Deus Irae

by Philip K. Dick and Roger Zelazny

Book Overview

An artist searches for God so he can paint his portrait in Philip K. Dick's collaboration with Roger Zelazny.

After World War III, the Servants of Wrath cult deified the mysterious Carlton Lufteufel, creator of the doomsday weapon that wiped out much of humanity. But to worship the man, they need an image of him as a god, and no one has ever seen him. So the high priests send a limbless master painter named Tibor McMasters into the wilderness...

• Format: Paperback
• Language: English
• ISBN: 0547572220
• ISBN13: 9780547572222
• Release Date: April 2013
• Publisher: Houghton Mifflin
• Length: 240 Pages
• Weight: 0.35 lbs.
• Dimensions: 0.7" x 5.2" x 8.0"

Customer Reviews

Good Collaboration, a tightly-woven tale.

I always wondered how two writers collaborate to write one novel. Does one start and write til he's stuck, then send it over to the other? Or is one responsible for the dialogue, the other plot and exposition? Do they trade chapters back and forth? Deus Irae is immediately recognizable Dick. God & theology theme, wacky mutants, and dialogue that cause you think about and examine our basic Christian beliefs. Why not a God of Death and Retribution? I can't say I've read any Roger Zelazny, so I don't recognize his style, plotline, or contribution to the book. However, if he was responsible for toning down the paranoia and rambling to which Dick sometimes succumbs, I guess it was a good mix.

Post-apocalyptic religion

Dick wrote this in collaboration with another sf great, Roger Zelazny, though the end result is not really one of either author's best efforts. In a post-World-War-III wasteland a religion has grown up around the God of Wrath, whose human embodiment is one Carleton Lufteufel, the government official who detonated the doomsday device that contaminated the Earth's atmosphere with radioactivity. Limbless painter Tibor McMaster sets off in his cart on a quest to find Lufteufel to capture the god's true visage in a painting. There's some interesting speculation around the encounter between a vitiated Christianity with this life-negating religion (Deus Irae means "God of wrath") and a somewhat Zen-like spiritual renewal may be found in the novel's conclusion. The religious preoccupation gives the novel interest as a kind of reflection of Dick's other greater novels of the late 60s and 70s, despite the somewhat casual and fragmented history of its composition.

What Is Left To Believe

This book mines one of the most fertile areas of post-apocalyptic science fiction, the conflict of faith. What do people believe in when it looks like God has turned his back on the world? This book is perhaps the best possible flip side to Walter M. Miller, Jr's "A Canticle for Leibowitz."In a world devastated by a war that has evidently been more than nuclear, Tibor McMasters is an artist for the Servants of Wrath, who worship the creator of the bomb. Pete Sands is an acolyte of the waning Christian church. These strange friends wind up on a search for Carleton Leuftufel, the man who ordered the bomb, so that he can be painted and adored as the Deus Irae, the man who remade the world.This brief book appears to have been written by Dick from sketches by Zelazny. These two writers, among the most thoughtful in science fiction, have created a forgotten classic of Twentieth Century literature. An acid trip view of a world twisted and distorted, you are left at the end to decipher what it means. How can we believe in a good god in a bad world? But how can we believe in a bad god and survive? What god suffices? Or is that a doomed thought?There are no answers. Like "The Matrix" or "Leviathan," we are left with important questions and our own resources. This is hard. Though this is not the greatest philosophical science fiction novel ever written, it's right up there, and it's not to be undertaken lightly.Though this book, like most SF from its time, has become dated, it remains eminently readable and beautifully constructed. We can only mourn that these two great minds are gone now, and enjoy this great meeting of their intellects. Highly recommended.

Fierce, Funny and unForgiving

First off, I love Zelazny and Dick, especially Dick, so maybe it's no suprise that I love this book. True, part of the writing is recycled from some of Dick's short-stories, true it bears his trademark sloppy writing style. But who cares if he wasn't a 'technically' gifted writer, when his ideas are so compelling, his horror so gut-wrenching, and his humor equally so! This ia another post-apocolyptic distopia with a few 'straight' (unmutated) humans left among various mutational forms ('bugs', 'runners', 'rollers' etc.). Dick's penchant for radioactively evolved animals (intelligent worms and dung-beetles who talk in American Slang) is in full force, as well as his signature distrust/fascination with large institutions and mechanisms. There are three scenes with old broken-down automated factories that are chilling and (in the latter cases) hysterically funny!The hero is a 'phoce', a man with no arms or legs (phoce means something like 'dophin-like') who is (by way of military surplus extensors) a religious painter who is sent on a pilgramage of sorts to find the 'deus irae' (angry god), which is seen by his church to be the man who 'pushed the button' and started WW3. An agent from the almost defunct Christian Church is sent to foil the nearly helpless phoce, because the church fears that if the angry god church captures the deus iraes visage, their ascendancy over Christiantity will be complete. It's an insane and funny/sad prospect all around. Like so many Dick books, it contains a plot that is completely unbelievable, even absurd in extremis and yet still has a strangely truthful resonance.This book is an easy and enjoyable read. I don't put it in the same league as the best Dick classics like Man in the High Castle, Ubik, Dr. Bloodmoney, but it's a CLOSE 2nd. And like those books, the same themes, pathos and humor, paranoia and blazingly creative intellect are all there. And like those, the same 'magic realism' of Borges, Marquez etc. is also in evidence.