As everyone knows, Philip K. Dick wrote several non-science-ficition novels in his life. He had hoped to make a career in “mainstream” writing but never quite escaped his branding as a science-fiction pulp writer. Thankfully these novels that he wrote have been published. The division between his science-fiction and “mainstream” work is dubious. Many of his science fiction tales deal with mundane questions of marriage, work, and politics. This is why his work always seems so familiar to us. Eye in the Sky is set fully in this world. Most of Time Out of Joint is set in a familiar world. Even publishers fail to make the distinction, perhaps for marketing purposes. In the Vintage publication of his work, Confessions of a Crap Artist, is labelled as Fiction/Science Fiction.
In Confessions of a Crap Artist: A Chronicle of Verified Scientific Fact, 1945-1959 we are confronted with the adaptability of the apparently insane and the real insanity of the apparently rational bourgeois relationship. As I brought up in my musings on Counter-Clock World, Dick was personally and artistically ambivalent about monogamy. Confessions of a Crap Artist is one of his several dissertations on this question, and perhaps the most fully developed. His argument, a balanced, scientific examination of a middle-class, suburban, typical marriage reveals that such a marriage can only be sustained by psychopathy.
The story begins by introducing us to the crap artist, Jack Isidore. Jack seems to have some mental illnesses, but if he is insane, many of us are. He is a collector of odd ideas, unverified scientific theories, and bizarre eschatologies. He is an admirable figure as an autodidact, but that led him to lack an objective teacher who can correct his heresies and delusions. One does not need to spend much time on the Internet to realize that we are all in dangers of falling into the excesses of autodidactism. Every bizarre theory now has its own wiki, internet community, and Facebook page. Is this an American perversion. It seems that Europeans were mostly capable of becoming secular without filling the gap left with religion by bizarre theories. In the United States, the religious are becoming nuttier and those who leave the religion of their birth often choose to become eclectic heretics grabbing a bit of New Age, deep ecology, Buddhism, and UFO cults. In a significant sub-plot to the novel, Jack meets Claudia Hambro, one of these Californian cultivators of New Age cosmologies. She and her group just borrow whatever craziness seems to work. Someone like Jack is open to these claims, lacking the filters created by a rational education. Here is part of Claudia’s message. “Over the house there was a huge blue light hanging, like cracking electric fire. I laid on the ground and that fire consumed me, from that spaceship. The whole house became a spaceship ready to go into space. . . . It’s the force that’s pulling us all together. Throughout the world. There’s groups forming everywhere. The message is the same: suffer and die to save the world. Christ was not suffering for our sings, he was suffering to show us the way. We all have to suffer. We all have to ascend the cross to gain eternal life, each in his own way. Christ was from another planet. From a more evolved race.”
It is not just Americans. We find this craziness around the world.
And do not take it the wrong way. “Loving Hut” is my favorite vegan restaurant in Taiwan (my new home), but these people are nuts.
Jack move into the home of his sister and brother-in-law, Charley and Fay Hume. They have two kids, a nice home, and an ideal bourgeois marriage. In other words, they are completely insane. Virtually every interaction they have is framed in capitalist logic. They compete with each other for money, for friends, for connections, and for leadership. They are good friends with an academic couple Nat and Gwen Anteil. Both Charley and Fay assume the other is out to get them (and neither would be wrong). Their marriage exists only for the material benefit, image, and propriety. Charley has a heart-attack, which he immediately blames on Fay’s machinations. For what good is a bourgeois marriage without paranoia. He is not wrong to be a bit paranoid, Fay does take her husband’s hospitalization to seduce Nat Anteil. Why does she do it? Does she just want to break up the Anteil’s marriage? Does she want to revenge on Charley? Does he truly love Nat? Whatever her motives are, Dick is convinced that they are psychopathic. At one point, Fay suggests to Nat that if her husband would die, she would remarry Nat. Interestingly, Charley does not care about the affair when Jack brings it up (with a full scientific documentation). He does want to ruin Fay, however. This he finally achieves by killing himself and writing Fay out of half of the marriage property, giving it to Jack.
In all of this craziness, Nat seems to us to be the one character with authentic motives. He seems to truly fall in love with Fay. But when his internal monologue struggles with committing to the affair with Fay, we learn that he was attempting to express his autonomous will. “Then he asked himself why he was doing it. I have a really wonderful wife, he thought. And I like Charley Hume. And, he thought, Fay is married and has two children. Why, then? Because I want to, he decided.” While refreshing compared to the mind Jack, Charley, and Fay it is not much of an improvement. Why does Jack believe that sunlight has weight? Why does Claudia follow UFO cults? Why does Fay choose to torture her husband? Why does Charley kill himself? These are all expressions of the characters triumph over rationality.
In Confessions of a Crap Artist, Philip K. Dick is giving us a close look at the world of bourgeois liquid modernity. Like the worlds of his science fiction novels, this one contains flexible realities, dubious loyalties, false facades, and psychopathy instead of humanity.
It seems to me that there is evidence that Dick is assaulting a particular form of marriage, that he saw in suburban America of the 1950s. We are presented with a healthier, more natural, more rational, and more cooperative marriage with Nat and Gwen Anteil. When learning of the affair, Gwen does not seek revenge but approached the situation with objective rationality. They are not concerned with appearances to the level that the Humes are (their income could not allow it). Standing on a real education, they are also apparently immune from the crazy sub-cultures and heresies that infect Jack’s mind. Ultimately Dick is calling for relationships based on solidarity and love instead of social expectation, image, and wealth accumulation.