If you've ever wondered what kind of stories Garrison Keillor might write if he were a drugged-out, paranoid new-wave science fiction author living in Berkley, California, during the 1960s, well I reckon old Phil Dick's Dr. Bloodmoney is a close approximation.
It's a post-apocalyptic home companion.
A slice of this post-nuclear American life.
It has a pastoral feel to it, bringing to mind the works of William Saroyan and John Steinbeck, if, of course, those authors wrote about deformed characters with powerful mental abilities, mutant animals, botched space flight, and nuclear war.
It's among Dick's richest books in terms of character; it is quite “literary” in the way it deals with the drama. This book is not driven by a thrilling plot or any kind of strong SF impetus beyond the end of the world scenario and some mutant-like things born from the destruction. Instead, Dr. Bloodmoney is entirely character driven, and each character, out of a very large cast, is given the time and room to grow.
Dr. Bloodmoney is a post-apocalyptic novel, although one that is as different from Mad Max and other more mainstream examples as is Walter M. Miller Jr.'s A Canticle for Liebowitz. It is most definitely a product of its time; the fear of the Cold War hangs heavy over Dick's narrative, and the constant threat and promise of nuclear devastation is demonstrated expertly. Dick creates a frightening sense of chaos and destruction once the bombs start dropping, and he also illustrates his post-apocalyptic society with an equal amount of skill.
While Dick's version of the scenario is bleak and rife with turmoil, he does not predict a total breakdown of human society. Instead, he takes a decidedly optimistic approach to the tragedy of a nuclear-war torn world. Dick presents a group of survivors who retain their humanity towards one another even when faced with outlandish and dire circumstances. Not all of the characters are as eager to get along as the best of them, but enough are that I would place the book among Dick's more hopeful and positive works. There is actually a gleam of hope in the book, one that rings with strong emotional truth.
Many of Dick's more important works (which this is) deal with God, religious mysticism, and Gnosticism. I find it strange that here, in one of his only truly post-apocalyptic offerings, Dick seems to skirt the subjects all together - he focuses only on humanity, not offering any kind of divine intervention. It is as if in Dick's mind, the destruction of the world has divorced his characters from any kind of Godly influence - the characters never even mention God; out of sight, out of mind. The characters in this novel seem to be in some kind of purgatory, one where only their physical bodies have survived.