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The Man in the High Castle Paperback – June 30, 1992
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This harrowing, Hugo Award-winning novel is the work that established Philip K. Dick as an innovator in science fiction while breaking the barrier between science fiction and the serious novel of ideas. In it Dick offers a haunting vision of history as a nightmare from which it may just be possible to awake.
- Print length272 pages
- LanguageEnglish
- PublisherVintage
- Publication dateJune 30, 1992
- Dimensions5.25 x 0.75 x 8 inches
- ISBN-100679740678
- ISBN-13978-0679740674
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This harrowing, Hugo Award-winning novel is the work that established Philip K. Dick as an innovator in science fiction while breaking the barrier between science fiction and the serious novel of ideas. In it Dick offers a haunting vision of history as a nightmare from which it may just be possible to awake.
Product details
- Publisher : Vintage; Reissue edition (June 30, 1992)
- Language : English
- Paperback : 272 pages
- ISBN-10 : 0679740678
- ISBN-13 : 978-0679740674
- Item Weight : 8 ounces
- Dimensions : 5.25 x 0.75 x 8 inches
- Best Sellers Rank: #2,159,158 in Books (See Top 100 in Books)
- #27,620 in Contemporary Literature & Fiction
- #104,318 in Science Fiction (Books)
- Customer Reviews:
About the author

Over a writing career that spanned three decades, Philip K. Dick (1928-1982) published 36 science fiction novels and 121 short stories in which he explored the essence of what makes man human and the dangers of centralized power. Toward the end of his life, his work turned toward deeply personal, metaphysical questions concerning the nature of God. Eleven novels and short stories have been adapted to film; notably: Blade Runner (based on Do Androids Dream of Electric Sheep?), Total Recall, Minority Report, and A Scanner Darkly. The recipient of critical acclaim and numerous awards throughout his career, Dick was inducted into the Science Fiction Hall of Fame in 2005, and in 2007 the Library of America published a selection of his novels in three volumes. His work has been translated into more than twenty-five languages.
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Learn more how customers reviews work on AmazonReviewed in the United States on May 9, 2022
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This novel, 'The Man in the High Castle' is one of the most peculiar novels I've read in a while. Hear me out. The setting of the book is that, the Axis won WWII and Japan and Germany became the US and Russia of today. We all know that both posed as allies, then neutrals, and their struggle became too evident leading up to the Cold War. The V2 transportation in the story also sounded like the ambitious vision of Elon Musk's SpaceX. I found it also interesting that people are doing Marijuana as they would cigarettes. This sounds pretty contemporary in my opinion. And whatever Dick was on, it sure made him see the future.
...which brings me to my point. This novel was so ahead of its time. Maybe that's why it won a Hugo? Considering that it welcomed readers with a very slow burning start, it still picqued our imagination. It was boring but it picked up its pace well after the first few chapters. So, not much harm there.
I just have to warn people who would pick this up that Dick uses a number of character viewpoints in each chapter and you might find this confusing. I also did not like the stereotypes Dick used. But then, I understand that this novel is a product of its time so don't be surprised if you see derogatory terms here. Lastly, there's some German words and phrases, so get your German dictionary and Wikipedia handy to know what these mean and what their significance are in the text.
All in all, I liked this book. I also like Dick's 'Do Androids Dream About Sheep?' so it's now 2 of 2 for Dick.
With this in mind, a reasonable complaint to begin with is: Why was Juliana Frink introduced as the ex-wife of Frank Frink? Both of the characters’ having had a recent divorce contributed to the plot: Franks’ as motivation for taking on some higher calling, and Julianas’ for going all mid-life crisis with some strange trucker. And their being single was an important element contributing to their motions towards agency and changing the world. But it was completely unmeaningful that they had been married to each other and this actually undermines PKD’s thesis.
(**SPOILER ALERT**)
For an example of a relevant, seemingly trivial detail, consider the serendipity that took place during Frank’s arrest: Frank is picked up off the street for having been recognize from earlier involvement in minor conspiracy, is recognized as a Jew, but the papers for his deportation to Reich-controlled land reach Tagomi in the wake of the Germans’ attempt to assassinate an Abwehr agent. Tagomi refuses to sign it, with some stirring feeling of detraction from diplomacy. But Tagomi mightn’t have even come in that day feeling confrontational, if he hadn’t angrily broken away from the meditative stupor induced by contemplating a small piece of original American jewelry he’d purchased from Childan on a whim. Jewelry that Childan had purchased from Frink’s co-conspirator as a direct consequence of Frank’s original “crime”.
This minor detail of Frank’s deportation being narrowly avoided is wrapped up in two major forces that dictate the world arc: Chance and interconnectivity. In PKD’s world, these forces underlie everything that happens (either ironically from the reader’s perspective, or objectively through the I Ching) , and even everything that didn’t happen: The Grasshopper written by the eponymous Abendsen is revealed to have been completely composed via chance consultations with the I Ching. The interconnectivity is otherwise underlined in highly enjoyable, Murakami-like narratives about Tao, Yin-Yang, and Wu, and the interleaved arcs of every single main character except for Juliana and Frank. So frustrating! Just introduce Juliana with a different name, and the story would have been equally powerful with one less meaningless detail.
In the larger scope, the Axis victory came about by chance military victories or political outcomes (Pearl Harbor and the African Front and Roosevelt’s assassination), and those events’ interconnectivity with the rest of WWII military history understandably lead to a reversal of outcomes. Of course, this is cursorily disputable by a quick glance of military trends on Germany’s Eastern front post-1942. But PKD’s presentation is so powerful, with the thesis woven into almost every aspect of the narrative (except for the Frinks’ divorce! Argh!) that arguing the historical details just feels base. Besides, the thesis is about serendipity and misfortune, not predictable evolution of events from initial conditions. Parts of the book actually fall neatly into absurdist literature, especially in the last two chapters. I think these parts could have been a lot more moving had they been related to the war in some way (e.g. Slaughterhouse 5 style delusional coping) instead of minor violent episodes.
Finally, I thought the narrative dealt with ethical relativism and injustice very tactfully. Yes, allied forces did start committing war crimes in desperation as their defeat became inevitable (spoiler: The criminal fire bombings of German civilians by allied bombings isn’t just fiction). Yes, the British were put on show trial for these war crimes. And no, the world isn’t equally terrible as if the allies had won; It’s far, far worse. There are basically no Jews, Slavs, or Africans left alive on the planet, and even Axis powers like Italians and Japanese are unhappy with the state of the world because Nazi ideology isn’t actually compatible with diplomacy with anyone but Aryans. There’s no attempt to equivocate the morality of the postwar world between the versions of reality. That’s how it should be: Even if interconnected, chance events dictate the history of the world, that doesn’t make outcomes equivalent. Even if victory is awarded by chance, compassion certainly isn’t. Even if you argue that I Ching, coin flips, astral signs, or Gods’ whims are responsible for the course of history, these things will never justify the way we choose to condemn fellow humans to tyranny and violent deaths.
Top reviews from other countries
Dick's prose isn't particularly fluid. Whatsmore, his penchant for inconsistently going into stream of consciousness narration and terse, clipped sentences make some passages outright confusing. Nonetheless, the reader becomes accustomed to this fairly early on. My issue with TMITHC is that it simply isn't very good. The story is fairly non-eventful and there is the constant nagging that Dick is wasting a fantastic setting on a bland, disjointed story. It is told through the perspectives of three main players, with each story arch sort of intersecting at one point or another. The problem with this is that they aren't equal and I found myself skimming pages for certain characters.
Another major disappointment is in Dick's apparent failure (assuming I wasn't just too stupid to pick up on nuances) to take advantage of excellent ideas. There is something very bold about writing a novella set in an alternate history, where a book set in an alternate history is revealed to be... an alternate history. I was expecting some kind of reflexive narrative gimmick or trick, but this doesn't happen. The end is irritatingly ambiguous - not in a thought-provoking way. The characters also talk on 'historicity' and how we give objects their value, rather than any intrinsic quality. I figured that this would be the theme, the ultimate goal of the story, to tell the reader that history is defined by perception in some clever revelation. This didn't seem to be the case - at least not so I detected. Again, it seemed like a missed opportunity to build something literary - an Orwell-esque allegory even. Instead, it is just a rather bland and disjointed story that I kept hoping would pick up, but it didn't.
The Amazon seriers has a much better storyline and far more developed characters. The book, quite frankly, was shit.
There are no alternate world newsreels, no Obergruppenfuhrer John Smith, no Resistance and Julia has no sister.
The story is readable and well-paced although the characters, with the exception of Tagomi, lack depth.
The curious dialogue style, imitating English as spoken by a foreigner, is initially irritating but, before long, your brain fills in the missing words and it appears more fluid.
For me the subject matter appears to be more a discourse on what constitutes free will vs predestination, with Julia Frink as an unpredictable, you might say unstable, wildcard.
You may come away feeling unsatisfied, with questions unanswered, but the book will definitely stimulate your brain and give you food for thought.
It stands up on its own merits and I would advise that, to enjoy it at its best, you try and mentally disconnect any connections to the TV show before reading.
Dick's world building is reasonably good, and the descriptions of a Japanese sphere dominated west coast vs. the Nazi east coast with the mid-west buffer zone are thought provoking. The rocket ships etc. that fly from Germany to California in a few minutes are a bit too far fetched given the taxi's are pedal powered.
However, for me the problem is the disjointed nature of the story. The first third seems to be introducing the characters, in quite a lot of detail, but then to what purpose. I cannot really figure out the point of one of the main characters - he just seems to be there...
Overall the plot seems to be very disjointed - almost like two separate short stories that occur in the same vicinity, but are not really related.
The one star given here is the minimum I can put to submit a review and is for the fact that as a waste of my valuable time - it succeeded in destroying any further interest I may have had of reading more by Philip K Dick.










