Ubik

“Al is deteriorating.” Runciter laughed, a deep, re-echoing pulsation that made the conference room vibrate. “Look, Joe, I recorded this goddam TV commercial to assist you, to guide you—you in particular because we’ve always been friends. And I knew you’d be very confused, which is exactly what you are right now, totally confused. Which isn’t very surprising, considering your usual condition. Anyhow, try to hang on; maybe once you get to Des Moines and see my body lying in state you’ll calm down.”

“What’s this ‘Ubik’?” Joe asked.

“I think, though, it’s too late to help Al.”

Joe said, “What is Ubik made of? How does it work?”

“As a matter of fact, Al probably induced the writing on the men’s-room wall. You wouldn’t have seen it except for him.”

“You really are on videotape, aren’t you?” Joe said. “You can’t hear me. It’s true.”

Runciter said, “And in addition, Al—”

“Rats,” Joe said in weary disgust. It was no use. He gave up.

The horse-jawed housewife returned to the TV screen, winding up the commercial; her voice softer now, she trilled, “If the home-art store that you patronize doesn’t yet carry Ubik, return to your conapt, Mr. Chip, and you’ll find a free sample has arrived by mail, a free introductory sample, Mr. Chip, that will keep you going until you can buy a regular-size can.” She then faded out. The TV set became opaque and silent. The process that had turned it on had turned it back off.

So I’m supposed to blame Al, Joe thought. The idea did not appeal to him; he sensed the peculiarity of the logic, its perhaps deliberate misdirectedness. Al the fall-guy; Al made into the patsy, everything explained in terms of Al. Senseless, he said to himself. And—had Runciter been able to hear him? Had Runciter only pretended to be on videotape? For a time, during the commercial, Runciter had seemed to respond to his questions; only at the end had Runciter’s words become malappropriate. He felt all at once like an ineffectual moth, fluttering at the windowpane of reality, dimly seeing it from outside.

A new thought struck him, an eerie idea. Suppose Runciter had made the videotape recording under the assumption, based on inaccurate precog information, that the bomb blast would kill him and leave the rest of them alive. The tape had been made honestly but mistakenly; Runciter had not died: They had died, as the graffiti on the men’s-room wall had said, and Runciter still lived. Before the bomb blast he had given instructions for the taped commercial to be played at this time, and the network had so done, Runciter having failed to countermand his original order. That would explain the disparity between what Runciter had said on the tape and what he had written on the bathroom walls; it would in fact explain both. Which, as far as he could make out, no other explanation would.

Unless Runciter was playing a sardonic game with them, trifling with them, first leading them in one direction, then the other. An u

And, in addition, if Runciter were alive, then not one but two Runciters existed: the genuine one in the real world who was striving to reach them, and the phantasmagoric Runciter who had become a corpse in this half-life world, the body lying in state in Des Moines, Iowa. And, to carry the logic of this out to its full extent, other persons here, such as Ray Hollis and Len Niggelman, were also phantasmagoria—while their authentic counterparts remained in the world of the living.

Very confusing, Joe Chip said to himself. He did not like it at all. Granted it had a satisfying symmetrical quality, but on the other hand, it struck him as untidy.

I’ll zip over to my conapt, he decided, pick up the free sample of Ubik, then head for Des Moines. After all, that’s what the TV commercial urged me to do. I’ll be safer carrying a can of Ubik with me, as the ad pointed out in its own jingly, clever way.

One has to pay attention to such admonitions, he realized, if one expects to stay alive—or half-alive.

Whichever it is.

The taxi let him off on the roof field of his conapt building; he descended by moving ramp and arrived at his own door. With a coin that someone had given him—Al or Pat, he could not knowingly remember—he opened the door and entered.

The living room smelled faintly of burned grease, an odor he had not come across since childhood. Going into the kitchen he discovered the reason. His stove had reverted. Back to an ancient Buck natural-gas model with clogged burners and encrusted oven door which did not close entirely. He gazed at the old, much-used stove dully—then discovered that the other kitchen appliances had undergone similar metamorphoses. The homeopape machine had vanished entirely. The toaster had dissolved sometime during the day and reformed itself as a rubbishy, quaint, nonautomatic model. Not even pop-up, he discovered as he poked bleakly at it. The refrigerator that greeted him was an enormous belt-driven model, a relic that had floated into being from god knew what distant past; it was even more obsolete than the turret-top G.E. shown in the TV commercial. The coffee-pot had undergone the least change; as a matter of fact, in one respect it had improved—it lacked the coin slot, operating obviously toll-free. This aspect was true of all the appliances, he realized. All that remained, anyhow. Like the homeopape machine, the garbage-disposal unit had entirely vanished. He tried to remember what other appliances he had owned, but already memory had become vague; he gave up and returned to the living room.

The TV set had receded back a long way; he found himself confronted by a dark, wood-cabinet, Atwater-Kent tuned radio-frequency oldtime AM radio, complete with ante

But why hadn’t the TV set reverted instead to formless metals and plastics? Those, after all, were its constituents; it had been constructed out of them, not out of an earlier radio. Perhaps this weirdly verified a discarded ancient philosophy, that of Plato’s ideal objects, the universals which, in each class, were real. The form TV set had been a template imposed as a successor to other templates, like the procession of frames in a movie sequence. Prior forms, he reflected, must carry on an invisible, residual life in every object. The past is latent, is submerged, but still there, capable of rising to the surface once the later imprinting unfortunately—and against ordinary experience—vanished. The man contains—not the boy—but earlier men, he thought. History began a long time ago.

The dehydrated remnants of Wendy. The procession of forms that normally takes place—that procession ceased. And the last form wore off, with nothing subsequent: no newer form, no next stage of what we see as growth, to take its place. This must be what we experience as old age; from this absence comes degeneration and senility. Only in this instance it happened abruptly—in a matter of hours.

But this old theory—didn’t Plato think that something survived the decline, something i