43 pages • 1 hour read
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.
The novel’s main protagonist, Arctor, is Dick’s avatar of delusion and identity confusion. He is introduced as an undercover narcotics agent, but once he begins surveilling his prime suspect, he loses touch with himself and with reality. Arctor, as Fred, is expected (and permitted) to indulge in some drug use in order to maintain his cover, but the insidious Substance D soon has him in its grip, distorting his cognitive function, making him confused and paranoid. He begins to see Arctor as separate from himself, a third party who exists in his own space and time. He believes unequivocally in his mission and that Arctor will lead him to the source of Substance D. His confusion becomes so deep that he begins to refer to himself in the third person, his identity blurring and overlapping with the target of his investigation. One of Dick’s recurring themes is The Nature of Reality, and he dives into Arctor’s psyche to explore this idea, especially the connection between perception and psychedelics. Arctor’s interior monologues are tangential and oblique, veering between paranoia and dead certainty. The voices outside of his head—Hank, the agency’s psych team—are the voices of reality, but those voices are filtered through Arctor’s delusional perceptions, leaving the reader uncertain as to who’s the reliable adult in the room. Arctor’s character arc is a tragic one. Donna sees him as a pawn of a manipulative and indifferent federal agency, and by the end, the drugs have severed the connection between his brain hemispheres and left him barely functional. Dick, who has argued passionately that there are very few upsides to drug use, puts his protagonist through the wringer and leaves him utterly deadened, a testament to the damage of prolonged addiction.
Until the end of the novel when her true identity is revealed, Donna exists primarily as Arctor’s dealer, contact, and sexual fantasy. The other characters assume, without evidence, that she is his “old lady,” and she and Arctor do occasionally engage in flirtatious rapport, but when Arctor finally verbalizes his feelings, she bluntly rejects him as “ugly.” Dick has been criticized for writing two-dimensional female characters whose narrative purpose is simply to fulfill the male protagonist’s sexual desires. Indeed, the male characters in A Scanner Darkly frequently objectify and sexualize women, discussing nonconsensual sex and even sexual violence as casually as if comparing car models. Donna, however, exhibits strength and agency, refusing to play the role of Arctor’s sexual conquest. Later, when she is revealed to be another undercover narcotics agent, she drops her cynical, doper façade and displays real empathy for the man who has been played as deftly as a chess piece and whose life has been destroyed for it. Donna is the strength while the “needle freak” Connie is the tragic vulnerability, the doper who is so desperate that she will trade anything for her next fix. While both women may function as the potential reality of Dick’s female characters, Donna demonstrates a self-determination unique to his fiction.
One of Arctor’s roommates, Barris is unique among the three for his education, his technological savvy, and his devious nature. He seems able to repair any device or car engine (at least he talks a good game). Dick’s dialogue often revolves around the minutiae of circuitry or carburetors, and usually, the most detailed and technical jargon comes from Barris. He damages Arctor’s “cephscope” only to offer to repair it. Arctor suspects he is also responsible for tinkering with his car only to diagnose the problem later. Unlike Arctor or Luckman, when Barris gets high, he tends to focus on his latest project—extracting cocaine from a can of sunscreen or crafting a new hash pipe. His room is littered with discarded electronic components, a tinkerer’s paradise. However, like Donna and Arctor, his identity is a red herring, and Dick reveals him to be just as delusional and paranoid as the others. He concocts a conspiracy involving Arctor as the ringleader of a plot to raid weapons from an Air Force base and fuel anti-government activities. By this point, he is a twitchy, sweating mess whose story the agency suspects is just as phony as he is. The novel is semi-autobiographical, so it may be that Dick knew a man very much like Barris, and his inclusion in the novel suggests that addiction is not a problem reserved for the poor and poorly educated.
The large, muscled Luckman is the third member of Arctor’s household, and in some ways, the least developed. While Arctor is the narrative’s central figure, and Barris is his nemesis, Luckman occupies a sort of passive middle ground. He rarely gets in the middle of arguments; a notable exception is when Barris claims that his car is too “modified” for Arctor to drive. Luckman counterargues, “It’s an ordinary six-cylinder motor, you humper” (107). A key moment comes when Luckman nearly chokes to death on a piece of food, and Barris doesn’t lift a finger to help. Although Luckman doesn’t remember the incident clearly, Arctor witnesses it on the holo-scanner, and he becomes convinced that Barris may try to poison them all with toxic mushrooms. Luckman is more of a kindred spirit with Arctor and enjoys using drugs as an opportunity to reflect and philosophize on metaphysical issues.
Initially, Hank appears to be a faceless (literally, behind the blur of his scramble suit) bureaucrat, but as Arctor’s addiction grows, he becomes more personally involved in the action. He recommends Arctor for psychological evaluation and ultimately sends him to a rehabilitation clinic. He even suggests that, should withdrawal become too severe, he carry his gun with him to take his own life. Dick’s work often focuses on bureaucracies and those who manipulate and enable them, and while Hank may seem to be just another in a long line of these enablers, his concern for his agent—as cold as it may be at times—and his awareness that Arctor and Fred are in fact the same person show him to be more than just a paper pusher in a blurry suit.
By Philip K. Dick