Philip K. Dick

“It isn't a brute instinct that keeps us restless and dissatisfied. I'll tell you what it is: it's the highest goal of man - the need to grow and advance . . . to find new things . . . to expand. To spread out, reach areas, experiences, comprehend and live in an evolving fashion. To push aside routine and repetition, to break out of mindless monotony and thrust forward. To keep moving on . . .”

“You're - psychotic. There's something wrong with you.""I know," Benteley agreed. "I'm a sick man. And the more I see, the sicker I get. I'm so sick I think everybody else is sick and I'm the only healthy person. That's pretty bad off, isn't it?”

“You put on a bishop's robe and miter, he pondered, and walk around in that, and people bow and genuflect and like that, and try to kiss your ring, if not your ass, and pretty soon you're a bishop. So to speak. What is identity? he asked himself. Where does the act end? Nobody knows.”

“What you should do," she told Fat during one of his darker hours, "is get into studying the characteristics of the T-34." Fat asked what that was. It turned out that Sherri had read a book on Russion armor during World War Two. The T-34 tank had been the Soviet Union's salvation and thereby the salvation of all the Allied Powers- and, by extension, Horselover Fat's, since without the T-34 he would be speaking - not english or Latin or the koine - but German.”

“I am Ubik. Before the universe was, I am. I made the suns. I made the worlds. I created the lives and the places they inhabit; I move them here, I put them there. They go as I say, then do as I tell them. I am the word and my name is never spoken, the name which no one knows. I am called Ubik, but that is not my name. I am. I shall always be.”

“It is my job to create universes, as the basis of one novel after another. And I have to build them in such a way that they do not fall apart two days later.Or at least that's what my editors hope.However, I will reveal a secret to you:I like to build universes which do fall apart. I like to see them unglued, and I like to see how how the characters in the novel cope with this problem.I have a scret love of chaos. There should be more of it.”

“The pain, so unexpected and undeserved, had for some reason cleared away the cobwebs. I realized I didn’t hate the cabinet door, I hated my life… My house, my family, my backyard, my power mower. Nothing would ever change; nothing new could ever be expected. It had to end, and it did. Now in the dark world where I dwell, ugly things, and surprising things, and sometimes little wondrous things, spill out in me constantly, and I can count on nothing.”

“Men and the world are mutually toxic to each other.”

“Once, in a cheap science fiction novel, Fat had come across a perfect description of the Black Iron Prison, but set in the far future. So if you superimposed the past (ancient Rome) over the present (California in the twentieth century) and superimposed the far future world of The Android Cried Me a River over that, you got the Empire, as the supra- or trans-temporal constant. Everyone who had ever lived was literally surrounded by the iron walls of the prison; they were all inside it and none of them knew it.”

“Dear Jeff,I happened to see the Channel 7 TV program "Hooray for Hollywood" tonight with the segment on Blade Runner. (Well, to be honest, I didn't happen to see it; someone tipped me off that Blade Runner was going to be a part of the show, and to be sure to watch.) Jeff, after looking—and especially after listening to Harrison Ford discuss the film—I came to the conclusion that this indeed is not science fiction; it is not fantasy; it is exactly what Harrison said: futurism. The impact of Blade Runner is simply going to be overwhelming, both on the public and on creative people—and, I believe, on science fiction as a field. Since I have been writing and selling science fiction works for thirty years, this is a matter of some importance to me. In all candor I must say that our field has gradually and steadily been deteriorating for the last few years. Nothing that we have done, individually or collectively, matches Blade Runner. This is not escapism; it is super realism, so gritty and detailed and authentic and goddam convincing that, well, after the segment I found my normal present-day "reality" pallid by comparison. What I am saying is that all of you collectively may have created a unique new form of graphic, artistic expression, never before seen. And, I think, Blade Runner is going to revolutionize our conceptions of what science fiction is and, more, can be. Let me sum it up this way. Science fiction has slowly and ineluctably settled into a monotonous death: it has become inbred, derivative, stale. Suddenly you people have come in, some of the greatest talents currently in existence, and now we have a new life, a new start. As for my own role in the Blade Runner project, I can only say that I did not know that a work of mine or a set of ideas of mine could be escalated into such stunning dimensions. My life and creative work are justified and completed by Blade Runner. Thank you...and it is going to be one hell of a commercial success. It will prove invincible. Cordially,Philip K. Dick”

“What he did not know then is that it is sometimes an appropriate response to reality to go insane.”

“Fat heard in her rational tone the harp of nihilism, the twang of the void.”

“Once a guy stood all day shaking bugs from his hair.”

“You mean old books?""Stories written before space travel but about space travel.""How could there have been stories about space travel before --""The writers," Pris said, "made it up.”

“I should not yield to it, he told himself once again as he walked along carrying the briefcase. Compulsion-obsession-phobia. But he could not free himself. It in my grip, I in its, he thought.”

“zaman. belki zaman da yuvarlaktır, tıpkı dünya gibi. hindistana ulaşmak için batıya doğru yelken açarsın. sana gülerler ama sonunda hindistan önündedir, arkanda değil.zamanla- belki hepimiz yelken açmış, kendimizi doğuda sanarak giderken, bizi bekleyen ‘çarmıha gerilmek’ ten başka bir şey değildir.”

“Do you have information that there's an android in the cast? I'd be glad to help you, and if I were an android would I be glad to help you?" "An android," he said, "doesn't care what happens to another android. That's one of the indications we look for." "Then," Miss Luft said, "you must be an android.”

“Tomorrow morning, he decided, I'll begin clearing away the sand of fifty thousand centuries for my first vegetable garden. That's the initial step.”

“The most dangerous kind of person... is one who is afraid of his own shadow.”

“There is a line somewhere in Wozzeck that translates out to, roughly, 'The world is awful.' Yes, I said to myself as I shot across the Bay Bridge not giving a fuck how fast I drove, that sums it up. That is high art: 'The world is awful.' That says it all. This is what we pay composers and painters and the great writers to do: tell us this; from figuring this out, they earn a living. What a masterful, incisive insight. What penetrating intelligence. A rat in a drain ditch could tell you the same thing, were it able to talk. If rats could talk, I'd do anything they said.”

“There is evil! It's actual, like cement.I can't believe it. I can't stand it.Evil is not a view ... it's an ingredient in us. In the world. Poured over us, filtering into our bodies, minds, hearts, into the pavement itself.”

“Il passato è latente, è sommerso, ma è ancora lì, in grado di riaffiorare in superficie una volta che lo stampo più tardo sia malauguratamente - e contro l'esperienza ordinaria - scomparso. L'uomo contiene - non il ragazzo - ma gli uomini precedenti, pensò. La storia è cominciata molto tempo fa.I resti disidratati di Wendy. La progressione di forme che si verifica normalmente... quella progressione era cessata. E l'ultima forma si era consumata, senza nulla che la sostituisse; nessuna nuova forma, nessuno stadio successivo di ciò che ci appare come un processo di crescita, aveva preso il suo posto. Dev'essere questo che si prova nella vecchiaia; da questa assenza vengono degenerazione e senilità. Solo che in questo caso è accaduto tutto in una volta, nell'arco di poche ore.”

“I love you,' Rachael said. 'If I entered a room and found a sofa covered with your hide I'd score very high on the Voigt-Kampff test.”

“In his article, Bogen concluded: “I believe [with Wigan] that each of us has two minds in one person. There is a host of detail to be marshaled in this case. But we must eventually confront directly the principal resistance to the Wigan view: that is, the subjective feeling possessed by each of us that we are One. This inner conviction of Oneness is a most cherished opinion of Western Man. . . .”

“We're all dreaming,” Arctor said. If the last to know he's an addict is the addict, then maybe the last to know when a man means what he says is the man himself, he reflected. He wondered how much of the garbage that Donna had overheard he had seriously meant. He wondered how much of the insanity of the day--his insanity--had been real, or just induced as a contact lunacy, by the situation. Donna, always, was a pivot point of reality for him; for her this was the basic, natural question. He wished he could answer.”

“Make it?" Fred echoed. "Make what? The team? The chick? Make good? Make out? Make sense? Make money? Make time? Define your turns. The Latin for 'make' is facere, which also reminds me of fuckere, which is Latin for 'to fuck', and I haven't...”

“Am I racially kin to this man? Baynes wondered. So closely so that for all intents and purposes it is the same? Then it is in me, too, the psychotic streak. A psychotic world we live in. The madmen are in power. How long have we known this? Faced this? And—how many of us do know it?”

“Los que leemos ciencia-ficción, lo hacemos porque amamos la experiencia que supone la reacción en cadena de las ideas que tiene lugar en nuestras mentes por lo que hemos leído, algo novedoso; así, el propósito final de la mejor ciencia-ficción es la colaboración entre el autor y el lector, una colaboración en la que ambos son creadores — y disfrutan de ello: el disfrute es el ingrediente esencial y definitivo de la ciencia-ficción, el disfrute del descubrimiento de las cosas nuevas.”

“Ahora definiremos lo que es la buena ciencia ficción. La desfiguración conceptual (la idea nueva, en otras palabras) debe ser auténticamente nueva, o una nueva variación sobre otra anterior, y ha de estimular el intelecto del lector; tiene que invadir su mente y abrirla a la posibilidad de algo que hasta entonces no había imaginado. "Buena ciencia ficción" es un término apreciativo, no algo objetivo, aunque pienso objetivamente que existe algo como la buena ciencia ficción.”

“Grief causes you to leave yourself. You step outside your narrow little pelt. And you can’t feel grief unless you’ve had love before it - grief is the final outcome of love, because it’s love lost. […] It’s the cycle of love completed: to love, to lose, to feel grief, to leave, and then to love again. Grief is the awareness that you will have to be alone, and there is nothing beyond that because being alone is the ultimate final destiny of each individual living creature. That’s what death is, the great loneliness.”

“Whatever you fear will happen to you, booze will make it happen.”

“Horselover Fat's nervous breakdown began the day he got the phone call from Gloria asking if he had any Nembutals.”

“Perhaps if you know you are insane then you are not insane. Or you are becoming sane, finally.”

“Io sono vivo, voi siete morti”

“That is not how you do it; you do not solve one problem with another, greater problem.”

“Because her general taste appalled him, it annoyed him that he himself constituted one of her favorites. It was an anomaly which he had never been able to take apart.”

“That's what it means to die, to not be able to stop looking at whatever's in front of you. Some darn thing placed directly there, with nothing you can do about it...”

“Imagine being sentient but not alive. Seeing and even knowing, but not alive. Just looking out. Recognizing but not being alive. A person can die and still go on. Sometimes what looks out at you from a person's eyes maybe died back in childhood.”

“I have seen myself backward.”

“It's easy to win. Anybody can win.”

“Why does a man cry? he wondered. Not like a woman; not for that. Not for sentiment. A man cries over the loss of something, something alive. A man can cry over a sick animal that he knows won't make it. The death of a child: a man can cry for that. But not because things are sad.A man, he thought, cries not for the future or the past but for the present.”

“Sometimes I think this planet is under a spell," Elias said. "We are asleep or in a trance, and something causes us to see what it wants us to see and remember and think what it wants us to remember and think. Which means we're whatever it wants us to be. Which in turn means that we have no genuine existence. We're at the mercy of some kind of whim.”

“What a tragic realm this is, he reflected. Those down here are prisoners, and the ultimate tragedy is that they don't know it; they think they are free because they have never been free, and do not understand what it means.”

“So you want to have gone to Mars. Very good.”

“A person’s authentic nature is a series of shifting, variegated planes that establish themselves as he relates to different people; it is created by and appears within the framework of his interpersonal relationships.”

“Kipple is useless objects, like junk mail or match folders after you use the last match or gum wrappers or yesterday's homeopape. When nobody's around, kipple reproduces itself. For instance, if you go to bed leaving any kipple around your apartment, when you wake up the next morning there's twice as much of it. It always gets more and more.""I see." The girl regarded him uncertainly, not knowing whether to believe him. Not sure if he meant it seriously."There's the First Law of Kipple," he said. "'Kipple drives out nonkipple.' Like Gresham's law about bad money. And in these apartments there's been nobody here to fight the kipple.""So it has taken over completely," the girl finished. She nodded. "Now I understand.""Your place, here," he said, "this apartment you've picked--it's too kipple-ized to live in. We can roll the kipple-factor back; we can do like I said, raid the other apts. But--" He broke off."But what?"Isidore said, "We can't win.""Why not?" [...]"No one can win against kipple," he said, "except temporarily and maybe in one spot, like in my apartment I've sort of created a stasis between the pressure of kipple and nonkipple, for the time being. But eventually I'll die or go away, and then the kipple will again take over. It's a universal principle operating throughout the universe; the entire universe is moving toward a final state of total, absolute kippleization.”

“Perché non rilassarsi un po'? Magari una passeggiata in macchina fino al Golden Gate Park, con lo zoo e i pesci? Fare una visita dove le cose che non possono pensare provano comunque gioia.”

“L'universo non avrà mai fine, perché proprio quando sembra che l'oscurità abbia distrutto ogni cosa, e appare davvero trascendente, i nuovi semi della luce rinascono dall'abisso.”

“Madness, he thought. The ultimate horror for our para­noid culture: vicious unseen mechanical entities that flit at the edges of our vision, that can go anywhere, that are in our very midst.”

“What was on the other side?"Donna said, "He said there was another world on the other side. He could see it.""He... never went through it?""That’s why he kicked the shit out of everything in his apartment; he never thought of going through it, he just admired the doorway and then later he couldn’t see it at all and it was too late. It opened for him a few days and then it was closed and gone forever.”