s extraordinary experiences. His book on Dick is The Man Who Remembered the Future: A Life of Philip K. Dick

            New Daw No. 139 (July-August 2013)