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by Paul Rydeen
Philip K. Dick: The Other Side
...
the group had taken an active interest in their situation, viewing it as a
manifestation on an earthly plane of certain super-terrestrial forces. -
Jack Isidore (1)
My
first exposure to the mind-bending fiction of Philip K. Dick was in early
1981. It must have been January or February because I remember it still
being quite cold. To my surprise, a friend of my dad's had given him a
recent issue of Playboy, which I eagerly perused whenever I had the
chance. On one such occasion I needed to prove to myself a maturity beyond
the pictures of naked ladies, so I commenced to read the magazine's
various features. It turned out to be the December 1980 issue; one feature
was Phil's story "Frozen Journey" (2). Although this high-school senior
had been reading science fiction for a decade or more, I must confess I
was confused by the shifting realities portrayed in "Frozen Journey".
Further readings did little for my comprehension.
By
the time graduation rolled around, I had seen Phil's books recommended
repeatedly in the columns of Heavy Metal magazine. I picked up a used copy
of The Man in the High Castle (3). It was quite good, and a whole lot
easier to understand than "Frozen Journey" had been. Soon after, VALIS (4)
hit the stands. I bought it. I enjoyed it immensely, but was still unable
to fully realize the implications of Phil's speculations. Next I found the
Gregg Press hardcover reissue of Time Out of Joint (5) in a little science
fiction bookstore that had just opened off-campus. At last I understood;
what I had read of the false or illusory nature of reality while studying
Hinduism and Buddhism now made sense on a personal level. As I matured, my
appreciation for Phil grew. I started college that fall, and frequented
that bookstore often. I scoured almost every used bookstore in the
Minneapolis area, spending months in search of elusive PKD titles. I found
many rare first editions this way, and still have dreams wherein I
continue the search. When Phil died in March of 1982, I owned a copy of
nearly every book he had written. I considered his death a personal loss.
To
understand Phil, one must grapple with his unique emotional states, and
his unique interpretations of same. Most importantly, in February and
March of 1974 Phil had a series of "mystic" experiences. When he died
eight years later he was still unsure of their origin or meaning. Left
behind was his so-called Exegesis, an 8,000-page, one-million-word
continuing dialogue with himself written late, late at night (6). Though
Phil never did solve the puzzle to his satisfaction, I believe he enjoyed
the pursuit of the answer for its own sake much more than he would have
enjoyed resolving the problem. In fact, I don't think any answer would've
been entirely acceptable to him for very long. By its very nature this
mystery had no rational solution.
Phil
had suffered several personal setbacks during the time immediately
preceding these experiences. Stress over his wife and new son, a severe
case of writer's block, an unexplained break-in, lingering problems with
drugs (mostly prescribed medications), and worries over his political
actions all played their part. So did the loss of several close friends.
He even worried over whether he had inadvertently published high-level
government secrets in his novels (see KING FELIX discussion below). The
usually self- reflective Phil became much more introspective than normal.
His depression turned his thoughts to suicide more than once. The impetus
for this particular experience was the severe pain Phil was suffering as a
result of having an impacted wisdom tooth removed. Phil called his oral
surgeon, who promptly phoned in a prescription for some codeine to a local
pharmacy (or Darvon; accounts vary).
When
the delivery girl arrived, Phil took one look at her and became mesmerized
by the golden fish dangling between her breasts. When asked, the girl told
Phil that this was the primitive Christian ICHTHYS symbol, ICHTHYS being
the Greek for "fish". The fish was chosen in part because ICHTHYS was
taken to be an anagram for "Iesous CHristos, THeou Yios, Soter" (Jesus
Christ, Son of God, Savior) . "The girl and I are secret Christians, in
hiding because of the Roman persecution. The only way we can identify
ourselves to each other is the innocent-looking fish symbol, a harmless
pendant in the eyes of most. This secret ally brings not only medicine to
heal my sore tooth, but spiritual medicine as well. After all, is not
Christ the Great Physician?" He accepted the package and bade the girl
good-bye. Phil found himself transported back to first- century Rome - the
time of the founding of the Church amidst much persecution. The vision of
another reality superimposed upon this one lasted weeks. Phil had a hard
time deciding which one was true, and which the illusion. During this
period of uncertainty, he found himself "trapped" (figuratively, I would
imagine) in a Black Iron Prison - a Gnostic symbol of our fall into
History. It is deceptively referred to as the Cave of Treasures. Phil used
this concept obliquely in "Strange Memories of Death" (7), wherein he
refers to his apartment complex as having been prison-like until the new
developers made it appear like a garden. From his further description it
is quite obviously still a prison, despite its Edenic appearance.
In
Freudian terms, the tooth can be a symbol of libido (not necessarily
sexual). Dreaming of the loss of a tooth, for example, can represent a
fear that one may lose one's standing in some way - physically or
emotionally - or be a warning from the subconscious that this is
threatening to happen. Note that one of Palmer Eldritch's three stigmata
was his artificial teeth (8). Phil's impacted wisdom tooth was like his
latent Gnosis, awaiting the proper stimulus to trigger his anamnesis.
Another symbol of libido is the phalliform fish, whose sleek shape glides
silently through the deep waters of the subconscious. As ICHTHYS, Christ
strengthens our libido, our "psychic" energy, and asks nothing in return.
He is UBIK, a negentropic force in a universe that is forever running
itself down (9).
The
Hebrew for "tooth" is shin, which is also the name of the twenty-first and
penultimate letter of the Hebrew alphabet. (The reader familiar with
Phil's novel The Penultimate Truth (10) may do well to ponder the
connection.) The English equivalent to shin is "S" or "Sh". Perhaps
because of its trident shape (literally, "three-toothed") and sibilant
pronunciation, the kabbalists associated this letter with the element
fire. Compare Phil's trident dream at the end of VALIS, after Fat departs
again for the Greek islands. Shin also appears somewhat like a descending
dove, so it should come as no surprise that a relationship between it and
the Holy Spirit exists. That the numerical value of both the letter taken
by itself and the Hebrew phrase RUACH ALHIM ("the Spirit of God", usually
translated "Elohim") is 300 serves to solidify the connection. The Spirit
is often represented as a flame, one example being the tongues of fire
that came to rest on the apostles' heads on that first Pentecost. Many
spirits and other air elementals have been associated with fire as well.
Later
Christian kabbalists (namely, Pico) and the Theosophists attempted to
justify their doctrines by showing that the union of God as Yahweh/Jehovah
(YHWH) and the Holy Spirit (Sh) was Jesus (YHShWH). The four letters of
the ineffable name represent the four natural elements of the ancients,
while the fifth element - spirit - fills out the fifth point of the
pentagram, a symbol of man. The triple-pronged shin was taken to be
representative of the Trinity. YHShHW is usually translated "Yeheshuah",
of which the English form is "Joshua". "Jesus" is from IESOUS, the Greek
version of this name. This formula seems especially valid if one considers
the esoteric doctrine of the Holy Spirit as the feminine counterpart of
God. Certain kabbalists have maintained the Hebrew RUACH is of the
feminine gender; if so then this has been translated out of most versions
of the Bible. In some Gnostic systems, the consort of God is Sophia,
Phil's Holy Wisdom (see the biblical Book of Proverbs).
The
Babylon whom St. John of Patmos tells us is "fallen, fallen" is usually
identified with first-century Rome (11). The Hebrews' subjugation under
the Romans was every bit as resented as it had been under the Babylonians
six centuries earlier. John's prophecy of Rome's fall was certainly
wishful thinking, penned sometime after the destruction of the Temple in
70 AD. I identify John's Babylon with the Gnostic Sophia, a symbol of the
world in its fallen state. The Land of the Dead - Egypt - was a similar
symbol for later Gnostic sects. The implication of Phil's vision is that
we still live in Roman times, i.e. a "fallen" state. Gnosis must come from
the outside. Chokmah is the Hebrew for "wisdom"; her position on the
kabbalistic Tree of Life is the second or penultimate one (representing a
less than perfect reality) - but here she is given a masculine identity,
despite the references to Holy Wisdom in the Scriptures. The Greek for
"wisdom" is Sophia; a cognate term is Gnosis, "knowledge". Like Sophia,
Chokmah is one step removed from the true Godhead. I equate Sophia with
John's Babylon and the traditional Chokmah, the same yin principle which
Phil took to be his anima in the form of his long-dead twin sister Jane
(she had died aged five weeks). Her avatar has appeared previously in the
form of Simon Magus' Helen, to cite a Gnostic example. In Phil's case, he
sought her in each woman with whom he had an adult relationship - a
reunion of the divine syzygy, as it were. His yearning for the sister he
never knew did more to inspire his world-view than any other single
factor; the appearance of twins throughout his work is ample testimony to
this state of affairs. The encysted twin in Dr. Bloodmoney (12) is one of
many such examples.
There
is a kabbalistic tradition in which one sees oneself relating events from
the future. The kabbalists' reticence to record autobiographical
experiences, especially those of an ecstatic nature, has obscured this
fact. Phil had a hypnogogic experience as a boy in which he saw himself as
an adult standing at the foot of his bed. In later life he relived the
experience from the "time traveler's" standpoint. The Persian Mani
(founder of the gnostic Manichean religion) had the same thing occur to
him when he was 12, and once more as an adult. He recognized this
doppelganger as his Higher Self - the Divine Adam and called it in Arabic
"al-Tawm", the twin. It guided him and gave him comfort throughout his
life, and he was said to be gazing upon it in the cell just before he
died. Despite Phil's Valentinian Sophian cosmology, I have often felt he
was more akin to the Manichean school on a practical level.
In
1975 a two-word cypher was "sent forth"; the phrase KING FELIX appears in
the juxtaposition of two adjacent lines in Phil's novel Flow My Tears, The
Policeman Said (13). It was only later that he happened upon its
significance. The fact that Army Intelligence bought multiple copies of
that one book perplexed him greatly. In VALIS one of the Lamptons tells
him that the phrase has kabbalistic significance. I assume they refer to
gematria, the practice of assigning numerical values to individual letters
within a word and taking their sum. "King" is English, so should it be
translated into Latin? "Felix" is the Latin for "happy" (literally,
"fruitful"). "Rex" is the Latin for "king" so FELIX REX adds to 256 when
transposed into Greek enumeration. This is the eighth power of two, which
perhaps is the Gnostic ogdoad pointing back to a duality - Phil's
Two-Source Cosmogony. "Basileos" is Greek for "king"; I'm not sure what
the proper translation of "felix" would be, or even if Greek is the proper
language to use. This practice existed in the Hebrew language before Greek
became the common language of the Mediterranean area, and in other Semitic
languages before that. The little girl, Sophia, reads from the Sephir
Yetzirah when the Rhipidon Society visits her at the Lamptons' -
establishing a Hebrew link - but she also tells them the Lamptons are
insane. This issue remains unresolved.
At
one point Phil experimented with a megadose of vitamins he had read about
in Psychology Today. This mixture was being used by a certain doctor to
stimulate simultaneous neural firing in both hemispheres of the brain.
While the original experiments were strictly designed for
split-personality patients, Phil concocted a batch and swallowed it down.
He says it worked. The right side of the brain is often identified with
the dark, irrational, "feminine" component of our minds; the parallel to
the imperfect, premature Sophia is obvious. Speculation has arisen that
the voices heard by prophets and madmen originate in the right-brain (14).
Usually drowned out by the day-to-day noise of the more verbally active
left-brain, under certain circumstances it may be heard. At one time in
our not-so-distant past, this may have been far more common than it is
today. This is one of many possibilities considered by Phil, probably no
more right or wrong than any of the others.
Another possibility I'd like to briefly consider is that one possible
subconscious influence was the "Roman" episode of the old Star Trek TV
series. I've long forgotten the show's title, but it involved a planet
similar to twentieth-century Earth with the exception that Roman rule
still existed. Rome never fell - the Empire never ended - and secret
followers of "the Son" were preaching peace and brotherhood rather than
tyranny. This in no way lessens the import of Phil's vision, nor does it
explain anything away. I merely find it an intriguing idea to ponder. Who
can say what psychic debris forms the foundations of our subconscious?
As
the image of first-century Rome persisted, Phil began seeing St. Elmo's
fire almost everywhere he looked. He had purchased his own ICHTHYS sign to
hang in the picture window of his apartment; admittedly his staring at the
sunlight had much to do with the earliest manifestations. However, the
pink light was even visible at night, when Phil would sit up in bed unable
to sleep, enjoying the show. In A Scanner Darkly (15) he describes it as a
rapid-fire succession of Paul Klee, Kandinsky and other modern artists. He
also describes the times the St. Elmo's fire took on the shape of a
doorway proportioned to the Golden Mean (representing perfection). This
was a doorway to the Other World. The character in the book regrets having
never thought to step through the doorway after the apparition finally
disappeared. The nightly visions continued, often taking the form of
incredibly complex dreams which Phil saw at once were unlike his usual
sleeping habits. He called them "tutelary" dreams because of their
information-rich content. In many he was actually shown texts, which he
was able to read and transcribe their contents upon awakening. This is
another kabbalistic tradition, the ability to read holy texts on the
astral plane. Always for Phil, the pink beam of light was prominent.
Admittedly, the idea one is being shot with a beam of energy is typical to
many schizophrenics. So are the discarnate voices which haunted Phil's
unplugged radio at night, telling him how terrible a person he was (his
then-wife Tessa heard them too). The one difference here is that Phil
perceived it as a healing light rather than a further descent into
madness. He credited it with taking charge of his life, recovering a lot
of income due from unpaid book royalties, and even re-margining his
typewriter. He never decided what the beam's source really was. Guesses
included the Rosicrucian Society, Soviet scientists experimenting with "psychotronics",
and an alien satellite orbiting a distant star. One message came from the
"Portuguese States of America", leading Phil to contemplate the
possibility of parallel universes. He also thought it might have been God.
The Roman Sybil in her later Christianized form was a particular favorite
of Phil's; her similarity to Jane as Phil's "protectress" was the
attraction. VALIS even quotes the Sybilline Oracles. Note also that the
much-sought product UBIK in Phil's novel of the same name is depicted on
the dustjacket of the original as spraying a pink substance. Coincidence?
The connection is further made in VALIS when Phil and friends mistake a
model of the satellite for a can lying in the gutter (in the
movie-within-a- book). Does this refer to a can of UBIK as well?
In
some of his dreams, Phil saw Soviet scientists rushing around behind the
scenes to keep the alien satellite functioning. Phil originally thought
VALIS was from Fomalhaut, which he called "Albemuth" (from the Arab Al
Behemoth, "the whale"). Fomalhaut is the fish's mouth; Phil apparently
mistook "behemoth" for "leviathan", two Hebrew words from the Old
Testament. It is the latter which actually refers to the whale, according
to most sources. What matters most is Phil's beliefs on the matter; if his
subconscious mind processed "behemoth" as "whale", then "whale" it is -
for him. At any rate, the fish symbolism is obvious, as is the reference
to Jonah. Phil must have read Robert K.G. Temple's The Sirius Mystery (16)
before writing VALIS, because he relocated the satellite to there. This
brings in a host of occult references too involved to go into here.
Suffice it to say that the dark companion of Sirius represents "occult" or
hidden knowledge, as does Sirius' position as "the sun behind the Sun" (as
Kenneth Grant calls it). Neither Phil nor Temple seem to have known this
when they wrote their books. Phil cleverly tied in the dualist Dogon
philosophy described by Temple with his own Gnostic beliefs, though as
narrator of VALIS he ascribes this revelation to Fat and tells us this is
the point at which Fat's madness became complete. Madness or not, VALIS
stands as a classic on many levels. The three-eyed aliens had pincers like
a crab where hands should be, just like Palmer Eldritch and his artificial
hands. These "improved" hands seem to denote an elevated status as cosmic
artificer or demiurge, while also indicating an inherent flaw of some
sort. The beings were also deaf and mute; they communicated amongst
themselves by means of telepathy. One could say their inability to hear or
speak reinforces the notion of an imperfect demiurge, as well as it helps
conceal his true nature. Then again, their physical handicap may be the
results of a personal sacrifice undertaken to enhance their mental
faculties.
Phil
was consistent in documenting his major influences within the works they
influenced. VALIS was no exception. Curiously, there are two which went
uncredited, and to my knowledge no researcher has yet uncovered them both.
The first is Robert K.G. Temple's aforementioned The Sirius Mystery.
Temple documents the Dogon people of Africa and their precise astronomical
data which predate telescopes. Their legends say that this knowledge was
given to them by three-eyed crab-clawed beings from Sirius. Temple goes on
to trace the Dogon's ancestors back to migrating Egyptians who continue a
tradition well-documented in the Mysteries of Isis and Osiris. Certainly
Phil read Temple's book after writing Radio Free Albemuth; why else would
he have moved VALIS from Fomalhaut to Sirius?
The
other major influence which went uncredited may be more of a surprise. It
is not a scholarly influence like Temple's, but rather a little known
facet of popular culture. The whole idea of an immortal and all-powerful
race who build universes out of boredom, fall into them and become trapped
because they forget who they are is indeed gnostic in flavor, as many have
said. It should be noted, however, that this is exactly what Scientology
teaches about the Thetans. WE ARE THE THETANS and we don't even know it.
Palmer Eldritch had three stigmata: his artificial eyes, artificial teeth
and artificial hands. The cover of the original edition combines these to
show the classic eye-in-palm design used by fortune-tellers to indicate
occult wisdom. The all-seeing eye is a common motif in Masonic lore as
well; at one point Phil challenged God to show himself and saw the Ark of
the Covenant opened to reveal the eye-in-the-triangle. Esoteric tradition
among the Masons identifies this occult eye with the star Sirius - named
for Osiris, the dead and risen Egyptian savior who adumbrated Christ by
centuries. It is also the eye of the cyclops and the third or ajna eye of
Shiva, which Phil (as Fat) attributes to Ihknaton and his followers in the
Tractates appended to VALIS. Others have placed a sexual interpretation
upon it as well, but that's beyond the scope of the present work.
While
listening to the Beatles' "Strawberry Fields Forever" one day, Phil heard
the lyrics change into a prophetic warning: "Your son has an undiagnosed
right inguinal hernia. The hydrocele has burst, and it has descended into
the scrotal sac. He requires immediate attention, or will soon die." Phil
rushed him to the hospital and found every word to be true. The doctor
scheduled the operation for the same day. Once again, the healing power of
Phil's vision comes to the fore. In a sense the boy was "reborn", which
was to have great consequences for Phil's subsequent actions.
For a
while Phil thought the spirit of Elijah had come upon him, much as the
followers of John the Baptist felt about their Master. He even identified
with a certain first-century Christian he called Thomas, whose thoughts
Phil heard while falling asleep. There's someone inside of me, and he's
living in another century. This Thomas was eventually garroted, which
provides the connection to John the Baptist. "Thomas" is a Greek name
meaning "twin"; whose twin was he if not Phil's? (Mani's twin was also
called "tawm"; extant Greek Manichean texts refer to him as "syzygon".)
Phil saw fit to baptize and confirm his infant son at this time (he was
Episcopalian). Phil then gave his son a secret name which has never been
divulged. In the posthumously-published Radio Free Albemuth (17) - the
first version of what finally became VALIS - "Nicholas Brady" christened
"Johnny" with the secret name "Paul". Since Phil saw himself as Elijah or
John the Baptist, my best guess is that Phil told his son he was the
Savior incarnate, and named him "Emmanuel", a Hebrew name meaning "God
with us". His son's birth name was in fact Christopher, from the Greek for
"Christ-bearer". Indeed, Radio Free Albemuth ends with the imprisoned Phil
taking consolation in the knowledge that the Message has gone out after
all - to the children. The importance of this assertion in light of the
child-saviors in VALIS and The Divine Invasion cannot be underestimated.
No wonder it hurt so badly when Phil's wife left with his son. It would
have been interesting to see how Phil's son would have turned out under
his father's tutelage. As it is, he may yet surprise us as he comes of
age.
Phil's experiences culminated with a beatific vision of a Palm Tree
Garden, which he described in Deus Irae (18) and mentioned several times
in The Divine Invasion (19). Though this was still a part of first-century
Rome, Phil felt at peace in the garden - the nostalgic Eden. The palm tree
itself is the World Tree, the axis mundi, the pole at the center of the
world which leads to heaven. Palm leaves were strewn before Christ when he
returned to Jerusalem to indicate victory over temptation in the
wilderness; today they are carried by those who have completed a
pilgrimage to the Holy Land. Palm Sunday commemorates this event in
Christ's life. Palmer Eldritch's name is an obvious reference, but
"palmer" could also refer to sleight of hand - indicating his position as
malevolent demiurge.
Associated with the vision of the Palm Tree Garden was a young girl
gathering water at riverside. On her vase was an interlocking pattern
which Phil recognized as a series of ICHTHYS symbols. He also saw it as
the double helix form of DNA. The universe, he understood, is information
- just as DNA is the encoded information by which our bodies are created
and maintained. He identified this girl with Aquarius, the water-bearer.
To me this symbolizes a pouring out (from the subconscious) and the
heralding of a new age. This scene was used in VALIS to announce the new
messiah, the little girl called Sophia. A new age had indeed begun,
short-lived as it was.
Though Phil's vision of Rome faded, his tutelary dream continued for six
more years. So too did the AI voice (for "Artificial Intelligence"), a
soft feminine voice he heard in times of stress and during hypnogogic
revery. Naturally he identified this voice with Jane/Sophia, and claims to
have first heard it during a high school physics exam (it gave him the
answers) 25 years earlier. It all ended November 17, 1980. Phil claimed to
have had a theophany that day, though witnesses noticed nothing unusual.
Phil suddenly comprehended God as infinite, by nature incomprehensible. In
other words, the Exegesis would never solve anything because there was no
answer to be had. Phil actually stopped writing for a time because of
this, but was at it again before too long. He also wrote The Divine
Invasion around this time, which was when the voice finally stopped. Had
it not been for the theophany, Phil would have probably cried, "Eloi, Eloi,
lama sabachthani?" As it was, he persisted in speculating the remaining
year of his life, and managed to produce one more novel before the end -
the posthumously-published The Transmigration of Timothy Archer (20). Phil
suffered the first of several strokes in February 1982 and died several
days later in the hospital, on March 2. He was 53.
NOTES:
(1)
Philip K. Dick. Confessions of a Crap Artist. New York: Pocket Books,
1982. (Orig. 1975.) Pg. 164.
(2)
"Frozen Journey" was Playboy's name for the manuscript Phil called "I Hope
I Shall Arrive Soon". It was reprinted under its original title most
recently in The Eye of the Sybil (New York: Carol Publishing Group, 1992).
(3)
The Man in the High Castle. New York: Putnam, 1962. This title has gone
through several editions and remains in print.
(4)
VALIS. New York: Bantam, 1981.
(5)
Time Out of Joint. Boston: Gregg Press, 1979. (Orig. 1959.)
(6) A
very limited number of Exegesis entries were eventually published in
Selections from the Exegesis, edited by PKD biographer Lawrence Sutin
(Lancaster: Underwood-Miller, 1991). Sutin also wrote the excellent Divine
Invasions: A Life of Philip K. Dick (New York: Carol Publishing Group,
1991).
(7)
"Strange Memories of Death" first appeared in issue #8 of Interzone
magazine (Brighton, UK). It also was collected in I Hope I Shall Arrive
Soon (New York: St. Martin's Press, 1987) and volume 5 of
Underwood-Miller's Collected Stories (reprinted by Carol Publishing
Group).
(8)
The Three Stigmata of Palmer Eldritch. Garden City: Doubleday, 1965.
(9)
Reference is to Phil's novel UBIK (Garden City: Doubleday, 1969).
(10)
The Penultimate Truth. New York: Belmont, 1964.
(11)
Revelations 18:2.
(12)
Dr. Bloodmoney, or How We Got Along After the Bomb (New York: Ace Books,
1965. Reprinted Boston: Gregg Press, 1977.). Anothergood example is the
pair of lambs born near the end of Confessions of a Crap Artist (ibid),
the second of which is stillborn. In this case it is the male twin Phil
kills off - representing himself.
(13)
Flow My Tears, the Policeman Said. Garden City: Doubleday, 1975. (Phil
parodied this book as The Android Cried Me A River in VALIS.)
(14)
See Julian Jaynes, The Origin of Consciousness in the Breakdown of the
Bicameral Mind. (Boston: Houghton-Mifflin, 1976.)
(15)
A Scanner Darkly. Garden City: Doubleday, 1977.
(16)
Temple's book is little more than a well-researched paperback of the
Ancient Astronaut variety. Only Phil could have turned it into a whole
universe. (London: Futura Publications Ltd., 1979.) Robert Anton Wilson's
Cosmic Trigger was also an influence in regards to the Sirius connection;
Phil acknowledges it as such in VALIS. (Berkeley: And/Or Press, 1977. It's
been reprinted by both Simon & Schuster and Falcon Press.)
(17)
Radio Free Albemuth. New York: Arbor House, 1985.
(18)
(w/ Roger Zelazny). Deus Irae. Garden City: Doubleday, 1976.
(19)
The Divine Invasion. New York: Simon & Schuster, 1981.
(20)
The Transmigration of Timothy Archer. New York: Simon & Schuster, 1982.
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