The mystery, he thought, the explanation, he means. Of a secret. A sacred secret. We shall not die. The reflexions shall leave. And it will happen fast. We shall all be changed, and by that he means reversed back, suddenly. In the twinkling of an eye. Because we are fucking backward right now, I guess, every one of us, everyone and every damn thing, and distance, and even time. But how long, he thought, when a print is being made, a contact print, when the photographer discovers he's got the negative reversed, how long does it take to flip it? To reverse it again so it's like it's supposed to be? A fraction of a second.
American science fiction author (1928–1982)
Philip Kindred Dick (16 December 1928 – 2 March 1982) was an American writer, whose published works mainly belong to the genre of science fiction. Dick explored philosophical, sociological and political themes in novels with plots dominated by monopolistic corporations, authoritarian governments, and altered states of consciousness. In his later works, Dick's thematic focus tended to reflect his personal interest in metaphysics and theology.
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He thought, too, about his need for a real animal; within him an actual hatred once more manifested itself toward his electric sheep, which he had to tend, had to care about, as if it lived. The tyranny of an object, he thought. It doesn’t know I exist. Like the androids, it had no ability to appreciate the existence of another.
What does a scanner see? he asked himself. I mean, really see? Into the head? Down into the heart? Does a passive infrared scanner like they used to use or a cube-type holo-scanner like they use these days, the latest thing, see into me—into us—clearly or darkly? I hope it does, he thought, see clearly, because I can't any longer these days see into myself. I see only murk. Murk outside; murk inside. I hope, for everyone's sake, the scanners do better. Because, he thought, if the scanner sees only darkly, the way I myself do, then we are cursed, cursed again and like we have been continually, and we'll wind up dead this way, knowing very little and getting that little fragment wrong too.
A beam of pink light blinded him; he felt dreadful pain in his head, and clapped his hands to his eyes. I am blind! he realized. With the pain and the pink light came understanding, an acute knowledge; he knew that Zina was not a human woman, and he knew, further, that the boy Manny was not a human boy. This was not a real world he was in; he understood that because the beam of pink light had told him that. This world is a simulation, and something living and intelligent and sympathetic wanted him to know. Something cares about me and it has penetrated this world to warn me, he realized, and it is camouflaged as this world so that the master of this world, the lord of this unreal realm, will not know; not know it is here and not know it has told me. This is a terrible secret to know, he thought. I could be killed for knowing this.
Well, I hate to admit it, but it is possible that there is (one) such a thing as telepathy and (two) that the CETI project's idea that we might communicate with extraterrestrial beings via telepathy is possibly a reasonable idea — if telepathy exists and if ETIs exist. Otherwise we are trying to communicate with someone who doesn't exist with a system which doesn't work.
They know a million tricks, those novelists. Take Doctor Goebbels; that's how he started out, writing fiction. Appeals to the base lusts that hide in everyone no matter how respectable on the surface. Yes, the novelist knows humanity, how worthless they are, ruled by their testicles, swayed by cowardice, selling out every cause because of their greed - all he's got to do is thump on the drum, and there's his response. And he's laughing, of course, behind his hand at the effect he gets.