The Man in the High Castle

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

Do Androids Dream of Electric Sheep? is probably Philip K. Dick’s most famous work, given that it was turned into one of the most respected science fiction films of all time. I do not hold to the absolutist opinion that the book is always better than the movie, but after one read of the book and many viewings of the movie, I am inclined to say that, in this instance, the book is at least as good and in some respects is better.

Rick Deckard, along with numerous other unfortunate souls, has been left behind on Earth, an unhealthy wasteland from which anyone of means has migrated. He is the number two man assigned to retire rogue androids who try to pass themselves off as human. The androids, however, prefer to remain alive.

Deckard makes a modest living, but when the number one guy is nearly killed by an android, he assumes the responsibility to retire a group of six of them, seeing in the job an opportunity to make some much-needed cash. Insert canned line about things not going as planned. Insert second canned line about the job being more than he bargained for.

As I expected, the clownish dialogue and behavior, unnecessarily detailed descriptions and lengthy back stories injected into scenes immediately after a character’s introduction — the slipshod method by which so many authors introduce and develop their characters — is absent. Instead, we meet people who feel and act real, and we come to know them as we would anyone else: by how they act, what they say, and what is said about them. They move about in an exotic land but act in accordance with their human goals and abilities.

What I found surprising was how good the plot was. There is a satisfying quantity and variety of dramatic interactions, various obstacles to overcome, a sufficiently grand and tense third act… everything an eager reader could hope for. I did not expect a poorly wrought narrative, but given some of the difficulties I found in The Man in the High Castle, I thought that maybe character and setting were Dick’s strengths, not plot. The movie, as good as it is, strikes one as underplotted, and I assumed this was due to a deficiency on the book’s part.

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When I  wasn’t paying attention Jeff Riggenbach did two more audio podcasts on libertarianism and science fiction in his series for the Mises Institute, The Libertarian Tradition. Here is one, a followup on the previous podcast on libertarian science fiction.

You can also read the transcript, which was later published as a Mises Daily article: “Some Further Notes on Libertarian Science Fiction.”

In the podcast, Riggenbach discusses Anthony Burgess’s novel A Clockwork Orange and several novels by Philip K. Dick (including The Man in the High Castle, which our own Matthew Alexander recently reviewed) as well as two nonfiction books.


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BOOK REVIEW | The Man in the High Castle by Philip K. Dick Thumbnail

Author Philip K. Dick

It seems to me that of the two most important elements of a story, plot and character, plot seems to be more masculine and character more feminine. That is to say, a story for men, if it skimps on either of the two, is more likely to skimp on character, while a story for women will shortchange the plot. The best stories, of course, are strong in both categories. Science fiction, being a more masculine genre — in fact the only genre of fiction whose readership is more male than female — has traditionally been solid on plot and hit or miss with the characters. There are exceptions, as one would expect, and Philip K. Dick’s The Man in the High Castle, a Hugo Award winner, is one of these.

The story takes place in what was the present day when the novel was written, 1962, but in an alternate timeline where Nazi Germany and Imperial Japan won World War II. The United States has been carved into puppet governments; Germany has sent astronauts to Mars, drained the Mediterranean for farmland and committed multiple genocides; Japan controls the west coast of North America, having become a cultural as well as political hegemon.

It is a marvelous setting, both in conception and in description. Dick’s prose makes it come alive with a few deft touches here and there, sparse but effective. Whereas in most stories the setting serves as a place for the plot to take place, the reader here gets the sense that the plot is just something to have happen in the setting. The world and its characters are the point; what they do in the narrative has less importance.

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