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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. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
On the television, host Buster Friendly teases a “special exposé” (38) that will be revealed in 10 hours. Isidore visits his new neighbor. A frightened, young woman opens the door, who seemingly has no belongings of her own. She is living in the empty apartment, surrounded by the possessions of the departed former occupant which Isidore refers to as “kipple” (39). As they talk, Isidore realizes that his new neighbor knows nothing about Mercerism, empathy boxes, Buster Friendly, or Earth slang. When he mentions that he is special, however, she becomes cold toward him. Though she insists that she cannot be friends with him, she does require his help to find furniture in the other empty apartments. She introduces herself to him as Rachael Rosen but, when Isidore mentions the “largest manufacturer of humanoid robots used in our colonization program” (41), she insists that her real name is Pris Stratton. She shuts the door in Isidore’s face.
On his way to work, Isidore thinks about his strange meeting with Pris. Isidore works for a repair shop that specializes in fake animals. Because clients do not want people to know that their animals are fake, the repairmen dress as veterinarians. Isidore drives to his first client’s house, and the client thrusts an electric cat into his arms and demands that he fix it. The client leaves in a hurry for work, and Isidore is left with the electric cat, which imitates the behavior of an actual dying cat. Before Isidore can fix the animal, it stops working. Relieved because the fake animal’s death throes troubled him, Isidore takes the electric cat back to the repair shop. In his car, he listens to Buster Friendly’s 23-hour-a-day broadcast and scowls when Friendly mocks Mercerism. Isidore decides that Friendly and Mercer are competing for the same audience, wrestling with one another for “control of our psychic selves” (44). Isidore believes that Mercer will inevitably triumph because he is caught in a constant, eternal cycle of climbing the hill and being struck down into the “tomb world” (45), only to begin his journey again.
At his workplace, Isidore talks to his boss, Hannibal Sloat, who realizes that the cat is actually real. Sloat is shocked that Isidore cannot tell a real cat from a fake cat. Cursing the “goddamn waste,” he tells Isidore to call the owner and tell him the bad news. When talking to the client’s wife, the nervous Isidore suggests that they replace the cat with an “exact electric duplicate” (47). The client’s wife agrees, believing that her husband will be dismayed by the cat’s death. Isidore is pleased with the way he handled the call.
Deckard meets with Bryant and is told about the best way to approach the missing androids on Holden’s list. He assures Bryant that the Voigt-Kampff test is still viable. Bryant says that “a Soviet cop” (49) named Kadalyi will accompany Deckard, much to Deckard’s displeasure. He prefers to work alone. Deckard searches for the first android on the list, Max Polokov, but learns that he fled town after shooting Holden. Polokov is now out of Deckard’s jurisdiction. Before meeting up with Kadalyi, Deckard receives a call from Rachael. She offers to join his search but Deckard declines the offer.
Deckard meets up with the Soviet cop, Kadalyi. However, Kadalyi attacks Deckard, prompting Deckard to realize that Kadalyi is actually Max Polokov. Deckard kills Polokov and, shaken, wonders whether he might need Rachael’s help after all. He calls his wife, but Iran is now emerging from a “six-hour self-accusatory depression” (54) and she does not care about Deckard’s conflicted feelings about killing another android. Deckard thinks to himself that female androids seem more human than Iran at times. With “gleeful anticipation” (55), he turns his attention to the next name on his list, Luba Luft. She is posing as a famous opera singer.
Deckard visits the San Francisco Opera, where Luba Luft is pretending to be a human singer. He arrives during a rehearsal for The Magic Flute by Mozart, an opera that Deckard knows and loves. The opera has always “brought tears to [Deckard’s] eyes” (56). After the rehearsal, Deckard visits Luba’s dressing room and tells her that he wishes to test her. During the Voigt-Kampff test, Luba confuses Deckard. She insists that he should take the test, suggesting that Deckard’s lack of empathy toward his targets is suspicious. She pretends that language and cultural differences prevent her from answering questions.
With Deckard distracted, Luba points a laser at him and calls the police, accusing him of being a “sexual deviant” (60). When a cop arrives, he insists that he knows “all the bounty hunters” (61) and he does not know Deckard, Bryant, or anything about Deckard’s assignment. The cop calls the Hall of Justice and is told that Deckard does not exist. The cop, Officer Crams, takes Deckard to the Hall of Justice; as they exit through the roof, he examines Max Polokov’s dead body in Deckard’s hovercar. Once they take off in the cop’s car, Deckard realizes that they are not heading to the Hall of Justice. Deckard raises this point, and Crams insists that they are heading to the new Hall of Justice. Deckard begins to suspect that Crams is an android, and he sits trapped in the hovercar as they travel to the supposedly new Hall of Justice.
Isidore is a nuanced character. He provides a neat counterpart to the androids due to his status as a special. Isidore has been poisoned by the radioactive dust that covers Earth. Due to this poisoning, his mental faculties are diminished and he is ostracized from society. Specials like Isidore cannot leave Earth. They are forbidden from certain activities and they are widely mocked as “chickenheads” due to their condition. In many ways, the plight of the specials mirrors that of the androids. Both are marginalized by mainstream human society, deemed to be part of a social underclass that has fewer rights than most humans. As such, Isidore knows how Pris feels when she claims to be lonely. Through no fault of his own, he was driven into a life of solitude. He is excited about a potential friendship with Pris. Pris is cold and detached when she first meets Isidore. She acts like an android; she is unempathetic toward his faltering attempts at socializing and paranoid that he may be attempting to trap her. Despite these anxieties, Pris gradually allows Isidore into her life.
In Chapter 8, Deckard kills an android for the first time in the novel. The execution is brutal and uncinematic: Deckard wrestles with Polokov for a short time before killing him. The fight is short, blunt, and indicative of the true nature of bounty hunting. There is no romance in Deckard’s profession, and he walks a fine line between success and survival. In an ironic twist, Polokov was posing as a Soviet police officer sent to assist Deckard. The pretense of authority is a subtle mirror to the pretense of authenticity. The theme of Artificiality appears frequently throughout the novel as Deckard must discern between what is real and what is merely pretending to be real. The incident with Polokov shows that the stakes of this discussion are far higher than mere moral philosophy. Deckard needs to distinguish between the fake and the genuine; otherwise, his life is at stake. The incident occurs shortly after Deckard receives an offer of help from Rachael. In this instance, too, Deckard must discern Rachael’s true intentions. He decides not to accept help from an android on his mission to kill androids because he simply does not trust her. As with the incident with Polokov, separating the real from the fake is quickly becoming a matter of life and death for the bounty hunter.
After killing Polokov, Deckard tracks down Luba Luft. She is posing as an opera singer and, on arrival, Deckard is impressed with her talent. The scene is one of the first that references older art in an exploration of the difference between the authentic and the artificial. Deckard is a fan of opera, to the point where he believes that his knowledge of culture gives him an advantage over other bounty hunters. He watches Luba perform a song from Mozart’s The Magic Flute. The performance is a metaphor for Luba’s ambitions. She wants to pretend to be human and enjoy the life that she made for herself. She performs the role of human nearly as well as she performs her role in the opera, following a set of guidelines and expectations that allow her to fully lose herself in the role. Deckard is impressed by her singing in the same way that he respects the Nexus-6 models’ ability to convincingly perform humanity.
By Philip K. Dick