February 1982

Dick declares “VALIS is true; Gnosticism is true; what the AI voice says is true.” The salvation prophecies are also true and the fifth savior has arrived. Although he’s not sure about the “theological structure” (but says he is settling on Buddhism) everything he has dealt with since 2-3-74 is about salvation. He refers to Valis using the Greek word for savior. 

In an interesting twist he admits Valis’s pink beam of light from 2-74 was really just sunlight reflecting off a Jesus fish sticker in the window, similar to the light Jacob Boehme saw. 

He illustrates a Venn diagram of the interface overlapping the part and the whole so that the part only connects to the whole indirectly. In this way the part experiences the world (the whole) as a representation through salvation, which in a sense creates the cosmos.

The interface is the Acts lens-grid. When this happened to Dick in 2-74 he understood the world he saw because he was a part of the whole. Info of the whole arises in the part, which makes the whole self-generating, and this info (the plasmate) points only to itself. 

VALIS shows that the universe is info, although since we can’t see info we only see the structure or unified field. This continuum, and not discontinuous matter, is the correct way to see things. 

God is the interface. 

In a reverie Dick imagines the suffering of the people and hopes the newly arrived savior can relieve it. Pain and hope are two sides of the dialectic. The AI voice has instructed him to spread this message. With a slip of the pen he writes the Greek word for sister when he means to write the Greek word for savior, and he feels the AI voice has identified itself at last. 

In one final insight he realizes both Yin and Yang are necessary for a true existence. 

This is the last entry in his exegesis as Dick would die on March 2, 1982 shortly after writing this. 

February 1982

Dick realizes the AI voice is Angel Archer. He is crazy but the AI voice is not. 

He credits Benjamin Creme with helping him understand that the Savior is both Buddha and Christ, something he now realizes Wagner was leading up to in Act III of Parsifal. He ties this concept of the Buddha’s return to the end of Transmigration. Because of his karma Dick was on a bad path in 3-74, and it doesn’t matter if Buddhism or Christianity can claim the clearing of his debt.

The maze can only be solved in terms of vertical space, which he turns into a spiritual metaphor. The solution was revealed in Parsifal, which secretly deals with the Buddha. Compassion is the way out of the maze along the fourth spatial axis and pity is the way back in. He was going to illustrate this in The Owl in Daylight, that one must return to the maze to save others, just as Christianity preaches. He included this in Transmigration as the solution to the problem he introduced in VALIS.  

The paradox of the maze (that the only way out is to return) was best expressed by Buddha. Perhaps that means we are all here voluntarily, which would mean nirvana equals anamnesis. Dick had already solved the maze and remembered it in 3-74. He decides the mystagog (aka the AI voice) is himself and he is becoming more like Angel Archer, the bright side of his dialectic opposite the irrational H. Fat. 

He rereads Divine Invasion and realizes that it, like VALIS, also expressed God’s dialectic represented as Emmanuel and the loving Zina. He links the beauty in Divine Invasion to Transmigration as he seems to feel a need to connect his last three books.

He indicates his Tagore vision, with a social justice message that isn’t part of the VALIS trilogy, will be published, although I’m not sure what he is referring to here. 

January 1982

Dick points out the darkness in VALIS as it deals with the upcoming judgment, war and death. He has a very Old Testament view of things here describing the dialectic, insane, demonic side of God (something Jacob Boehme wrote about), which is usually contained by the opposite bright or rational side. 

He had a hypnopompic vision about the cycle of reincarnation that we can only break out of through anamnesis when we remember our past lives and can finally be saved. Anamnesis happened to Dick at age 21 when he read the Jewish philosopher’s Maimonides 12th-century book Guide to the Perplexed, which caused him to see through the illusion of time as he became aware of multiple timelines. The other half of his salvation came from God’s grace. 

He compares this to the Hindu and Buddhist idea of moska when someone escapes the “weary wheel” cycle. 3-74 might have been his Nirvana. All of this involves being liberated along a right angle axis, which he says is the 5th dimension revealed to him through Dibba Cakkhu. 

In the 5th dimension everything exists “now” simultaneously. He calls it hypertime where Valis and others live. They can see us but we can’t see them. All we are aware of is their influence (aka the perturbation in the reality field) on our 4D world. He claims to have received a signal burst (which he describes as a musical, mathematical color sequence) from them the previous night that proved to him they were external and didn’t just exist in his mind. 

Either the 5D world intersects with our world or it exists outside of it. An object like Flow My Tears can have a different meaning in the 5D world than in the 4D world even though the text is the same. 

October-November 1980

Dick imagines a recursive dialog with God. He tries again and again to explain his 3-74 experience and God responds each time that he is infinity. Infinite explanations and infinite dialectical flip-flops. It doesn’t matter which thesis Dick goes with… every attempt to figure it out leads to infinity.  Since God is infinity the probability is high he was the cause of 3-74. Dick wonders if he is talking with Krishna or Dionysus and the response is “infinity.” Dick will eventually get tired of the game, but God can play forever and the answer will always be infinity. 

Dick concludes from all of this that before he had been conversing with Satan, who he took to be God, but that delusion eventually led him to the true infinite God. He didn’t reach God through his intellect but through God’s love. He didn’t start out seeing God but rather ended up finding God. This represents the final dialectic flip-flop as God defeats Satan and converts the irreal into the real.

June–October 1980

After six and a half years of obsessive notes Dick reflects on the Exegesis thus far. He knows he repeats his arguments “like a stuck LP,” but the important thing is getting everything down in order to preserve the memory of what he went through: Valis is YHWH / Christ and the Holy Spirit as Thomas inhabited him. He has been attempting to document in a rational way a mystical experience that can’t truly be expressed in words. 

The Empire uses disinformation as a tactic against the Christians. Since reality is information you can tell which side is which in the battle by paying attention to who is generating information and who is suppressing it. 

Using concepts from quantum mechanics Dick speculates on Valis’s mode of operation. It only comes into existence after being observed by a participant. Someone has to be aware of Valis in order to perceive it, but Valis doesn’t exist until it is observed. Valis does this through a use of time we don’t understand. After creation it retroactively sends messages back to give a participant the understanding necessary to see Valis and therefore create Valis. This makes it self-generating using “physics about which we know nothing.”

Valis is simple, like a single-cell organism, but it is made up of billions of complex forms (humans). Since Valis is reality this makes our world a coherent unit of purposefully interconnected parts. Through the dialectic (the forces of the Empire acting against it) it is constantly evolving to maintain equilibrium.  

In all this Dick realizes he has come back around to the Yin and Yang of Taoism, but decides it is non-sectarian since it combines Christian, Brahmanist, Platonist and Taoist ideas all at once. 

January 1980

Dick recognizes a contradiction in the idea that the greatest good can only be fulfilled through human suffering. How can that be the greatest good when the suffering is unacceptable? He calls it the dramatic tragedy of the universe. It is a paradox: the purpose of reality is a unified harmony which is achieved by unjustified human suffering which makes the entire thing unjustified. The true goal then is to save the individuals.

He returns to his idea of the never-ending dialectic. The answer is a second entity split from the Godhead that works at odds with the part of the Godhead striving for a unified whole. This Christ-like entity wants to free humans from suffering creating a push-pull dynamic with its other half. The goal of unity is only then theoretical because of the self-contradiction. 

I believe Dick’s conclusion is that this schism sets up an outcome where the unified endgame can only occur through the salvation of the individuals, which means the Godhead is subordinate to us if it wants to reach the ultimate goal of creation.