The Shifting Realities of PK Dick

by Philip K. Dick

  I have known all kinds of people (I turned fifty a while ago and I'm angry about that; I've lived a long time), and those were by and large good people. I model the characters in my novels and stories on them. Now and again one of these people dies, and that makes me mad -- really mad, as mad as I can get. "You took my cat," I want to say to God, "and then you took my girlfriend. What are you doing? Listen to me; listen! It's wrong what you're doing."

  Basically, I am not serene. I grew up in Berkeley and inherited from it the social consciousness that spread out over this country in the sixties and got rid of Nixon and ended the Vietnam War, plus a lot of other good things, the whole civil rights movement. Everyone in Berkeley gets mad at the drop of a hat. I used to get mad at the FBI agents who dropped by to visit with me week after week (Mr. George Smith and Mr. George Scruggs of the Red Squad), and I got mad at friends of mine who were members of the Communist Party; I got thrown out of the only meeting of the CP-USA I ever attended because I leaped to my feet and vigorously (i.e., angrily) argued against what they were saying.

  That was in the early fifties, and now here we are in the very late seventies and I am still mad. Right now I am furious because of my best friend, a girl named Doris, twenty-four years old. She has cancer. I am in love with someone who could die anytime, and it makes fury against God and the world race through me, elevating my blood pressure and stepping up my heartbeat. And so I write. I want to write about people I love, and put them into a fictional world spun out of my own mind, not the world we actually have because the world we actually have does not meet my standards. Okay, so I should revise my standards; I'm out of step. I should yield to reality. I have never yielded to reality. That's what SF is all about. If you wish to yield to reality, go read Philip Roth; read the New York literary establishment mainstream best-selling writers. But you are reading SF and I am writing it for you. I want to show you, in my writing, what I love (my friends) and what I savagely hate (what happens to them).

  I have watched Doris suffer unspeakably, undergo torment in her fight against cancer to a degree that I cannot believe. One time I ran out of the apartment and up to a friend's place, literally ran. My doctor had told me that Doris wouldn't live much longer and I should say good-bye to her and tell her it was because she was dying. I tried to and couldn't and then I panicked and ran. At my friend's house we sat around and listened to weird records (I'm into weird music in general, both in classical and in rock; it's a comfort). He is a writer, too, a young SF writer named K. W. Jeter -- a good one. We just sat there and then I said aloud, really just pondering aloud, "The worst part of it is I'm beginning to lose my sense of humor about cancer." Then I realized what I'd said, and he realized, and we both collapsed into laughter.

  So I do get to laugh. Our situation, the human situation, is, in the final analysis, neither grim nor meaningful but funny. What else can you call it? The wisest people are the clowns, like Harpo Marx, who would not speak. If I could have anything I want I would like God to listen to what Harpo was not saying, and understand why Harpo would not talk. Remember, Harpo could talk. He just wouldn't. Maybe there was nothing to say; everything has been said. Or maybe, had he spoken, he would have pointed out something too terrible, something we should not be aware of. I don't know. Maybe you can tell me.

  Writing is a lonely way of life. You shut yourself up in your study and work and work. For instance, I have had the same agent for twenty-seven years and I've never met him because he is in New York and I'm in California. (I saw him once on TV, on the Tom Snyder Tomorrow Show, and my agent is one mean dude. He really plays hardball, which is what an agent is supposed to do.) I've met many other SF writers and become close friends with a number of them. For instance, I've known Harlan Ellison since 1954. Harlan hates my guts. When we were at the Metz Second Annual SF Festival last year, in France, see, Harlan tore into me; we were in the bar at the hotel, and all kinds of people, mostly French, were standing around. Harlan shredded me. It was fine; I loved it. It was sort of like a bad acid trip; you just have to kick back and enjoy; there is no alternative.

  But I love that little bastard. He is a person who really exists. Likewise Van Vogt and Ted Sturgeon and Roger Zelazny and, most of all, Norman Spinrad and Tom Disch, my two main men in all the world. The loneliness of the writing per se is offset by the fraternity of writers. Last year a dream of mine of almost forty years was realized: I met Robert Heinlein. It was his writing, and A. E. Van Vogt's, that got me interested in SF, and I consider Heinlein my spiritual father, even though our political ideologies are totally at variance. Several years ago, when I was ill, Heinlein offered his help, anything he could do, and we had never met; he would phone me to cheer me up and see how I was doing. He wanted to buy me an electric typewriter, God bless him -- one of the few true gentlemen in this world. I don't agree with any ideas he puts forth in his writing, but that is neither here nor there. One time when I owed the IRS a lot of money and couldn't raise it, Heinlein loaned the money to me. I think a great deal of him and his wife; I dedicated a book to them in appreciation. Robert Heinlein is a fine-looking man, very impressive and very military in stance; you can tell he has a military background, even to the haircut. He knows I'm a flipped-out freak and still he helped me and my wife when we were in trouble. That is the best in humanity, there; that is who and what I love.

  My friend Doris who has cancer used to be Norman Spinrad's girlfriend. Norman and I have been close for years; we've done a lot of insane things together. Norman and I both get hysterical and start raving. Norman has the worst temper of any living mortal. He knows it. Beethoven was the same way. I now have no temper at all, which is probably why my blood pressure is so high; I can't get any of my anger out of my system. I don't really know -- in the final analysis -- who I'm mad at. I really envy Norman his ability to get it out of his system. He is an excellent writer and an excellent friend. This is what I get from being an SF writer: not fame and fortune, but good friends. That's what makes it worth it to me. Wives come and go; girlfriends come and go; we SF writers stay together until we literally die... which I may do at any time (probably to my own secret relief). Meanwhile I am writing this "Introduction" to The Golden Man, rereading stories that span a thirty-year period of writing, thinking back, remembering the Lucky Dog Pet Store, my days in Berkeley, my political involvement and how The Man got on my ass because of it... . I still have a residual fear in me, but I do believe that the reign of police intrigue and terror is over in this country (for a time, anyhow). I now sleep okay. But there was a time when I sat up all night in fear, waiting for the knock on the door. I was finally asked to "come downtown," as they call it, and for hours the police interrogated me. I was even called in by OSI (Air Force Intelligence) and questioned by them; it had to do with terrorist activities in Marin County -- not terrorist activities by the authorities this time, but by black ex-cons from San Quentin. It turned out that the house behind mine was owned by a group of them. The police thought we were in league; they kept showing me photos of black guys and asking did I know them. At that point I wouldn't have been able to answer. That was a really scary day for little Phil.

  So if you thought writers live a bookish, cloistered life you are wrong, at least in my case. I was even in the street for a couple of years; the dope scene. Parts of that scene were funny and wonderful and other parts were hideous. I wrote about it in A Scanner Darkly, so I won't write about it here. The one good thing about my being in the street was that the people didn't know I was a well-known SF writer, or if they did, they didn't care. They just wanted to know what I had that they could rip off and sell. At the end of the two years everything I owned was gone -- literally, including my house. I flew to Canada as guest of honor at the Vancouver SF Convention, lectured at the University of B.C., and decided to stay there. The hell with the dope scene. I had temporarily stopped writing; it was a bad time for me. I had fallen in love with several unscrupulous street girls... . I drove an old Pontiac convertible modified
with a four-barrel carb and wide tires, and no brakes, and we were always in trouble, always facing problems we couldn't handle. It wasn't until I left Canada and flew down here to Orange County that I got my head together and back to writing. I met a very straight girl and married her, and we had a little baby we call Christopher. He is now five. They left me a couple of years ago. Well, as Vonnegut says, so it goes. What else can you say? It's like the whole of reality: You either laugh or -- I guess fold and die.

  One thing I've found that I can do that I really enjoy is rereading my own writing, earlier stories and novels especially. It induces mental time travel, the same way certain songs you hear on the radio do (for instance, when I hear Don McLean sing "Vincent" I at once see a girl named Linda wearing a miniskirt and driving her yellow Camaro; we're on our way to an expensive restaurant and I am worrying if I'll be able to pay the bill and Linda is talking about how she is in love with an older SF writer and I imagine -- oh, vain folly! -- that she means me, but it turns out she means Norman Spinrad, whom I introduced her to); the whole thing returns, an eerie feeling that I'm sure you've experienced. People have told me that everything about me, every facet of my life, psyche, experiences, dreams, and fears, are laid out explicitly in my writing, that from the corpus of my work I can be absolutely and precisely inferred. This is true. So when I read my writing, like these stories in this collection, I take a trip through my own head and life, only it is my earlier head and my earlier life. I abreact, as the psychiatrists say. There's the dope theme. There's the philosophical theme, especially the vast epistemological doubts that began when I was briefly attending U.C. Berkeley. Friends who are dead are in my stories and novels. Names of streets! I even put my agent's address in one, as a character's address. (Harlan once put his own phone number in a story, which he was to regret later.) And of course, in my writing, there is the constant theme of music, love of, preoccupation with, music. Music is the single thread making my life into a coherency.

  You see, had I not become a writer I'd be somewhere in the music industry now, almost certainly the record industry. I remember back in the midsixties when I first heard Linda Ronstadt; she was a guest on Glen Campbell's TV show, and no one had ever heard of her. I went nuts listening to her and looking at her. I had been a buyer in retail records and it had been my job to spot new talent that was hot property, and, seeing and hearing Ronstadt, I knew I was hearing one of the great people in the business; I could see down the pipe of time into the future. Later, when she'd recorded a few records, none of them hits, all of which I faithfully bought, I calculated to the exact month when she'd make it big. I even wrote Capitol Records and told them; I said, the next record Ronstadt cuts will be the beginning of a career unparalleled in the record industry. Her next record was "Heart Like a Wheel." Capitol didn't answer my letter, but what the hell; I was right, and happy to be right. But, see, that's what I'd be into now, had I not gone into writing SF. My fantasy number that I run in my head is, I discover Linda Ronstadt, and am remembered as the scout for Capitol who signed her. I would have wanted that on my gravestone:

  HE DISCOVERED LINDA RONSTADT

  AND SIGNED HER UP!

  My friends are caustically and disdainfully amused by my fantasy life about discovering Ronstadt and Grace Slick and Streisand and so forth. I have a good stereo system (at least my cartridge and speakers are good) and I own a huge record collection, and every night from 11:00 P.M. to 5:00 A.M. I write while wearing my Stax electrostatic top-of-line headphones. It's my job and my vice mixed together. You can't hope for better than that: having your job and your sin commingled. There I am, writing away, and into my ears is pouring Bonnie Koloc and no one can hear it but me. The joker is, though, that there's no one but me here anyhow, all the wives and girlfriends having long since left. That's another of the ills of writing; because it is such a solitary occupation, and requires such long-term concentrated attention, it tends to drive your wife or girlfriend away, anyhow, whoever you're living with. It's probably the most painful price the writer pays. All I have to keep me company are two cats. Like my doper friends (ex-doper friends, since most of them are dead now) my cats don't know I'm a well-known writer, and, as with my doper friends, I prefer it that way.

  When I was in France, I had the interesting experience of being famous. I am the best-liked SF writer there, best of all in the entire whole complete world (I tell you that for what it's worth). I was Guest of Honor at the Metz Festival, which I mentioned, and I delivered a speech that, typically, made no sense whatever. Even the French couldn't understand it, despite a translation. Something goes haywire in my brain when I write speeches; I think I imagine I'm a reincarnation of Zoroaster bringing news of God. So I try to make as few speeches as possible. Call me up, offer me a lot of money to deliver a speech, and I'll give a tacky pretext to get out of doing it; I'll say anything, palpably a lie. But it was fantastic (in the sense of not real) to be in France and see all my books in expensive beautiful editions instead of little paperbacks with what Spinrad calls "peeled eyeball" covers. Owners of bookstores came to shake my hand. The Metz City Council had a dinner and a reception for us writers. Harlan was there, as I mentioned; so was Roger Zelazny and John Brunner and Harry Harrison and Robert Sheckley. I had never met Sheckley before; he is a gentle man. Brunner, like me, has gotten stout. We all had endless meals together; Brunner made sure everyone knew he spoke French. Harry Harrison sang the Fascist national anthem in Italian in a loud voice, which showed what he thought of prestige (Harry is the iconoclast of the known universe). Editors and publishers skulked everywhere, as well as the media. I got interviewed from eight in the morning until three-thirty the next morning, and, as always, I said things that will come back to haunt me. It was the best week of my life. I think that there at Metz I was really happy for the first time -- not because I was famous but because there was so much excitement in those people. The French get wildly excited about ordering from a menu; it's like the old political discussions we used to have back in Berkeley, only it's simply food involved. Which street to walk up involves ten French people gesticulating and yelling, and then running off in different directions. The French, like me and Spinrad, see the most improbable possibility in every situation, which is certainly why I am popular there. Take a number of possibilities, and the French and I will select the wildest. So I had come home at last. I could get hysterical among people acculturated to hysteria, people never able to make decisions or execute actions because of the drama in the very process of choosing. That's me: paralyzed by imagination. For me a flat tire on my car is (a) The End of the World; and (b) An Indication of Monsters (although I forget why).

  This is why I love SF. I love to read it; I love to write it. The SF writer sees not just possibilities but wild possibilities. It's not just "What if..." It's "My God; what if..." In frenzy and hysteria. The Martians are always coming. Mr. Spock is the only one calm. This is why Spock has become a cult god to us; he calms our normal hysteria. He balances the proclivity of SF people to imagine the impossible.

  KIRK (frantically): Spock, the Enterprise is about to blow up!

  SPOCK (calmly): Negative, Captain; it's merely a faulty fuse.

  Spock is always right, even when he's wrong. It's the tone of voice, the supernatural reasonability; this is not a man like us; this is a god. God talks this way; every one of us senses it instinctively. That's why they have Leonard Nimoy narrating pseudo-science TV programs. Nimoy can make anything sound plausible. They can be in search of a lost button or the elephants' graveyard, and Nimoy will calm our doubts and fears. I would like him as a psychotherapist; I would rush in frantically, filled with my usual hysterical fears, and he would banish them. ,

  PHIL (hysterically): Leonard, the sky is falling!

  NIMOY (calmly): Negative, Phil; it's merely a faulty fuse.

  And I'd feel okay and my blood pressure would drop and I could resume work on the novel I'm three years behind on vis-a-vis my deadline.

  In reading
the stories included in this volume, you should bear in mind that most were written when SF was so looked down upon that it virtually was not there, in the eyes of all America. This was not funny, the derision felt toward SF writers. It made our lives wretched. Even in Berkeley -- or especially in Berkeley -- people would say, "But are you writing anything serious?" We made no money; few publishers published SF (Ace Books was the only regular book publisher of SF); and really cruel abuse was inflicted on us. To select SF writing as a career was an act of self-destruction; in fact, most writers, let alone other people, could not even conceive of someone considering it. The only non-SF writer who ever treated me with courtesy was Herbert Gold, whom I met at a literary party in San Francisco. He autographed a file card to me this way: "To a colleague, Philip K. Dick." I kept the card until the ink faded and was gone, and I still feel grateful to him for this charity. (Yes, that was what it was, then, to treat an SF writer with courtesy.) To get hold of a copy of my first published novel, Solar Lottery, I had to special-order it from the City Lights Bookshop in San Francisco, which specialized in the outre. So in my head I have to collate the experience in 1977 of the mayor of Metz shaking hands with me at an official city function, and the ordeal of the fifties when Kleo and I lived on $90 a month, when we could not even pay the fine on an overdue library book, and when I wanted to read a magazine I had to go to the library because I could not afford to buy it, when we were literally living on dog food. But I think you should know this -- specifically, in case you are, say, in your twenties and rather poor and perhaps becoming filled with despair, whether you are an SF writer or not, whatever you want to make of your life. There can be a lot of fear, and often it is a justified fear. People do starve in America. My financial ordeal did not end in the fifties; as late as the midseventies I still could not pay my rent, nor afford to take Christopher to the doctor, nor own a car, nor have a phone. In the month that Christopher and his mother left me I earned $9, and that was just three years ago. Only the kindness of my agent, Scott Meredith, in loaning me money when I was broke got me through. In 1971, I actually had to beg friends for food. Now, look; I don't want sympathy; what I am trying to do is tell you that your crisis, your ordeal, assuming you have one, is not something that is going to be endless, and I want you to know that you will probably survive it through your courage and wits and sheer drive to live. I have seen uneducated street girls survive horrors that beggar description. I have seen the faces of men whose brains had been burned out by drugs, men who still could think enough to be able to realize what had happened to them; I watched their clumsy attempts to weather that which cannot be weathered. As in Heine's poem "Atlas," this line: "I carry that which can't be carried." And the next line is, "And in my body my heart would like to break!" But this is not the sole constituent of life, and it is not the sole theme in fiction, mine or anyone else's, except perhaps for the nihilist French existentialists. Kabir, the fifteenth-century Sufi poet, wrote, "If you have not lived through something, it is not true." So live through it; I mean, go all the way to the end. Only then can it be understood, not along the way.