35 pages • 1 hour read
Philip K. DickA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Back in his office in New York, Runciter meets with a woman named Miss Wirt. Miss Wirt claims that telepaths have infiltrated the top-secret operations of her employer, and she needs Runciter to send in inertials immediately. Runciter secretly orders one of his own telepaths to read Miss Wirt to find out more about who she is and whom she represents. “Miss Wirt represents Stan Mick. She is his confidential assistant,” the telepath tells Runciter (40). She also says that Mick’s top-secret operation is on Luna—the moon—and involves some kind of near-light speed interstellar drive system. Realizing that this could be a big paycheck, Runciter quotes Miss Wirt an estimate of the cost of sending in 40 inertials, a substantial amount. Miss Wirt says that her employer assures her they will only need 11 inertials.
Runciter and Ashwood muse over Pat, the new inertial, and her ability to seemingly travel back in time. Joe, who is working on the special project to Luna, gathers the 11 inertials into Runciter’s office. They introduce Pat to the team and ask her to show them what she can do. She immediately changes the present, so that Runciter is “before a ship window on Fifth Avenue, a rare coin shop” (53). He recognizes the strangeness of this reality. Next, he is in his office, meeting Joe and Pat, who is now Chip’s wife. They all sense something is amiss when Pat admits that she has powers. In this reality, they do not know that. Eventually, Pat returns everything and everyone to the normal reality. They read off the names of the other inertials going to Luna, including Wendy Wright, for whom Joe has feelings. Runciter, meanwhile, seems worried about the job.
Runciter and the entire inertial team arrive on Luna and are shown their living quarters by Miss Wirt. While discussing the available medicine on Luna, one inertial, Francesca Spanish, reveals to everyone that she had a dream in which a pair of telepaths recited poetry and song. Other inertials claim to have had the same dream. Runciter is upset at Joe for knowing this and not telling him sooner. Upset by the testing equipment used by Joe, Stanton Mick—Miss Wirt’s employer—enters the room. Moments later, Mick transforms into a mechanical bug-like creature and flies into the air. The inertials realize the job is a trap and that Mick is really a bomb. They try to get everyone out, but the bomb detonates. When everyone comes to, it appears that only Runciter is badly injured and dying. They need to get him to a half-life facility before he loses too much brain function. Joe discusses how Hollis is probably behind the bomb and did not expect any of them to live.
As the group takes an elevator back up to their ship to escape, Pat is questioned about why she did not prevent the explosion by going back in time. “Too much time passed,” she replies, “I would have had to do it right away” (72). She claims she didn’t think of it. The group gets Runciter into the ship’s frozen chamber to try to preserve his brain function, but they can’t be sure if they got him in quickly enough. As the ship prepares for takeoff, Wendy suggests that they’ve grown older. “Did it age us?” she asks (75). The cigarettes they try to light seem quite old, and they themselves appear to have aged.
Joe plans to put Runciter in the same moratorium as his wife, Ella. Wendy admits that she plans to marry Joe, while Pat seems jealous and says that she lives with him and pays his bills. Joe tries to use a phone book to call the moratorium in Switzerland, but the phone book is two years old. They do finally connect to Von Vogelsang and explain the situation. They ask him to meet them in Switzerland. On the way, Chip orders a coffee, but the cream is spoiled and there is mold growing in the coffee itself, like it’s been sitting around for years. The group takes off on a helicopter with Von Vogelsang and head for the moratorium with Runciter. As the group waits to see if there will be any functionality left in Runciter, Joe wants to talk to a precog for information. He tries to use a payphone, but the quarter he puts in is 40 years too old. He does manage to trade it for a usable one.
Joe reaches Hollis on the phone: “A grim blue face swam into focus, a mysterious countenance without neck or body” (89). Joe accuses Hollis of murder and hangs up the phone. Von Vogelsang reports that they could not get functionality from Runciter’s brain, and thus he cannot be saved in half-life. Joe decides to check into a motel. Al, one of the inertials, will send Wendy to him as comfort. Joe worries, however, about Pat, and how he will ever manage to leave her, given her ability to manipulate the present. With Runciter dead, Joe is now the acting director of Runciter Associates. He possesses a renewed conviction. “What I actually have,” Joe says, “is a will to succeed” (92). He wonders about all of the items that he came in to contact with suddenly becoming old collector’s items.
Like a classic detective novel, Ubik presents a large mystery full of victims, suspects, detectives, and clues. Perhaps the biggest question for readers concerns who really set up Runciter and his team to come to Luna and be killed. The author also sows doubt over whether Mick and Miss Wirt are real characters. Given the extent to which technology has advanced in Dick’s fictional 1999, it is possible they are holograms or even some sort of shared hallucination caused by a chemical substance taken unwittingly. This last theory is particularly compelling considering Dick’s own preoccupation with hallucinogenic drugs, both in his fiction and in his own life. The introduction of surreal happenings is also consistent with Dick’s work. Yet when defining what is real, unreal, or surreal, readers must retain a sense of perspective. For example, the explosion event clearly marks a rift between reality and un-reality. It is an open question, however, whether the time before the explosion or the time after the explosion represents the “real” reality.
Joe seems to think that Hollis, Runciter’s chief adversary, is naturally responsible for orchestrating the trap. Yet rarely is the most obvious solution the correct one in Dick’s novels and short stories. His work consistently highlights the absurdity of human existence, particularly when his characters are subject to corporate or technological forces beyond their control. It is worth keeping this in mind as evidence appears to mount concerning Pat’s possible role in the explosion and the spontaneous aging of individuals and objects. True, the characters are right to question why Pat’s ability to travel back in time to change the present did not prove useful in stopping the explosion on Luna. Moreover, Pat fails to offer a compelling counterargument, claiming only that she did not think of it in time. “Did you think of it?” Pat asks Wendy, “If you did, you didn’t say. Nobody said” (73). At the same time, identifying Pat as the mastermind of their travails may also be too easy a solution as well. As the book progresses, it becomes clear that Pat, Hollis, and even Melipone are all red herrings, intended less to keep readers guessing and more to emphasize the absurd and unpredictable nature of Dick’s futuristic world-building.
Still, the fact remains that Pat cannot be trusted, and therefore she may play a more symbolic role in the narrative. For example, the characters seem to have lost touch with the world around them, and Pat might be a representation of this loss of authenticity. Everything—from opening doors, to paying for coffee, to making a call—revolves around machines that seem to even judge the poorest members of human society. Joe Chip’s speech against the machines on pages 81 and 82 is of particular note. “The day of human values and simple warmth will return,” he contends (82). Like much science fiction of the 20th century, Dick laments the technological progression of society as a movement away from genuine human contact and feeling. Yet there is a dark side to this feeling of nostalgia to return to a less technologically-advanced civilization, manifested by the spontaneous aging of the characters. As objects around them appear to revert to older forms, the characters age rapidly. This may suggest that even though the technological advancements of the characters’ present are troubling and even dehumanizing, they belong in their own era—and to fight against that is to find oneself on a road to ruin.
By Philip K. Dick