Humpty Dumpty in Oakland

Humpty Dumpty in Oakland is one of Philip K. Dick's stranger realist novels. Although it is, for the most part, entertaining and brings the Bay Area to life, the dialogue of the African-American characters does not ring accurate or authentic. Perhaps due to my disjointed readings of the novel, it also failed to coalesce, although the protagonist, Al Miller, does resemble several phildickian protagonists in his "everyday people" manner, who must confront larger corporate and business threats, the petty social divisions of his era, and force himself to stand for something instead of letting life pass by. The encroachment of development, suburbia, and the impersonal corporation descend into Marin County, as well, making flight from the homogenization wrought by American capitalism more difficult than ever. Ironically, one of the drivers of this process, Chris Harman, is searching for the remnants of a folk culture to record for his music label, and things take on a life of their own as small business confronts big business. Al and his paranoid perception of reality, matched by the dying Jim Fergesson's decline, lead to unexpected paths. Ultimately, Al does make a choice in his life, running off with the African-American realtor who always looked out for him. As to be expected, the typical Phildickian protagonist defies conventions, challenging the fantastical nature of reality.