Podlesny, Damian. "Utopias Turned Sour: A Study of Philip K. Dick's Dystopias." US American Expressions of Utopian and Dystopian Visions. Ed. Saskia Fürst, Yvonne Kaisinger, and Ralph J. Poole. Vienna: LIT Verlag, 2017. 161-174. ISBN 978-3-643-90931-2 (pb). Utopias Turned Sour: A Study of Philip K. Dick's Science Fiction Dystopias

Damian Podlesny

Chad Walsh announced the gradual but imminent decline of utopian fiction in 1962, stressing that "most 20th century writers who care to speculate about possible societies seem to have lost their utopian dreams" (16). The decline of utopia and the rise of its "nightmare cousin" (15) is strikingly, but perhaps not surprisingly, parallel to the history of the strangely surrealist 20th century. The 20th and 2! 51 centuries have seen an immense production of imaginary societies. The overwhelming majority are negative utopias or dystopias; some of them have the luck to have appeared in hard cover, most of them were published in cheesy covers of pulp Science Fiction paperbacks or cheap Science Fiction magazines, where they went out of print never having reached wider readership. Still among these 'trashy' fantasies many works exist that are worth deeper analysis, as they propose ideas powerfully plausible; and what is more important, because they try to give answers to the questions which mankind has asked for a long time: 'Where do we come from? Wl1ere are we heading?' The early prose of Philip K. Dick, whose oeuvre has never been easy to classify or label, belongs to the tradition of dystopian Science Fiction. Dick projects his societies into the future (usually not too distant) and invents amazing forms of the 'perfect' means of governing societies. However these inventions always tum more or less sour and the utopia subtly shifts toward dystopia or in extreme cases absolute paranoia. Thus this chapter analyzes the elements of dystopian Science Fiction in Dick's early short stories and novels, presenting how the utopias go wrong and how easy it is to sabotage the ideas that initially appear to be innocent idealistic concepts. Science Fiction in part is a direct descendant of utopian and dystopian traditions and speculation is the tour de force of the genre. Dystopias in general reveal the rigidity and over-ratiocination of the utopian concept; 162 DAMIAN POOi.ES Y they ridicule a somewhat mechanistic vi ion of society and the individual. Dystopian Science Fiction focuses mostly on alternative structures as such using them as a warning, a sort of future projection of the "ultimate maladies to be expected from the extension of a scientist or collectivist ethos" (Aldridge 66). It is however extremely difficult to make hard and fast distinctions among certain types of utopias, dystopias, and Science Fiction, as they overlap in many areas. One may argue that George Orwell's 1984, Aldous Huxley's Brave New World, or Yevgeny Zamyatin 's We belong to the tradition of Science Fiction, but they would rather fall into a category of the 'anti-scientistic' dystopias (Aldridge 66), where society is ordered according to instrumental values and on the assumption that people are standardized and manageable. Robert Scholes and Eric S. Rabkin provide a more precise division of

at least two distinct strands of dystopian fiction. One which considers more fully what Wells called 'human ecology' and is central to science; and another, more purely political, which is less concerned with scientific development and the impact of technology on man, and more inlerested in making concrete certain tendencies in political thought. (34-5)

In the age of technology it is only natural that dystopias have become more preoccupied with the use of technology; fittingly dystopian Science Fiction has always been skeptical about the application of scientific development. Scholes and Rabkin stress that it is "the tendency among later British and American writers of dystopian fictions to assume that technological and biological processes have extended beyond governmental control and will effectively shape human life regardless of the nominal system of government" (35). Dystopian Science Fiction then does not focus on an activated and thus corrupted version of utopia; its central theme is actually the destrnctiveness and the maleficent impact of science and technology on society (Aldridge 67). The novels and sho1t stories discussed in this chapter all come from the early stage of Dick's career. They deal with the problem of mechanical devices that have started thinking independently and eventually go amiss. Dick's fear of the mechanization of human life is clearly discernible, but what seems most fearsome is how Dick sees the threat that artificial intelligence poses. Vulcan's Hammer, "Second Philip K. Dick's Science Fiction Dystopias 163

Variety," "The Defenders," and "Autofac" represent the notion that an artificial brain is unable to empathize, and that once it becomes independent it will strive to eliminate all inconsistencies and illogicalities, thus trying to limit or even eradicate human life. Dick's stories swarm with interesting technological innovations; his wonders of teclrnology are not much more imaginative than those of many other Science Fiction writers, it is Dick's crooked imagination, as far as the implementation of those ingenuities is concerned that makes the difference. Usually technology is not implemented as means to secure a breakthrough in society's development; rather it is introduced to improve the operation of existing practices. Dick leaves no place forideal ism; it is the struggle for profit and power that gives bi11h to such systems of corrupt and business-infiltrated governments. For example in "Minority Report" (1956), the Police apparatus is aided by an elaborate facility that makes use of tlu·ee clairvoyants foreseeing future or possible crimes. Yet the supposedly unbiased and incorruptible system may also become corrupted as the machines have adopted terrifyingly human traits such as self-awareness, will of self-preservation, guile, or paranoia. As a result, Dick's seemingly utopian mechanical devices serve the authorities to keep society under control, thus becoming dystopias, which warrants the label dystopian Science Fiction forhis early work.

Dick's Early Oeuvre as Dystopian Science Fiction

[n the shol1 story "Second Variety" (1953), which evidently is Cold-War paranoia, the fighting is ca1Tied out by robots, which leaves humans as irrelevant bystanders at best or collateral damage at worst. Robots, here named claws, 1 have evolved to a point where it is impossible to discern if a person is a machine or a man. In underground factories, robots devise newer varieties in order to fool the enemy. Variety I is a wounded soldier appealing to the feeling of charity and compassion in people, only to brutally annihilate his opponents. Variety Ill is a young, innocent boy, a killer kid, which provides a horrific touch to the story, especially when a whole army of them marches towards enemy positions. There is a

1 The same motif is used in Dick's time-travel fantasy "Jon's World" where the claws eventually wipe out nearly the entire human population. 164 DAMIAN PODLESNY profound feeling that humans have eventually been 'outevolved' by their creations. Every single element of imminent human catastrophe however stems, with the cold brutal logic of a machine, from the original assignment of defeating the enemy. In this way, the utopian dream of creating an army that could annihilate the enemy without any damage to humans crumbles dramatically as the mechanization of warfare, i1Tespective of intentions, inadvertently leads to the inescapable destruction of mankind. A morbidly cynical twist is given to this theme in the short story "The Defenders" ( 1953), where the warring humans are forced to move underground into huge 'tanks,' leaving the robots to continue the war on the evidently radio-active surface. This time, as the robots' main credo is to serve their creators, the robot logic assumes that war is antithetical to human wellbeing and, as a consequence, the machines decide to stop the war, repair the damage, and wait until humans lose their hatred and obsessions. The robots understand that this will take time, so they decide to keep the entire human population misled until the war craze ends. With this in mind, they report continuous nuclear fighting on the dead, barren surface while at the same time preparing an ideal envirnnment for human life. This time it is the logic-driven machine that realizes the downright stupidity of senseless war. This is one of the few stories where Dick finishes on a hopeful note, but at the same time, the utopian vision is attributed not to humans but to robots. Although such denouement contradicts the overall tone of the writer's early fiction, the story proves Dick's belief that human beings are not able to create a truly utopian society, no matter what technological means they might posses. Another striking example of robot technology possessing utopian capacity, but implemented for the wrong purposes, is found in the story "Autofac" ( 1955). A homeostatic factory set up during an apocalyptic war continues its production of now useless goods even after the war decimated the population. The factory is one more projection of utopian thought: a fully automated plant which assesses demands, collects raw materials, and distributes finished products. Moreover it sends out robot representatives and repairmen to deal with complaints. Human beings are free from work routines and everything is taken care of by machines. One problem which arises is the lack of demand because of the destructive war-there are hardly any (human) consumers left. Another complication Philip K. Dick's Science Fiction Dystopias 165 is that the factory maintains a total monopoly of the raw materials, leaving nothing forthe remnants of the human race that would rather use the natural resources for different purposes. Consequently die humans face an insurmountable problem: How does one stop automation once it is no longer needed? In this short story Dick suggests that this task is not easy. The factories, just like the claws in "Second Variety," have acquired an instinct for survival; they are fortress-like and protect their operations.2 In the end, when the factory is almost demolished, it spurts out metallic 'seeds' that will later develop into new, 'adult' Autofacs. The story can be understood as an allegory forthe situation of modem society, in which consumers are provided with goods by an efficient system of production and advertising which promises to supply everything to them, making them dependent on the distribution system. ln this manner, as Christopher Palmer notes, "customers are infantilized" (164) because to a degree they behave childishly and are easy to manipulate. The dystopian vision thus is linked to an image of society that is powerless and vulnerable to manipulation because too much power has been entrusted to technological contraptions. Another dystopian vision of a future society is represented in The Man Who Japed ( 1956), which belongs to the lesser discussed novels of Dick. Nonetheless the technological 'enhancement' of this quasi-utopian society is an interesting element deserving at least brief comment. The society is based on a pseudo-utopian ideology of Moree (Moral Reclamation). Moree is founded as a reaction to life in the 20th century, called "the Age of Waste," which is commonly believed to have been a period of material luxury and pursuit of wealdi that eventually led to nuclear war. ln contrast in the society of Moree, everything is functional, nothing is wasted. People live in huge "blocks," in one room apartments with changing functions depending on the time of day.3 Moree regulates

2 Dick maintained that the story germinated from an idea that "if factories became fully automated they might begin to show the instinct for survival which organic living entities have [ ... ] and perhaps develop similar solutions" ("Afterword" 243). 3 Dick stresses that he based his critique on governments' role as moral policemen due to the nature and structure of Chinese communism (Rickman 97). It is fairly easy to see that the roots of the satire are based in US society, which 166 DAMIAN PODLESNY individual morality through compulsory meetings ("block meetings"), in which the inhabitants of a particular "block" deal with accusations of lapses in puritanical conformity. What is interesting is the way the evidence is gathered. The task of spying on people is entrusted to robots. Small mobile robots called juveniles, collect evidence of moral delinquency and are a striking manifestation of utopian justice. The robots in this story, as they are only primitive machines, have no feelings, which enables them to collect data without any emotional bias.

There was something sinister in these metal informers, but there was also something heartening. The juveniles did not accuse; they only reported what they heard and saw. They couldn't color their information and they couldn't make it up. Since the victim was indicted mechanically he was safe from hysterical hearsay from malice and paranoia[ ... ]. The victim couldn't protest that he had been unjustly accused, all he could protest was his bad luck at having been overheard. (The Man WhoJaped 45)

While it may be a comfo1iing idea to have an unbiased witness of the infractions against the moral code, there is one significant contradiction in this situation: What kind of utopian society is founded on the propriety of spying? The juveniles then are just a physical, mechanical extension of the regime that uses them to purpo1i its authority. The "block meetings" are also devoid of any possibility of human emotion and are performed with the use of a complicated system, transforming the rebukes into a monotonous impersonal synthetic voice transmitted into loudspeakers. "To preserve an aura of justice, questions were piped through a common channel, broken down and reassembled without characteristic timbre" (46). The result of this process is an "ideal," impersonal accuser. The meetings suggest a fully democratic cou1iroom procedure, totally isolated from personalities, and thus can be considered utopian. However they are used to maintain the stan1s quo of a police state, to reinforce the conformity of society. Therefore the utopian elements in The Man Who Japed intrude on people's privacy and freedom. This is Dick's sinister and sardonic vision of utopia. In fact the has a long history of repression in the name of morality, from the Puritans to the Moral Majority of the 1980s. Philip K. Dick's Science Fiction Dystopias 167 mechanization and dehumanization of the surveillance system just perpetuates the existence of the power apparatus, which, in an Orwellian fashion, controls and manipulates the only seemingly free society. The mechanized devices play a very important role in this dystopian vision of the future, as they epitomize humans' enslavement and dependence on the totalitarian state. Similarly Vulcan's Hammer represents a determined effort to create a strikingly rational mode of social organization that would be beyond clashing interests and power struggles. In I 960 Ace published Vulcan's Hammer, which is generally thought to represent a drastic "falling offin literary skill after the breakthroughs of Eye in !he Sky and Time oul of Join!'' (Mackey 29). Even in Dick's weakest fiction, some brilliant ideas can be found. In much of his work, catastrophic war is only a starting point. Having learnt their lesson in the novel, people try to organize their society differently so that no further apocalypse is possible. A system is proposed, in which all nations of the world agree

to subordinate themselves in a realistic manner-not in the idealistic fashion of the UN days-to a common supranational authority, for the good of all mankind. Something drastic had to be done.[ ... ] Something, some ultimate principle of organization, was needed. [ ... ] Law, which no men or nations could break. Guardians were needed. But who would watch the Guardians? How could we be sure this supranational body would be free of the hate and bias, the animal passion that had set man against man throughout centuries? Wouldn't this body, like all other man-made bodies, fall heir to the same vices, the same feelings of interest over reason, emotion over logic? There was one answer. For years we had been using computers [ ... ] [they] were free of the poisonous bias of self-interest and feeling that gnawed at man; they were capable of perfonning the objective calculations that for man would remain only an ideal, never a reality. (Vulcan's Hammer 19)

Under these circumstances a huge computer is created-Vulcan. Vulcan is completely isolated from any human being apai1 from the Managing Director of the Unity (the leader of the world government), who provides it with specific data in order to enable Vulcan to make unbiased decisions. The narrative starts with the third "incarnation" of the machine to which humanity has acceded absolute power over the fateof the world. 168 DAMIAN PODLESNY

Again it "reeks of utopian logic" (Abrash I 19), but as the computer is programmed to create policies, its main preoccupation becomes its survival as the power center. Therefore Vulcan creates deadly extensions of itself, the nying robots-'hammers'-that are to collect data which human leaders are withholding fromit. The 'hammers' continually spy on everybody and methodically slay anybody who is perceived as a threat to the system. In a jaded evolution of Dick's early oeuvre, the killer robots, from for example "Second Variety," have been replaced by killing computers. Dick further intrnduces a popular anti-technological movement (the Healers), whose aim is to destroy Vulcan 3; ironically the organization has been initiated and organized by Vulcan 2, as Vulcan 3 is a threat to the existence of the former (Vulcan 2). Once again machines adopt human characteristics which leads to easily predictable outcomes.

We humans-god damn it, [ ... ] we were pawns of those two things. They played us offagainst one another, like inanimate pieces. The things became alive and the living organisms were reduced to things. Everything was turned inside out, like some terrible morbid view of reality. (Vulcan's Hammer IO I)

The role of man in this novel is once again minor, to say the least. People are disposable; they are mere puppets in the hands of the all-controlling, manipulative machine (Vulcan 2), whose only aim is to restore its former role as the center of power. Vulcans in a way resemble another merciless (if we can say this about a machine which, in theory at least, is devoid of feelings) killer computer,4 the famous HAL from 2001: A Space Odyssey. Both are manifestations of "the disembodied intellect becoming self-aware and pre-empting the unmechanical wisdom of the feelings" (Mackey 30). Such manifestation of a machine might serve as a metaphor for the

4 The image of a giant, omnipotent computer is no doubt a popular subject in Science Fiction. Stanislaw Lem gave it a humorous twist in Go/em XIV, in which a super intelligent computer was built for military purposes. However the constructors did not take nature into consideration, as any creature with a high degree of intelligence would naturally oppose violence and war. This is exactly what happens with the super computer, which begins philosophizing instead of generating military strategies and spreading warfare. Philip K. Dick's Science Fiction Dystopias 169 inevitable failure of integrating the in-ational emotional aspect of a human's personality with the logical rational of a mechanical machine. The effect is an extremely pervasive paranoia, "the ultimate ho1Tor for our paranoid culture" (Vulcan's Hammer I 00). Vulcan's Hammer, despite its many shortcomings, is a powerful critique of the totalitarian system, and the literal image is a metaphor forthe opposite process-man driven by his paranoid hunger for power becomes a machine, a machine that kills in cold blood and with no remorse.

Dystopian Apprnacbes to Education and Raising Children

The machine that would kill on behalf of humans has become frightfully real, but the knowledge to build it and the skill to control it comes from an ideal educational system, which is another one of the many utopian dreams. Education plays a crucial role in shaping the future of society. The attempts to find an ideal system of education have been numerous in the history of mankind and no doubt there will be more. Dick has his own way with education. Although it does not seem to be of paramount importance in his fiction, he does recognize the significance of education in shaping a young person's personality. On numerous occasions, Dick's societies entrust the role of educators to different mechanical devices. Jn his earlier story "Progeny" ( I 952), Dick draws a frightful picture concerning the issue of education and raising children. The problem is that being educated and raised by automated teachers that lack basic feelingsand emotions results in the children also lacking these qualities. The hero of the short story hun-ies back from a distant solar system to Earth to witness the birth of his child. Unfortunately he just misses the moment his son comes to this world. He has been away for a long time, so he is as shocked as the reader when confronted with the unemotional approach to what has always been an extremely emotional moment in everybody's life. To the father's shock, the whole personnel of the hospital consists of robots; even the doctor responsible for the delivery is a robot.

Ed realized with a sudden shock that the doctor was a robot. A top level robot, made in humanoid fonn [ ... ], Doctor Bish appeared plump and well fed, with kindly features and eyeglasses. His large fleshy hands rested on the 170 DAMIAN PODLESNY

desk, a ring on one finger. Pinstripe suit and necktie. Diamond tie clasp. Nails carefully manicured. Hair black and evenly parted ( ... ] it was very convincing. ("Progeny" 94)

This is one of the first examples of near-perfect androids in Dick's oeuvre, and its perfection, the meticulous attention to detail with which the androids were constructed, makes them scary. Even scarier is the apparently utopian system of raising children. Parents are not allowed to even touch the newborn baby, who is instantly carried away for medical examination including brain scans to determine the level of intelligence. To avoid any emotional warp, parents are not allowed to take their progeny home until they are fully shaped emotionally, which means eighteen years old. As Ed's wife claims, "They've found so many things they didn't know. They're making progress, for the first time. They know what to do. They're developing a real methodology for dealing with children. For the growth period. Attitude development. Training" (97). Dick thus draws a morbid picture of humans accepting the automated system, even praising its achievements. Depriving humans of all feelings and emotions whatsoever seems to be the way to tackle all the evil in this world. However the result of this development would be a frightful society of unfeeling individuals, which appears to be an idea that d1e author warns us of. After leaving the hospital, a child goes to a child guidance center where s/he is tested and studied to determine her/his various capacities and abilities. Then the child is transferred to the proper educational division, where 'they' make sure s/he receives the appropriate education for her/his detern1ined abilities and is educated correctly, having been given ability tests. When the child is nine, s/he is moved to a Research Station to pursue the career s/he is best suited for. A child does not exist for the parents, s/he is an independent being, and all the steps are taken to secure the proper personality development, without conflicts, without any possibility of neurosis or psychological damage. Robots do the job perfectly, based on rational and scienti fie techniques, and not on the emotional whims of a human educator or parent: No family quarrels, no yelling or physical abuse, no complexes. Would that be the perfect educational system? Dick's answer is negative; the outcome of the process is a machine. Ed is allowed to meet his boy when he is nine, but Philip K. Dick's Science Fiction Dystopias 171

the obvious shock of meeting one's parent does not occur. Pete, with robotic, mechanical coolness, asks questions and gives answers. There are no emotions in the boy, the only thing he notices about his father is the "distinct bias through everything he said and did. A distortion present, virtually unifom1'' ( 106). As Pete converses with Dr. Bish, it appears that both of them are robots, not just the doctor. Dick, on the one hand, blames human emotionalism for all the evils of the world. On the other, he shows a distinct, warm appreciation of what makes us human. Creating an educational system based on robots as teachers without physical and emotional contacts with parents would result in a race which possibly would strive fora common good without prejudices, hatred, and phobias but also without empathy, love, and pity.

Conclusion

Looking at Dick's stories from the 1950s and I 960s, it can be detem1ined that he had a grim vision of the future and did not put much hope in the technological development of humankind. The basic message conveyed in his dystopian Science Fiction is that it is human nature to spoil things no matter how perfect they appear initially. The driving force behind societies is the desire for power and wealth, which normally results in war and paranoia. All the mechanical and technological devices and all social conceptions only perpetuate existing social patterns. Dick uses seemingly utopian devices to deconstruct the common belief that rapid growth of sophisticated technology is a way to secure prosperity and peace. What is especially interesting in Dick's dystopias is the fact that, in contrast to typical dystopian Science Fiction, he is not interested in the motives for conflict or war. He is certain those motifs are always the same and that they are part of human nature. or does he elaborate on the 'ecological' aspect of industrial and technological progress, which in many dystopias is the sole cause of the apocalypse. Rather Dick uses robots or other instances of artificial intelligence as a counterbalance to emotional and irrational humans while, at the same time, being a menace in their perfection and cold logic. Robots may provide a 'sane' perspective, but generally they are as fallible as the society they have become a part of, even though they are supposed to lack emotion. 172 DAMIAN PODLESNY

Furthermore Dick shows how technological achievements, if erroneously implemented, even with absolutely honest intentions, can warp the everyday lives of ordinary citizens. Afterall it is the struggle for power that facilitates development in strategic areas of daily life. At no point though is Dick a typical dystopian Science Fiction writer merely trying to warn about the possible apocalyptic outcomes of meddling with nature or the blind trust in technological development. He takes it for granted that doom is imminent. Apocalypse provides the starting point for his extrapolations, which goes along with Peter Freese's argument that "truly apocalyptic literature is never interested in the end only but always searches for new beginnings" ( 17). In addition Dick's dystopian Science Fiction is his version of a philosophical treatise disguised as Science Fiction. He uses various paraphernalia we associate with the genre, yet his stories are not to be read and understood literally. The message is usually hidden beneath layers of paranoia, madness, deception, and distortion. Dick's 'utopias turned dystopias' are not just warnings of the future, they actually expose the condition humanity has found itself in. The mechanical can no longer be distinguished from the human, which leads to the juxtaposition of both concepts and blurs the boundaries between the genuine and the artificial. When mechanical devices adopt human qualities, they simply become reflections of ourselves, mirroring the vices and imperfectionsof the human race.

Works Cited

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