On Philip K. Dick and the pull of the “mainstream”
Sunday, February 4th, 2007
Some teachers of writing disdain genre writing. I’m not one of them.
I’m not one of them because it would be hypocritical of me as a consumer of comic books, pulp novels, the occasional horror or science fiction or Western novel, to turn up a nose at genre. Samuel Beckett spent his idle hours reading detective novels, so who would I be to judge? Turn up a nose at badly written genre? Sure. But because of what it is? No. In some way, to do so seems close to racism: prejudging books by their packaging.
I’m also not someone who disdains genre because I don’t know where to draw the line. Is “The Road” a horror novel, a science fiction novel, or literature? (All three.) How about some of Nathaniel Hawthorne’s short stories? Was Edgar Allan Poe a “genre” writer? And wasn’t “The Turn of the Screw” a gothic horror novella?
Toward the end of his lifetime, Philip K. Dick found the mainstream — i.e., the mainstream of popular readers. He found it because the film version of “Do Androids Dream of Electric Sheep” (“Blade Runner”) brought attention to his work. What he didn’t find was literary acclamation, and the people who hold the reins on that call it “mainstream.” It isn’t. It is the niche (literary readers) of a niche (book readers). (Proof is the LA Times’ lack of a link to the Book Review section.)
Today’s L.A. Times includes a fine review of Dick’s recently published but 54-year-old novel “Voices From the Street.” (The link may require registration.) Reading between the lines, the book doesn’t sound particularly well-written or well-paced. (Years ago I blithely commented to good friend and mentor Rich Roesberg that “nobody reads Philip K. Dick for the prose.” Rich later told me he didn’t know what I meant until the next time he picked up a Dick novel and saw exactly what I meant.) As a longtime admirer of Dick’s themes and obsessions (if not always the word choices in its execution) I will probably read this book; I doubt it is the masterpiece that I still believe “Confessions of a Crap Artist” to be, but I hope it’s at least as entertaining as the meandering but nonetheless gripping “Mary and the Giant,” long out of print and which I was fortunate to discover in a second-hand book shop in Utah (!) for eight dollars.
The photo in today’s Book Review shows Dick seated cross-legged holding a copy of “Flow My Tears, the Policeman Said,” not one of his best novels. The front of each of his shoes reveals a wide hole along the bottom. I think Dick’s attraction to the literary mainstream was one of class, but also one of cash. (There is an apocryphal story of Dick ordering horsemeat for his dog only to ingest it himself.) We live in an age of wonderful irony, only the latest being this: In 2007, it is overall the genre writers with lucrative writing careers and the literary writers who scrabble to make ends meet. Philip K. Dick, in being ahead of so many in his own time, died too soon to enjoy the benefits of the true mainstream.
Here’s the AP story about the accident supposedly behind
This topic was much on my mind as I left a meeting later that day in Santa Monica that was 22 miles from my office. I left the meeting at 3:20 and 70 minutes later had made only 3.7 miles of headway. (Mind you, I was driving — not walking. Walking would have been faster. Clearly.) Finally, having exhausted phone calls to friends, relatives, and strangers, and having triple-checked my email on my Treo, and having no further interest in being boxed in on all sides by other frustrated people, I pulled into the Westfield Century City mall to go see a movie. And of course the movie that was starting immediately was:
I left the light entertainment of “Children of Men” glad for having seen it — glad in the way one is “glad” for having seen Picasso’s “Guernica” (which of course is visually referenced in the film, as is the cover of the Pink Floyd album “Animals,” for reasons that elude me). It was disturbing, surprising and gut-wrenching — precisely like sitting boxed in in L.A. traffic, but less so. I was happy to have made better use of my time. I rode the escalator down, got into my car, exited onto Santa Monica Boulevard —
Whatever happens, it’s clear that we’re entering a period where great fissures are forming in our civilization. Robert Kaplan wrote about this in 2000 in his book 
Is the actor doing this for purposes of exploitation? No, to play the troubled young man in