Philip K Dick Electric Shepherd

A series of essays on the writing and ideas of Philip K. Dick presented in eight chapters. This in-depth look at the philosophies behind Dick's SF and mainstream novels is based on Barlow's 1988 doctoral dissertation at the University of Iowa.

From his 1952 short story 'Roog' to the novels The Divine Invasion and VALIS, few authors have had as great of an impact in the latter half of the 20th century as Philip K. Dick. In The Postmodern Humanism of Philip K. Dick, Jason Vest explores the work of this prolific, subversive, and mordantly funny science-fiction writer. He examines how Dick adapted the conventions of science fiction and postmodernism to reflect humanist concerns about the difficulties of maintaining identity, agency, and autonomy in the latter half of the 20th century. In addition to an extensive analysis of the novel Now Wait for Last Year, Vest makes intellectually provocative comparisons between Dick and the works of Franz Kafka, Jorge Luis Borges, and Italo Calvino. He offers a detailed examination of Dick's literary relationship to all three authors, illuminating similarities between Dick and Kafka that have not previously been discussed, as well as similarities between Dick and Borges that scholars frequently note but fail to explore in detail. Like Kafka, Borges, and Calvino, Dick employs fantastic, unreal, and visionary fiction to reflect the disruptions, dislocations, and depressing realities of twentieth-century life. By comparing him to these other writers, Vest demonstrates that Dick's fiction is a fascinating barometer of postmodern American life even as it participates in an international tradition of visionary literature.

The book contains a selection of papers focusing on the idea of crossing boundaries in literary and cultural texts composed in English. The authors come from different methodological schools and analyse texts coming from different periods and cultures, trying to find common ground (the theme of the volume) between the apparently generically and temporarily varied works and phenomena. In this way, a plethora of perspectives is offered, perspectives which represent a high standard both in terms of theoretical reflection and in-depth analysis of selected texts. Consequently, the volume is addressed to a wide scope of both scholars and students working in the field of English and American literary and cultural studies; furthermore, it will be of interest also to students interested in theoretical issues linked with investigations into literature and culture.

In The Phenomenology of Religious Belief, the renowned philosopher Michael J. Shapiro investigates how art – and in particular literature and film – can impact upon both traditional interpretations and critical studies of religious beliefs and experiences. In doing so, he examines the work of prolific and award-winning writers such as Toni Morrison, Philip K. Dick and Robert Coover. By placing their work in conjunction with critical analyses of media by the likes of Ingmar Bergman and Pier Paolo Pasolini and combining it with the work of groundbreaking thinkers such as George Canguilhem, Giorgio Agamben and Slavoj Žižek, Shapiro takes a truly interdisciplinary approach to the question of how life should be lived. His assessment of phenomenological subjectivity also leads him to question the nature of political theology and extend the criticism of Pauline theology.

Kucukalic looks beyond the received criticism and stereotypes attached to Philip K. Dick and his work and shows, using a wealth of primary documents including previously unpublished letters and interviews, that Philip K. Dick is a serious and relevant philosophical and cultural thinker whose writing offer us important insights into contemporary digital culture. Evaluating five novels that span Dick's career--from Martian Time Slip (1964) to Valis (1981)--Kucukalic explores the the intersections of identity, narrative, and technology in order to ask two central, but uncharted "Dickian" questions: What is reality? and What is human?

A masterpiece ahead of its time, a prescient rendering of a dark future, and the inspiration for the blockbuster film Blade Runner By 2021, the World War has killed millions, driving entire species into extinction and sending mankind off-planet. Those who remain covet any living creature, and for people who can’t afford one, companies built incredibly realistic simulacra: horses, birds, cats, sheep. They’ve even built humans. Immigrants to Mars receive androids so sophisticated they are indistinguishable from true men or women. Fearful of the havoc these artificial humans can wreak, the government bans them from Earth. Driven into hiding, unauthorized androids live among human beings, undetected. Rick Deckard, an officially sanctioned bounty hunter, is commissioned to find rogue androids and “retire” them. But when cornered, androids fight back—with lethal force. Praise for Philip K. Dick “The most consistently brilliant science fiction writer in the world.”—John Brunner “A kind of pulp-fiction Kafka, a prophet.”—The New York Times “[Philip K. Dick] sees all the sparkling—and terrifying—possibilities . . . that other authors shy away from.”—Rolling Stone

Philip K. Dick was a writer who drew upon his own life to address the nature of drug abuse, paranoia, schizophrenia and transcendental experiences of all kinds. More than 10 major Hollywood movies are based on his work including Blade Runner, A Scanner Darkly, Total Recall, Minority Report and The Adjustment Bureau. Born in 1929 just before the Great Crash, Dick's twin sister died when she was a month old and his parents were divorced by the time he was three. In his teens, he began to show the first signs of mental instability, but by then he was already producing fiction writing of a visionary nature.