This World and Nearer Ones

Behind these two webs lies a third, revealed only indirectly. This is the web connecting all the good and bad things in the universe. The despised bleekmen, who tremble on the edge of greater knowledge than humanity, are acutely aware of this web and occasionally succeed in twitching a strand here and there, to their advantage; but they are as much in its toils as anybody else.

These three webs integrate at various coordinate points, the most remarkable point being AM-WEB, a complex structure which the UN may build some time in the future in the FDR Mountains. The structure is visible to Steiner’s autistic son, Manfred, who sees it in an advanced stage of decay.

Its function in the novel is to provide a symbol for the aspirations and failures of mankind. The structure will be a considerable achievement when completed; which is not to say that it is not ultimately doomed; and part of that doom may be decreed by the miserable political and financial manoeuvrings which form one of the minor themes of this intricately designed novel.

Martian Time-Slip comes from the middle of one of Dick’s most creative periods. The Man in the High Castle was published in 1962. In 1963 came The Game-Players of Titan and then, in 1964, The Simulacra, The Penultimate Truth, Clans of the Alphane Moon, and the present volume. Although Dick is a prolific author, with some thirty novels appearing in fifteen years, his production rate is modest when compared with many other writers in the prodigal field of science fiction.

One of the attractions of Dick’s novels is that they all have points at which they inter-relate, although Dick never reintroduces characters from previous books. The relationship is more subtle – more web-like – than that. There is a web in Clans of the Alphane Moon, made by ‘the world-spider as it spins its web of destruction for all life’. The way in which Mars in the present novel is parcelled up between various nationalities is reminiscent of the parcelling up of Earth into great estates in The Penultimate Truth, and The Game-Players of Titan. The horrifying corrupt world of Manfred’s schizophrenia, the realm of Gubble, reminds us of the tomb world into which John Isidore falls in Do Androids Dream of Electric Sheep? or of one of the ghastly fake universes of Palmer Eldritch in The Three Stigmata of Palmer Eldritch. When Jack Bohlen, in the first few pages of the novel, awaits the arrival of his father from Earth, change is about to creep in; and change is often paradoxically embodied in someone or something old, like the Edwin N. Stanton lying wrapped up in newspaper in the back of Maury Rock’s Jaguar, in the opening pages of We Can Build You. And so on.

Such building blocks are by no means interchangeable from book to book; Dick’s kaleidoscope is always being shaken, new sinister colours and patterns continually emerge. The power in the Dickian universe resides in these blocks, rather than in his characters; even when one of the characters has a special power (like Jones’s ability to foresee the future in The World Jones Made) it rarely does him any personal good.

If we look at two of the most important of these building blocks and observe how they depend on each other for greatest effect, we come close to understanding one aspect of Dickian thought. These blocks are the concern-with-reality and the involvement-with-the-past.

Most of the characteristic themes of science fiction are materialist ones; only the concern-with-reality theme involves a quasimetaphysical speculation, and this theme Dick has made peculiarly his own. Among his earliest published stories is ‘Impostor’ (1953), in which a robot believes himself to be a man; the faking is so good that even he cannot detect the truth until the bomb within him is triggered by a phrase he himself speaks. Later, Dickian characters are frequently to find themselves trapped in hallucinations or fake worlds of various kinds, often without knowing it or, if knowing it, without being able to do anything about it. In The Man in the High Castle, the world we know – in which the Allies won World War II and the Axis Powers lost – is itself reduced to a hypothetical world existing only in a novel called The Grasshopper Lies Heavy, which the victorious Japanese and Germans have banned.

And it is not only worlds that are fake. Objects, animals, people, may also be unreal in various ways. Dick’s novels are littered with fakes, from the reproduction guns buried in rock in The Penultimate Truth which later are used, and so became genuine fakes, to the toad which can hardly be told from real in Do Androids Dream of Electric Sheep?, to the androids masquerading as human in the same novel. Things are always talking back to humans. Doors argue, medicine bags patronise, the cab at the end of Now Wait for Next Year advises Dr Eric Sweetscent to stay with his ailing wife. All sorts of drugs are available which lead to entirely imaginary universes, like the evil Can-D and Chew-Z used by the colonists on Mars in Palmer Eldritch, or the JJ-180 which is banned on Earth in Now Wait for Next Year.

The colonists on the Mars of this present novel use only the drugs available to us, though those are generally at hand – in the very opening scene we come across Silvia Bohlen doped up on phenobarbitone. Here the concern-with-reality theme is worked out through the timeslip of the title, and through the autistic boy, Manfred.

Manfred falls into the power of Arnie Kott, boss of the plumbing union which, because water is so scarce, has something of a stranglehold on Mars (a typical piece of wild Dickian ingenuity). Arnie worries a lot. He asks his bleekman servant, Helio, if he has ever been psychoanalysed.

‘No, Mister. Entire psychoanalysis is a vainglorious foolishness.’

‘Howzat, Helio?’

‘Question they never deal with is, what to remold sick person like. There is no what Mister.’

‘I don’t get you, Helio.’

‘Purpose of life is unknown, and hence way to be is hidden from the eyes of living critters. Who can say if perhaps the schizophrenics are not correct? Mister, they take a brave journey. They turn away from mere things, which one may handle and turn to practical use; they turn inward to meaning. There, the black night-without-bottom lies, the pit …’

Of course, there are many ways of falling into the pit, one of which is to have too much involvement-with-the-past. Dick admits a fascination with the past, quoting lines of Henry Vaughan:

Some men a forward motion love

But I by backward steps would move …

Whilst saying how much he enjoys the junk of the past, Dick adds, ‘But I’m equally aware of the ominous possibilities. Ray Bradbury goes for the Thirties, too, and I think he falsifies and glamourises them …’ (Daily Telegraph Magazine, 19 July 1974). The casual remark reveals much; Dick perceives fiction as a quest, not a refuge.

Arnie Kott has an innocent fascination with objects of the past – he possesses the only spinet on Mars. In the same way, Robert Childan’s trading Mickey Mouse watches and scarce copies of Tip Top Comics to the victorious Japanese (in The Man in the High Castle) is represented as entirely innocuous. Trouble comes when the interest with the past and all its artifacts builds into an obsession, like Virgil Ackerman’s Wash-55 a vast regressive babyland which features in Now Wait for Last Year.

And this is indeed where Dick parts company with Ray Bradbury, and with many another writer, in or out of the science fiction field. If he sees little safety in the future, the past is even more insidiously corrupting. So dreadful is Manfred’s past that you can die in it. The past is seen as regressive; one of the most striking Dickian concepts is the ‘regression of forms’ which takes place in Ubik, that magnificent but flawed novel in which the characters try to make headway through a world becoming ever more primitive, so that the airliner devolves into a Ford trimotor into a Curtis biplane, while Joe’s multiplex FM tuner will regress into a cylinder phonograph playing a shouted recitation of the Lord’s Prayer.

In Martian Time-Slip, the involvement-with-the-past is general, as well as being particularised in Manfred’s illness. Mars itself is regarded by Earth as a has-been, and is patterned with has-been communities based on earlier versions of terrestrial history. Here it is especially difficult to escape damnation.

With the past so corrupting, the present so uncertain, and the future so threatening, we might wonder if there can be any escape. The secret of survival in Dick’s universe is not to attempt escape into any alternate version of reality but to see things through as best you can; in that way, you may succeed if not actually triumphing. The favoured character in Martian Time-Slip is Jack Bohlen, whom we last see reunited with his wife, out in the dark garden, flashing a torch and looking for someone. His voice is business-like, competent, and patient; these are high ranking virtues in the Dickian theology. It is significant that Jack is a repairman (‘an idiot who can fix things,’ says Kott), a survival job, since it helps maintain the status quo. Similar survivors in other novels are pot-healers, traders, doctors, musical instrument makers, and android-shooters (since androids threaten the status quo).

The characters who survive are generally aided by some system of knowledge involving faith; the system is rarely a scientific one; it is more likely to be ancient. In Martian Time-Slip, it is the never-formulated paranormal understanding of the bleekmen; Bohlen respects this vague eschatological faith without comprehending it, just as Kott despises it. The I Ching, or Book of Changes, the four thousand year old Chinese work of divination, performs a similar function in the The Man in the High Castle, whilst in Counter-Clock World Lotta Hermes randomly consults the Bible, which predicts the future with an alarming accuracy. In both Dick’s two early masterpieces, Time-Slip and High Castle, this religious element – presented as something crumbling, unreliable, to be figured out with pain – is well-integrated into the texture of the novel.

Dick’s next great book, The Three Stigmata of Palmer Eldritch, was written very soon after Martian Time-Slip, and the two are closely related, not only because Mars is in both cases used as a setting. To my view, Eldritch is a flawed work, over-complicated, and finally disappearing into a cloud of quasi-theology; whereas Martian Time-Slip has a calm and lucidity about it. But in Eldritch we also find an ancient and unreliable metastructure of faith, in this case embodied in the ferocious alien entity which fuses with Eldritch’s being.

‘Our opponent, something admittedly ugly and foreign that entered one of our race like an ailment during the long voyage between Terra and Prox … and yet it knew much more than I did about the meaning of our finite lives, here; it saw in perspective. From its centuries of vacant drifting as it waited for some kind of life form to pass by which it could grab and become … maybe that’s the source of the knowledge: not experience but unending solitary brooding.’

So muses Barney Mayerson. Jack Bohlen desperately needs a transcendental act of fusion; he is estranged from his wife, sold by his first employer, threatened by his second, invaded by the schizophrenia of the boy he befriends. He sees in this mental illness, so frighteningly depicted in the book, the ultimate enemy. From this ultimate enemy comes the time-slip of the title and that startling paragraph which seems to condense much of the feeling of the book – and, indeed, of Dick’s work in general, when Bohlen works out what Manfred’s mental illness means: ‘It is the stopping of time. The end of experience, of anything new. Once the person becomes psychotic, nothing ever happens to him again.’

This is the maledictory circle within which Dick’s beings move and from which they have to escape: although almost any change is for the worse, stasis means death, spiritual if not actual.

Any discussion of Dick’s work makes it sound a grim and appalling world. So, on the surface, it may be; yet it must also be said that Dick is amazingly funny. The terror and the humour are fused. It is this rare quality which marks Dick out. This is why critics, in seeking to convey his essential flavour, bring forth the names of Dickens and Kafka, earlier masters of Ghastly Comedy.

Martian Time-Slip is full of delightful comic effects, not least in the way in which Steiner and the lecherous Otto Zitte ship illegal gourmet food items from Earth in unmanned Swiss rockets. Dick’s fondness for oddball entities and titles is much in evidence, notably in the surrealist public school, where the Emperor Tiberius, Sir Francis Drake, Mark Twain, and various other dignitaries talk to the boys. Below this easy-going humour lies a darker stream of wit. Arnie Kott’s terrible and fatal mistake of believing that reality is merely another version of the schizoid past is also part of the comedy of mistakes to which Dick’s characters always dance.

There is a deeper resemblance to the work of Dickens and Kafka. Dick, like Dickens, enjoys a multi-plotted novel. As the legal metaphor is to Bleak House, the world-as-prison to Little Dorrit, the dust-heap in Our Mutual Friend, the tainted wealth to Great Expectations, so is Mars to Martian Time-Slip. It is exactly and vividly drawn; it is neither the Mars as adventure-playground of Edgar Rice Burroughs nor the Mars as parallel of Pristine America of Ray Bradbury; this is Mars used in elegant and expert fashion as metaphor of spiritual poverty. In functioning as a dreamscape, it has much in common with the semi-allegorical, semi-surrealist locations used by Kafka to heighten his Ghastly Comedy of bafflement. (Staring at his house standing in the meagre Martian desert, Bohlen smiles and says, ‘This is the dream of a million years, to stand here and see this.’)

Dick’s alliance, if one may call it that, with writers such as Dickens and Kafka makes him immediately congenial to English and European readers. It may be this quality which has brought him reputation and respect on this side of the Atlantic before his virtues are fully recognised in his own country.

Perhaps I may be allowed to add that I feel particularly delighted to see this novel added to the growing list of titles in the Master Series. I read it over a decade ago in the American Ballantine edition, admired it greatly, and recommended it over the next few years to several British publishers. Some seemed to feel that it was too ‘advanced’ for the English market; also there were contractual difficulties. One admirer of the book was Mr Ronald Whiting, who was establishing his own publishing firm, but he was defeated by various unlucky circumstances; his firm closed down before it could publish Martian Time-Slip.

Since then, Martian Time-Slip had been floating round in a limbo of its own, in a tombworld of non-publication, with nothing ever happening to it again.

1. Martian Time-Slip, by Philip K. Dick, NEL, 1976. This edition marks its first English publication, belated but perhaps – in view of Dick’s growing reputation as a master of science fiction – not untimely.

Why They Left Zirn Unguarded: The Stories of Robert Sheckley (#ulink_e9666d7e-2155-58b1-b19c-5260c8f11ef3)

The early and mid-fifties formed a period of great richness for SF (although we did not notice at the time). Magazines sprouted and proliferated as never before, in a last glory before the onslaught of paperbacks – in much the same way, I imagine, that all the crack stage-coach runs in this country were at their peak in the very years the railways were making them obsolete.

Smith’s bookstalls were flooded with covers celebrating marvels of astronomy and space-engineering, much as they now sport anatomy and the freaky electronics of pop. Then it was that one bought one’s first Galaxys, F&SFs, Thrilling Wonders, IFs, Spaces, Fantastics, and the lesser but delectable breeds, all of which seemed to be edited by Robert Lowndes: Future, Original, and Dynamic. These magazines were not imports but British reprints.

Among the clever new names, one searched particularly for those of Richard Matheson, William Tenn, Ray Bradbury, Philip K. Dick, Walter Miller, and – if one was smart enough – J. G. Ballard. They were all short-story writers; the SF magazines were the ideal medium; and none of them was as much fun as Robert Sheckley.

The typical Sheckley appearance was in Galaxy, edited by the celebrated madman H. L. Gold, where he appeared beside other celebrated madmen like Alfred Bester and Theodore Sturgeon. Madmen are essential to SF. We still have madmen today, but often the madness gets into the style rather than the story, as with Harlan Ellison and some of the layabouts in New Worlds Quarterly. Sheckley kept his madness honed to a fine point by writing clear English about utterly convincing impossibilities. After all the sobersides in Astounding, it was marvellous to read a man whose characters never scored victories (though they rarely suffered utter defeat), whose planets were lunatic and draughty, whose aliens pursued totally inane rituals (like the Dance of the Reciprocal Trade Agreement), whose technologies were generally dedicated to perfecting robots which lurched and squeaked, and whose spaceships were never airtight.

That whole epoch, and the entire Sheckley thing, comes back very clearly as one reads this omnibus

– which is possibly an adverse criticism, for we have a somewhat one-dimensional view of Sheckley here. All the stories hail from the fifties, when Sheckley was young and clever. Now he’s old and clever, experience has had him by the lapels like one of his malfunctioning robots, and it would have been valuable to have been offered a few later fruits from his tree.

Those later fruits have a taste of acid to them, a fragrance of corruption, and a feel of loss, which makes the best of them more memorable than the earlier ingenuities which Conquest rightly celebrates.

For instance, in a 1972 short story, ‘The Mnemone’:

‘But these are futile gestures. The truth is, we have lost Xanadu irretrievably, lost Cicero, lost Zoroaster. And what else have we lost, what great battles were fought, cities built, jungles conquered? What songs were sung, what dreams were dreamed? We see it now, too late, that our intelligence is a plant which must be rooted in the rich fields of the past.’

There’s a note he never sounded in the fifties. Sheckley had roots only in the future. Nor could he write such a funny-poignant tale as his ‘Zirn Left Unguarded, the Jenghik Palace in Flames, Jon Westerly Dead’, (published in Nova 2, edited by Harry Harrison, 1972), in which Sheckley tenderly mocks the romantic-savage-analytical mode of science-fantasy of which he always had such easy mastery. And in Nova 3, there’s his ‘Welcome to the Standard Nightmare’, which is all that Sheckley ever was: the old ingenuity is still there, and a whole planet surrenders to one Earthman; but the mood is darker, the etching done with acid that bites deeper into the copper than once it did.

The story ends with the words: ‘For the Lorians were an advanced and intelligent people. And what is the purpose of being really intelligent if not to have the substance of what you want without mistaking it for the shadow?’ In the fifties, Sheckley’s characters were travelling too fast to worry about what was substance, what shadow.

My disagreement, then, is with editor Robert Conquest, not with Sheckley. He could have given us a more dimensional study of Sheckley. That has not been his intention. He admires Sheckley’s skill in telling an ingenious story, and he includes those stories which seem to him to exemplify this rare ability.

The result is a portly volume containing one Sheckley novel, Immortality Inc., and a dozen short stories, among them several well-known and beloved by the SF fraternity, such as ‘Pilgrimage to Earth’, ‘A Ticket to Tranai’, ‘The Prize of Peril’, and ‘The Store of the Worlds’. Not a bad story among them.