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Dick's original typescript plot outline of an unrealized novel, with his manuscript ink corrections, published in issue number 2 of Science Fiction Eye, August 1987, together with journalist Paul Williams's typescript introductory essay, with his manuscript ink corrections, published in the same issue. Dick's insightful reflections on "Fawn, Look Back" show how his personal life and watershed "3-74" visions are all intertwined in his writing. Science Fiction Eye was an up-and-coming magazine of criticism and review. Securing a piece of writing by Dick was a major early coup, and they they dedicated a whole section of issue number 2 to appraising his work. The section comprised the present outline for "Fawn, Look Back" and Williams's introductory article, alongside illustrations by Dan Steffan, an interview with Dick by Richard A. Lupoff, and a review by Ted White of Williams's book,Only Apparently Real: The World of Philip K. Dick. Williams was a pioneering journalist of rock music criticism and the founder of Crawdaddy magazine. He was a close friend of Dick and the literary executor of his estate for several years after his death. Dick conceived "Fawn, Look Back" as a reflection of his own troubled interpersonal relationships and contrastingly successful career. The story outline describes the life of Dick's self-insert protagonist, who exists in a world where there are three hierarchical "Modes" of existence. The protagonist is seeing a therapist who tries to help him rise to a higher "Mode" by pairing him with Eryns, a destructive older woman based on Dick's wife Anne. His destructive shuttling between "Modes", catalyzed by Eryns's jealousy and inability to let him pursue more fruitful relationships, sees his artistic output celebrated but his personal life suffer. Dick has made slight corrections on five pages and a more significant change to the title. The typescript title reads "The Fawn Does Not Look Back"; Dick has crossed-through this to leave "Fawn, Look Back". He has also changed the source of the title, an image of a fawn stalked by cheetahs, to reflect the title change (p. 4), an "optimistic alteration" Williams remarks on in his introduction. The plot outline is followed by Dick's five-page commentary on the ideas behind "Fawn, Look Back". He highlights the autobiographical elements of the story and discusses his "3-74" visions, in which he experienced his mind being invaded by a benign but separate consciousness he named "VALIS". Williams's article is a measured discussion of the importance of Dick's fragmentary output. He discusses the connection between "Fawn" and Dick's vast philosophical treatise, his "Exegesis", and comments on "the split between Dick's success as an artist and his failures with his wives and girlfriends". While he notes that "Fawn" may be considered an early outline for a novel Dick was contracted to write (but never did) called "The Owl in Daylight", he suggests we take "Fawn, Look Back" at face value: "Read it, then, not for what it might have been -- Dick only wrote novels when he was actually writing a novel -- but for what it is, what it communicates in and of itself. There is sadness here, and a contentment, and a sort of yearning -- a wish that life experience would resolve itself, would make sense. that in a novel everything could come clear and be resolved". These typescripts were presented by Dick's daughter Laura Leslie to Williams's widow, the singer-songwriter Cindy Lee Berryhill, following William's death in 2013. A print-out of Leslie's email to Berryhill regarding the typescripts is included here. Typescript, 16 pp. typed on recto only, of which 6 leaves are Dick's plot outline, 5 are his commentary on the outline, 1 is a typescript copyright notice from Dick's estate, and 4 are Williams's article. With manilla envelope addressed in manuscript to "Cindy Lee Berryhill, POBx 232517, Encintias CA 92023", stamped and franked with printed address sticker of "Ms Laura A. Leslie,
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