Notes

All notes in italics are by Philip K. Dick. The year when the note was written appears in parentheses following the note. Most of these notes were written as story notes for the collections THE BEST OF PHILIP K. DICK (published 1977) and THE GOLDEN MAN (published 1980). A few were written at the request of editors publishing or reprinting a PKD story in a book or magazine.

When there is a date following the name of a story, it is the date the manuscript of that story was first received by Dick's agent, per the records of the Scott Meredith Literary Agency. Absence of a date means no record is available. The name of a magazine followed by a month and year indicates the first published appearance of a story. An alternate name following a story indicates Dick's original name for the story, as shown in the agency records.

These five volumes include all of Philip K. Dick's short fiction, with the exception of short novels later published as or included in novels, childhood writings, and unpublished writings for which manuscripts have not been found. The stories are arranged as closely as possible in chronological order of composition; research for this chronology was done by Gregg Rickman and Paul Williams.

AUTOFAC 10/11/54. Galaxy, Nov 1955.

Tom Disch said of this story that it was one of the earliest ecology warnings in sf. What I had in mind in writing it, however, was the thought 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. (1976)

SERVICE CALL 10/11/54. Science Fiction Stories, July 1955.

When this story appeared many fans objected to it because of the negative attitude I expressed in it. But I was already beginning to suppose in my head the growing domination of machines over man, especially the machines we voluntarily surround ourselves with, which should, by logic, be the most harmless. I never assumed that some huge clanking monster would stride down Fifth Avenue, devouring New York; I always feared that my own TV set or iron or toaster would, in the privacy of my apartment, when no one else was around to help me, announce to me that they had taken over, and here was a list of rules I was to obey. I never like the idea of doing what a machine says. I hate having to salute something built in a factory. (Do you suppose all those White House tapes came out of the back of the President's head? And programmed him as to what he was to say and do?) (1976)

CAPTIVE MARKET 10/18/54. If, April 1955.

THE MOLD OF YANCY 10/18/54. If, Aug 1955.

Obviously, Yancy is based on President Eisenhower. During his reign we all were worrying about the man-in-the-gray-flannel-suit problem; we feared that the entire country was turning into one person and a whole lot of clones. (Although in those days the word "clone" was unknown to us.) I liked this story enough to use it as the basis for my novel THE PENULTIMATE TRUTH; in particular the part where everything the government tells you is a lie. I still like that part; I mean, I still believe it's so. Watergate, of course, bore the basic idea of this story out. (1978)

THE MINORITY REPORT 12/22/54. Fantastic Universe, Jan 1956.

RECALL MECHANISM. If, July 1959.

THE UNRECONSTRUCTED M 6/2/55. Science Fiction Stories, Jan 1957.

If the main theme throughout my writing is, "Can we consider the universe real, and if so, in what way?" my secondary theme would be, "Are we all humans?"Here a machine does not imitate a human being, but instead fakes evidence of a human being, a given human being. Fakery is a topic which absolutely fascinates me; I am convinced that anything can be faked, or anyhow evidence pointing to any given thing. Spurious clues can lead us to believe anything they want us to believe. There is really no theoretical upper limit to this. Once you have mentally opened the door to the reception of the notion of fake, you are ready to think yourself into another kind of reality entirely. It's a trip from which you never return. And, I think, a healthy trip… unless you take it too seriously. (1978)

EXPLORERS WE 5/6/58. Fantasy & Science Fiction, Jan 1959.

WAR GAME ("Diversion") 10/31/58. Galaxy, Dec 1959.

IF THERE WERE NO BENNY CEMOLI ("Had There Never Been A Benny Cemoli") 2/27/63. Galaxy, Dec 1963.

I have always believed that at least half the famous people in history never existed. You invent what you need to invent. Perhaps even Karl Marx was invented, the product of some hack writer. In which case – (1976)

NOVELTY ACT ("At Second Jug") 3/23/63. Fantastic, Feb 1964. [Included in PKD's novel THE SIMULACRA.]

WATERSPIDER 4/10/63. If, Jan 1964.

WHAT THE DEAD MEN SAY ("Man With a Broken Match") 4/15/63. Worlds of Tomorrow, June 1964.

ORPHEUS WITH CLAY FEET 4/16/63 [published in Escapade circa 1964 under the pseudonym Jack Dowland].

THE DAYS OF PERKY PAT ("In the Days of Perky Pat") 4/18/63. Amazing, Dec 1963.

The Days of Perky Pat came to me in one lightning-swift flash when I saw my children playing with Barbie dolls. Obviously these anatomically super-developed dolls were not intended for the use of children, or, more accurately, should not have been. Barbie and Ken consisted of two adults in miniature. The idea was that the purchase of countless new clothes for these dolls was necessary if Barbie and Ken were to live in the style to which they were accustomed. I had visions of Barbie coming into my bedroom at night and saying, "I need a mink coat." Or, even worse, "Hey, big fellow… want to take a drive to Vegas in my Jaguar XKE?" I was afraid my wife would find me and Barbie together and my wife would shoot me.

The sale of The Days of Perky Pat to Amazing was a good one because in those days Cele Goldsmith edited Amazing and she was one of the best editors in the field. Avram Davidson at Fantasy & Science Fiction had turned it down, but later he told me that had he known about Barbie dolls he probably would have bought it. I could not imagine anyone not knowing about Barbie. I had to deal with her and her expensive purchases constantly. It was as bad as keeping my TV set working; the TV set always needed something and so did Barbie. I always felt that Ken should buy his own clothes.

In those days – the early Sixties – I wrote a great deal, and some of my best stories and novels emanated from that period. My wife wouldn't let me work in the house, so I rented a little shack for $25 a month and walked over to it each morning. This was out in the country. All I saw on my walk to my shack were a few cows in their pastures and my own flock of sheep who never did anything but trudge along after the bell-sheep. I was terribly lonely, shut up by myself in my shack all day. Maybe I missed Barbie, who was back at the big house with the children. So perhaps The Days of Perky Pat is a wishful fantasy on my part; I would have loved to see Barbie – or Perky Pat or Connie Companion – show up at the door of my shack.

What did show up was something awful: my vision of the face of Palmer Eldritch which became the basis of the novel THE THREE STIGMATA OF PALMER ELDRITCH which the Perky Pat story generated.

There I went, one day, walking down the country road to my shack, looking forward to eight hours of writing, in total isolation from all other humans, and I looked up at the sky and saw a face. I didn't really see it, but the face was there, and it was not a human face; it was a vast visage of perfect evil. I realize now (and I think I dimly realized at the time) what caused me to see it: the months of isolation, of deprivation of human contact, in fact sensory deprivation as such… anyhow the visage could not be denied. It was immense; it filled a quarter of the sky. It had empty slots for eyes – it was metal and cruel and, worst of all, it was God.