Филип Киндред Дик цитаты

«Лейтесь слёзы, сказал полицейский»
Из произведений

«Помутнение»
Из произведений

Harry <Harrison> is the iconoclast of the known universe.
Источник: О других людях, Chapter 13. The Men in their High Castles: Dick and Other Visionaries // Trillion Year Spree: The History of Science Fiction by Brian W. Aldiss with David Wingrove, 1986

Брайан Олдисс, «Кутёж на триллион лет»

Источник: Грегг Рикман. Филип Дик: «Они вытащили картинку прямо из моего разума» https://web.archive.org/web/20080506111924/http://www.sf.perm.ru/short.shtml (интервью 1981 года о фильме «Бегущий по лезвию») // БОГ в сточной канаве. — Выпуск 3 (апрель 2000). — С. 10-12.

1981

«Валис»
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«Солнечная Лотерея»
Из произведений

That fusion of wild SF ideas, near-future scenarios and street— wise, drug-culture characters evident in late sixties, early seventies Dick, proved attractive. It accorded with what was happening in youth culture itself. Films like Videodrome (1983) and Repo Man (1984) and musicians like Gary Numan seemed to borrow direcdy from Dick's imagination. A new 'punk' SF seemed to spring up in the early eighties, with writers like Rudy Rucker, K. W. Jeter, Russell M. Griffin and William Gibson as its chief proponents.
Брайан Олдисс, «Кутёж на триллион лет»

сон
Источник: Электрические сны

Брайан Олдисс, «Кутёж на триллион лет»

письмо Кэти, 12 января 1979

волк
Источник: Убик

The worlds through which Philip Dick's characters move are subject to cancellation or revision without notice. Reality is approximately as dependable as a politician's promise.

Source: Roger Zelazny, An Introductionin to Philip Dick: Electric Shepherd (1975), ed. by Bruce Gillespie.

Роджер Желязны, предисловие к сборнику статей «Филип Дик: Электропастух», 1975

«Заметки, сделанные поздней ночью одним измождённым писателем-фантастом»

Брайан Олдисс, «Кутёж на триллион лет»

пришелец
Источник: Электрические сны

развалина
Источник: Электрические сны

идея
Источник: Когда наступит прошлый год

хлам
Источник: Мечтают ли андроиды об электроовцах?

Источник: Мечтают ли андроиды об электроовцах?

1982
Источник: Философ античности https://web.archive.org/web/20080506200753/http://www.sf.perm.ru/antiq.shtml (интервью Филипа Дика журналу Starlog, 1982 (опубл. в 1990) // БОГ в сточной канаве. — Выпуск 3 (апрель 2000). — С. 3-5.

«Заметки, сделанные поздней ночью одним измождённым писателем-фантастом»

Вл. Гаков

«Валис»
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«Свихнувшееся время»
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«Помутнение»
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Вл. Гаков

Вл. Гаков

«Валис»
Из произведений

«Помутнение»
Из произведений

и «Кто такой человек?».

Source: Lawrence Sutin. Preface: On the Exegesis of Philip K. Dick // Philip K. Dick, In Pursuit of VALIS: Selections from the Exegesis, ed. by Lawrence Sutin, San Francisco: Underwood-Miller, 1991, pp. vii-xv

What is unwavering in Dick's work is his moral sensibility. He recognizes and portrays the actuality of evil: a kind of being, lacking in empathy, sympathy or any sense of common humanity — be that being android, psychotic, junkie, autistic, paranoid or fascist. Such creatures are common in his work. Though Dick works hard to make us understand them, he spares little sympathy for them. <…>
Брайан Олдисс, «Кутёж на триллион лет»

Hard to categorize other than as conjurors — singers of strange, sometimes acutely humorous songs <…>. It is to three of the greatest entertainers in the field that we now turn. Entertainers whose dark, humanistic humour might be said genuinely to reflect the spirit of the decade: Robert Sheckley, Kurt Vonnegut Jr and Philip K. Dick.
Брайан Олдисс, «Кутёж на триллион лет»

To call Philip K. Dick <…> a science-fiction writer is to the underscore the inadequacy of the label. Dick <…> was fascinated by the scientific future largely as a vehicle for examining his own anxieties, longings and unstable perceptions. It would be more accurate to call him one of the most valiant psychological explorers of the 20th century.
Давид Эдельштейн, 2002
Источник: David Edelstein, "Philip K. Dick's Mind-Bending, Film-Inspiring Journeys" http://query.nytimes.com/gst/fullpage.html?res=9B01E1DD1F3DF935A25755C0A9649C8B63. Arts (The New York Times). June 16, 2002.

интервью «Надо привыкать к тому, что всё переменяется», 2004
Станислав Лем

Dick's fiction calls up our basic cultural assumptions, requires us to reexamine them, and points out the destructive destinations to which they are carrying us.
Патриция Уоррик, «Разум в движении: Фантастика Филипа К. Дика», 1987
Источник: Patricia S. Warrick, Mind in Motion: The Fiction of Philip K. Dick (1987)

Послесловие к «Убику», 1974
Станислав Лем

письмо «Определение научной фантастики», 1975
Источник: Igor & Grichka Bogdanoff L`Effet science-fiction, a la recharche d`une definition, Editions Robert Laffont, Paris, 1979, pp. 293/296.
Источник: Определение научной фантастики https://web.archive.org/web/20050221184945/http://sf.perm.ru/definition.shtml // БОГ в сточной канаве (электронный фэнзин, посвященный Филипу Дику). — Выпуск 4 (2000 год).

и я — один из тех, кого она оттолкнула в наибольшей степени

Source: М. Отставнов. Другой Лем http://old.computerra.ru/offline/2001/392/8688/page3.html // Компьютерра. — 2001. — № 15 (17 апреля).

Lem is probably a composite committee rather than an individual, since he writes in several styles and sometimes reads foreign, to him, languages and sometimes does not — to gain monopoly positions of power from which they can control opinion through criticism and pedagogic essays is a threat to our whole field of science fiction and its free exchange of views and ideas. <…> I think, though, at this time, that their campaign to establish Lem himself as a major novelist and critic is losing ground; it has begun to encounter serious opposition: Lem's creative abilities now appear to have been overrated and Lem's crude, insulting and downright ignorant attacks on American science fiction and American science fiction writers went too far too fast and alienated everyone but the Party faithful (I am one of those highly alienated).

Source: Kucukalic L. Philip K. Dick: Canonical Writer of the Digital Age http://books.google.by/books?id=04HuCJF6P3IC&dq=Philip+K+Dick&hl=ru&source=gbs_navlinks_s. — New York—London: Routledge; Taylor & Francis, 2009. — P. 43

Source: Оригинал http://oper.ru/news/read.php?t=1051603852 в Тупичке Гоблина

письмо в ФБР, 2 сентября 1974

во многом Дик отзывается на эссе Лема «Science fiction: безнадёжный случай с исключениями»

Source: Станислав Лем: "Сложно удивляться тому, что мы страдаем от своего рода российского комплекса" http://www.inosmi.ru/online/20060117/224888.html (интернет-конференция) // РИА Новости, ИноСМИ.ru, 17-27 января 2006.
О других людях

Источник: A Scanner Darkly

Источник: A Scanner Darkly (1977), Chapter 13 (p. 213)

Вариант: What he did not know then is that it is sometimes an appropriate response to reality to go insane.
Источник: VALIS (1981)

VALIS (1981)
Источник: I Hope I Shall Arrive Soon

Источник: Martian Time-Slip (1964)

Источник: Do Androids Dream of Electric Sheep?

"What The Dead Men Say" (1964)

"How To Build A Universe That Doesn't Fall Apart Two Days Later" (1978)

Introduction to The Golden Man (1980)
Контексте: That was my problem then and it's my problem now; I have a bad attitude. In a nutshell, I fear authority but at the same time I resent it — the authority and my own fear — so I rebel. And writing SF is a way to rebel. … SF is a rebellious art form and it needs writers and readers and bad attitudes — an attitude of "Why?" or "How come?" or "Who says?"

In Pursuit of Valis: Selections from the Exegesis (1991)
Контексте: I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation. Yet this seems somehow to help a certain kind of sensitive troubled person, for whom I speak. I think I understand the common ingredient in those whom my writing helps: they cannot or will not blunt their own intimations about the irrational, mysterious nature of reality, and, for them, my corpus of writing is one long ratiocination regarding this inexplicable reality, an investigation and presentation, analysis and response and personal history. My audience will always be limited to those people.

Story notes for The Golden Man (1953), in the short story anthology The Golden Man (1980)
Контексте: Here I am saying that mutants are dangerous to us ordinaries, a view which John W. Campbell, Jr. deplored. We were supposed to view them as our leaders. But I always felt uneasy as to how they would view us. I mean, maybe they wouldn't want to lead us. Maybe from their superevolved lofty level we wouldn't seem worth leading. Anyhow, even if they agreed to lead us, I felt uneasy as where we would wind up going. It might have something to do with buildings marked SHOWERS but which really weren't.

As quoted in "Vertex Interviews Philip K. Dick" by Arthur Byron Cover, in Vertex, Vol. 1, no. 6 (February 1974) http://2010philipkdickfans.philipkdickfans.com/frank/vertexin.htm
Контексте: I started reading SF when I was about twelve and I read all I could, so any author who was writing about that time, I read. But there's no doubt who got me off originally and that was A. E. van Vogt. There was in van Vogt's writing a mysterious quality, and this was especially true in The World of Null A. All the parts of that book did not add up; all the ingredients did not make a coherency. Now some people are put off by that. They think that's sloppy and wrong, but the thing that fascinated me so much was that this resembled reality more than anybody else's writing inside or outside science fiction. … reality really is a mess, and yet it's exciting. The basic thing is, how frightened are you of chaos? And how happy are you with order? Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.

"The Variable Man" (1952), The Collected Short Stories of Philip K. Dick, v.1: The Short Happy Life of the Brown Oxford (1987)
Контексте: Can any of us fix anything? No. None of us can do that. We're specialized. Each one of us has his own line, his own work. I understand my work, you understand yours. The tendency in evolution is toward greater and greater specialization. Man's society is an ecology that forces adaptation to it. Continued complexity makes it impossible for us to know anything outside our own personal field — I can't follow the work of the man sitting at the next desk over from me. Too much knowledge has piled up in each field. And there are too many fields.

Many of my stories and novels deal with psychotic states or drug-induced states by which I can present the concept of a multiverse rather than a universe. Music and sociology are themes in my novels, also radical political trends; in particular I've written about fascism and my fear of it.
Statement of 1975 quoted in the Dictionary of Literary Biography (1981) vol. 8, part 1

VALIS (1981)
Контексте: We hypostasize information into objects. Rearrangement of objects is change in the content of the information; the message has changed. This is a language which we have lost the ability to read. We ourselves are a part of this language; changes in us are changes in the content of the information. We ourselves are information-rich; information enters us, is processed and is then projected outwards once more, now in an altered form. We are not aware that we are doing this, that in fact this is all we are doing.

The Golden Man (1954)
Контексте: "We were always afraid a mutant with superior intellectual powers would come along," Baines said reflectively. "A deeve who would be to us what we are to the great apes. Something with a bulging cranium, telepathic ability, a perfect semantic system, ultimate powers of symbolization and calculation. A development along our own path. A better human being."
"He acts by reflex," Anita said wonderingly. She had the analysis and was sitting at one of the desks studying it intently. "Reflex — like a lion. A golden lion." She pushed the tape aside, a strange expression on her face. "The lion god."
"Beast," Wisdom corrected tartly. "Blond beast, you mean."
"He runs fast," Baines said, "and that's all. No tools. He doesn't build anything or utilize anything outside himself. He just stands and waits for the right opportunity and then he runs like hell."
"This is worse than anything we've anticipated," Wisdom said. His beefy face was lead-gray. He sagged like an old man, his blunt hands trembling and uncertain. "To be replaced by an animal! Something that runs and hides. Something without a language!" He spat savagely. "That's why they weren't able to communicate with it. We wondered what kind of semantic system it had. It hasn't got any! No more ability to talk and think than a — dog."

In Pursuit of Valis: Selections from the Exegesis (1991)
Контексте: I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation. Yet this seems somehow to help a certain kind of sensitive troubled person, for whom I speak. I think I understand the common ingredient in those whom my writing helps: they cannot or will not blunt their own intimations about the irrational, mysterious nature of reality, and, for them, my corpus of writing is one long ratiocination regarding this inexplicable reality, an investigation and presentation, analysis and response and personal history. My audience will always be limited to those people.

The Golden Man (1954)
Контексте: "He can look ahead. See what's coming. He can — prethink. Let's call it that. He can see into the future. Probably he doesn't perceive it as the future."
"No," Anita said thoughtfully. "It would seem like the present. He has a broader present. But his present lies ahead, not back. Our present is related to the past. Only the past is certain, to us. To him, the future is certain. And he probably doesn't remember the past, any more than any animal remembers what happened."
"As he develops," Baines said, "as his race evolves, it'll probably expand its ability to prethink. Instead of ten minutes, thirty minutes. Then an hour. A day. A year. Eventually they'll be able to keep ahead a whole lifetime. Each one of them will live in a solid, unchanging world. There'll be no variables, no uncertainty. No motion! They won't have anything to fear. Their world will be perfectly static, a solid block of matter."
"And when death comes," Anita said, "they'll accept it. There won't be any struggle; to them, it'll already have happened."

The Golden Man (1954)
Контексте: He was always moving, advancing into new regions he had never seen before. A constantly unfolding panorama of sights and scenes, frozen landscapes spread out ahead. All objects were fixed. Pieces on a vast chess board through which he moved, arms folded, face calm. A detached observer who saw objects that lay ahead of him as clearly as those under foot.
Right now, as he crouched in the small supply closet, he saw an unusually varied multitude of scenes for the next half hour. Much lay ahead. The half hour was divided into an incredibly complex pattern of separate configurations. He had reached a critical region; he was about to move through worlds of intricate complexity.

"The Variable Man" (1952), The Collected Short Stories of Philip K. Dick, v.1: The Short Happy Life of the Brown Oxford (1987)
Контексте: Can any of us fix anything? No. None of us can do that. We're specialized. Each one of us has his own line, his own work. I understand my work, you understand yours. The tendency in evolution is toward greater and greater specialization. Man's society is an ecology that forces adaptation to it. Continued complexity makes it impossible for us to know anything outside our own personal field — I can't follow the work of the man sitting at the next desk over from me. Too much knowledge has piled up in each field. And there are too many fields.

VALIS (1981)
Контексте: To fight the Empire is to be infected by its derangement … Whoever defeats the Empire becomes the Empire; it proliferates like a virus … thereby it becomes its enemies.

Story notes for The Golden Man (1953), in the short story anthology The Golden Man (1980)
Контексте: Here I am saying that mutants are dangerous to us ordinaries, a view which John W. Campbell, Jr. deplored. We were supposed to view them as our leaders. But I always felt uneasy as to how they would view us. I mean, maybe they wouldn't want to lead us. Maybe from their superevolved lofty level we wouldn't seem worth leading. Anyhow, even if they agreed to lead us, I felt uneasy as where we would wind up going. It might have something to do with buildings marked SHOWERS but which really weren't.

As quoted in "Vertex Interviews Philip K. Dick" by Arthur Byron Cover, in Vertex, Vol. 1, no. 6 (February 1974) http://2010philipkdickfans.philipkdickfans.com/frank/vertexin.htm
Контексте: I started reading SF when I was about twelve and I read all I could, so any author who was writing about that time, I read. But there's no doubt who got me off originally and that was A. E. van Vogt. There was in van Vogt's writing a mysterious quality, and this was especially true in The World of Null A. All the parts of that book did not add up; all the ingredients did not make a coherency. Now some people are put off by that. They think that's sloppy and wrong, but the thing that fascinated me so much was that this resembled reality more than anybody else's writing inside or outside science fiction. … reality really is a mess, and yet it's exciting. The basic thing is, how frightened are you of chaos? And how happy are you with order? Van Vogt influenced me so much because he made me appreciate a mysterious chaotic quality in the universe which is not to be feared.

VALIS (1981)
Контексте: We hypostasize information into objects. Rearrangement of objects is change in the content of the information; the message has changed. This is a language which we have lost the ability to read. We ourselves are a part of this language; changes in us are changes in the content of the information. We ourselves are information-rich; information enters us, is processed and is then projected outwards once more, now in an altered form. We are not aware that we are doing this, that in fact this is all we are doing.

Introduction to The Golden Man (1980)
Контексте: 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.

VALIS (1981)
Контексте: For each person there is a sentence — a series of words — which has the power to destroy him … another sentence exists, another series of words, which will heal the person. If you're lucky you will get the second; but you can be certain of getting the first: that is the way it works. On their own, without training, individuals know how to deal out the lethal sentence, but training is required to deal out the second.

Introduction to The Golden Man (1980)
Контексте: 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.

The Golden Man (1954)
Контексте: Cris didn't want to play. He never played. He was off in a world of his own, a world into which none of them could come. He never joined in anything, games or chores or family activities. He was by himself always. Remote, detached, aloof. Seeing past everyone and everything — that is, until all at once something clicked and he momentarily rephased, reentered their world briefly.