Galactic Pot Healer – Philip K Dick (1969)
Joe Fernwright is a pot healer – as was his his father before him – in a future totalitarian dystopia although his services are somewhat redundant since no one makes or breaks ceramics any more.
One day Joe gets a mysterious message offering him a job on Sirius V. The message turns out to be from an all powerful entity known as the Glimmung who is launching a project to raise a sunken cathedral from the ocean bed.
Being a Dick novel, things are not as straightforward as this synopsis would imply.
Fernwright is one of a large number of humans and alien experts in various fields who have been promised a fortune in payment to undertake work on the project. Many, however, are suspicious of the Glimmung’s ultimate objectives, especially as the experts all appear to have all been implicated in various crimes just prior to departure which they suspect were engineered by this being.
There are various Dick hallmarks here, such as the grasping ex-wife, the concept of Fatalism and a surprisingly overt use of humour where he is normally more subtle and understated. We have the world of the dead and the decaying beneath the ocean where at one point Joe meets his dead self.
There is also a religion which features the concepts of the duality of light and dark, something he had already explored, perhaps to better effect, in ‘The Cosmic Puppets’.
We are also in familiar territory with Dick’s lackadaisical attitude to technology and actual science since there is no attempt to explain how the ships that ferry the team to Sirius V operate or indeed the very idiosyncratic robots with whom they have to deal once they arrive. We have no problem as readers with the fact that Sirius V has Earth standard gravity and atmosphere. It didn’t matter to Dick, and for reasons I can’t fathom, doesn’t matter a jot to me either. He somehow always get away with it.
Much of the novel hinges on truth and trust. It becomes clear that the Glimmung is quite capable of lying, and Joe and his colleagues have to employ a a mixture of logic and intuition to determine the best course of action. Added to this is the book of the Kalends, a kind of prophetic bible which changes daily and seems to prophesy the future of the protagonists with uncanny accuracy (in English and various other languages, both human and alien).
Joe, on his dive into the ocean to see the cathedral – against the Glimmung’s express instructions – discovers an ancient vase half covered in coral but one which carries a personal message for him under the glaze. He notices that some of the coral has been removed, which implies that he was meant to see it, but did the Glimmung forbid Joe to go down to the sunken cathedral simply because he knew that Joe then would?
This is one example of a paranoid undercurrent that runs like a thread throughout this novel showing Joe and his companions forced to question the veracity of what they have been told or read. It’s a fascinating and particularly Dickian concept but like almost every other concept in this book is underdeveloped.
There’s something else very flawed about this novel, most essentially in its internal reality which produces an uneasy mixture of tone. There are the serious scenes, such as Joe being given a message by his dead decaying self, and those in which we have comical robots called Willis and clams that tell jokes. Maybe Dick considered that the contrast would make the serious scenes more powerful but it just doesn’t work. ‘Clans of The Alphane Moon‘ held the balance perfectly and despite its ludicrous premise – that Earth had set up a Mental Health facility on one of the moons of Alpha Centauri which was cut off and left to its own devices during the long years of the Alphane war – is a far more complex, structured and amusing work.
This is not a major Dick novel but it has its moments and needs to be studied by Dick enthusiasts if only to identify the PKD trademarks and how they are related to their use in other novels.