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In The Novels of Philip K. Dick, Kim Stanley Robinson says that "In Milton Lumky Territory . . . is probably the best of Dick's realist novels aside from Confessions of a Crap Artist," and calls it a "bitter indictment of the effects of capitalism." Dick, on the other hand, in his forward, says "This is actually a very funny book, and a good one, too." Milton Lumky territory is both an area of the western USA and a psychic terrain: the world and world-view of the traveling salesman. The story takes place in Boise, Idaho, with some extraordinary long-distance driving sequences in which our hero (young Bruce Stevens) drives from Boise to San Francisco, to Reno, to Pocatello, to Seattle, and back to Boise in search of a good deal on some wholesale typewriters. He falls under the spell of an attractive older woman, and of Milton Lumky, a middle-aged paper salesman whose territory is the Northwest. And then Bruce and the others slowly sink into the whirlpool of Bruce's immature personal obsessions and misperceptions. A compassionate and ironic portrayal of three characters enmeshed in a sticky web of everyday events, who have a basic failure to communicate, In Milton Lumky Territory stands out among Dick's early works.
Stuart Hadley is a young radio electronics salesman in early 1950s Oakland, California. He has what many would consider the ideal life; a nice house, a pretty wife, a decent job with prospects for advancement, but he still feels unfulfilled; something is missing from his life. Hadley is an angry young man—an artist, a dreamer, a screw-up. He tries to fill his void first with drinking, and sex, and then with religious fanaticism, but nothing seems to be working, and it is driving him crazy. He reacts to the love of his wife and the kindness of his employer with anxiety and fear. One of the earliest books that Dick ever wrote, and the only novel that has never been published, Voices from the Street is the story of Hadley's descent into depression and madness, and out the other side. Most known in his lifetime as a science fiction writer, Philip K. Dick is growing in reputation as an American writer whose powerful vision is an ironic reflection of the present. This novel completes the publication of his canon. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Written in the late 1950s but unpublished until after his death, this is one of Dick's greatest realistic novels When Roger and Virginia Lindhal enroll their son Gregg in Mrs Alt's Los Padres Valley School in the mountains of Southern California, their marriage is already in deep trouble. Then the Lindhals meet Chic and Liz Bonner, whose two sons also board at Mrs Alt's school. The meeting is a catalyst for a complicated series of emotions and traumas, set against the backdrop of suburban Los Angeles in the early 1950s. As Roger, Virginia, Chic and Liz orbit each other in ever-decaying circles, their lives threaten to run out of control. This is a realistic novel filled with details of everyday life and skilfully told from three points of view. It is powerful, eloquent, and gripping. Winner of both the HUGO and JOHN W. CAMPBELL AWARDs for BEST NOVEL, Philip K. Dick is widely regarded as the premiere science fiction writer of his day. The object of cult-like adoration from his legions of fans, Philip K. Dick has come to be seen in a literary light that defies classification in much the same way as Borges and Calvino. With breathtaking insight, he utilizes vividly unfamiliar worlds to evoke the hauntingly and hilariously familiar in our society and ourselves.
A kind of pulp-fiction Kafka ("New York Times"), this work stands out among Dick's early works. "In Milton Lumky Territory" is a compassionate and ironic portrayal of three characters enmeshed in a sticky web of everyday events, with a basic failure to communicate.
Small town America tears itself apart in this realist novel from one of the greats of science fiction Leo Runcible - of Runcible Realty - is too excitable and too pushy. His wife drinks too much. He may be a man of principle, but Liberal Jewish Leo is an outsider in the lilywhite Carquinez, Marin County. When he gets into a pointless argument with a customer over his neighbour Walt Dombrosio's house guests, the resulting ramifications follow a bizarre logic of cause and effect to lead in entirely unexpected directions ... And can Leo really have found the skull of a Neanderthal man in middle America? THE MAN WHOSE TEETH WERE ALL EXACTLY ALIKE is a dazzling novel by a writer famous for his power to surprise and delight.
Set in the San Francisco Bay area in the late 1950s, Humpty Dumpty in Oakland is a tragicomedy of misunderstandings among used car dealers and real-estate salesmen: the small-time, struggling individuals for whom Philip K. Dick always reserved his greatest sympathy. Jim Fergesson, an elderly garage owner with a heart condition, is about to sell up and retire; Al Miller is a somewhat feckless mechanic who sublets part of Jim's lot and finds his livelihood threatened by the decision to sell; Chris Harman is a record company owner who for years has relied on Fergesson to maintain his cars. When Harman hears of Fergesson's impending retirement he tips him off to what he says is a cast-iron business proposition: a development in nearby Marin County with an opening for a garage. Al Miller, though, is convinced that Harman is a crook, out to fleece Fergesson of his life's savings. As much as he resents Fergesson he can't bear to see that happen and - denying to himself all the time what he is doing - he sets out to thwart Harman.
Jack Isidore is a 'crap artist', a collector of crackpot ideas and worthless objects. His beliefs make him a man apparently unsuited for real life and so his sister, an edgy and aggressive woman, and his brother-in-law, a crass and foul-mouthed businessman, feel compelled to rescue him from it. But, observed through Jack's murderously innocent gaze, Fay and Charley Hume are seen to be just as obsessed as Jack. Their obsessions may be a little more acceptable than Jack's but they are uglier. And, in the end and thanks to Jack's intervention, theirs lead to tragedy ...
Thirteen short stories by the legendary author of The Man in the High Castle and other science fiction classics. Philip K. Dick didn’t predict the future―he summoned the desperate bleakness of our present directly from his fevered paranoia. Dick didn’t predict the Internet or iPhones or email or 3D printers, but rather he so thoroughly understood human nature that he could already see, even at the advent of the transistor, the way technology would alienate us from each other and from ourselves. He could see us isolated and drifting in our own private realities even before we had plugged in our ear buds. He could see, even in the earliest days of space exploration, how much of our own existence remained unexplored, and how the great black spaces between people were growing even as our universe was shrinking. Philip K. Dick spent his first three years as a science fiction author writing shorter fiction, and in his lifetime he composed almost 150 short stories, many of which have gone on to be adapted into (slightly watered down) Hollywood blockbusters. Collected here are thirteen of his most Dickian tales, funhouse realities with trap doors and hidden compartments.
Three American workers are left behind in China by their employer, biding their time in an abandoned factory as the communists approach. As they while away the days, both the young and naive Carl Fitter and the older, worldly Verne Tildon vie for the affections of Barbara Mahler, a woman who may not be as tough as she acts. But Carl's innocence and Verne's boorishness might drive Barbara away from both of them.
This is a study of the material life of information and its devices; of electronic waste in its physical and electronic incarnations; a cultural and material mapping of the spaces where electronics in the form of both hardware and information accumulate, break down, or are stowed away. Where other studies have addressed "digital" technology through a focus on its immateriality or virtual qualities, Gabrys traces the material, spatial, cultural and political infrastructures that enable the emergence and dissolution of these technologies. In the course of her book, she explores five interrelated "spaces" where electronics fall apart: from Silicon Valley to Nasdaq, from containers bound for China to museums and archives that preserve obsolete electronics as cultural artifacts, to the landfill as material repository. Digital Rubbish: A Natural History of Electronics describes the materiality of electronics from a unique perspective, examining the multiple forms of waste that electronics create as evidence of the resources, labor, and imaginaries that are bundled into these machines. Ranging across studies of media and technology, as well as environments, geography, and design, Jennifer Gabrys draws together the far-reaching material and cultural processes that enable the making and breaking of these technologies.