Do Androids Dream of Electric Sheep? depicts a world where people are profoundly disconnected from one another, nature, and even themselves. For instance, Rick Deckard experiences estrangement both within his marriage and in his interactions with others. His wife, Iran, relies on the Penfield mood organ to simulate emotions—often negative emotions like depression, which Rick doesn’t think is acceptable—further widening the emotional chasm between them. This reliance on artificial means to regulate emotions reflects a broader societal alienation, as genuine human connections become increasingly rare. For instance, the only moment of sexual intimacy in the novel occurs between Rick and the android Rachael Rosen, and it is an experience that Rick later learns was manipulative in nature—there was no genuine emotion or desire involved in the encounter. Finally, the fact that most animals have gone extinct creates a void in human connection to nature, which humans try to replace with artificial substitutes. Rick’s electric sheep, for instance, while providing a semblance of companionship, ultimately only increases his sense of loneliness.
Perhaps even more so than Rick, John Isidore epitomizes modern alienation. As a “special,” his cognitive impairments due to radiation exposure make him an outcast in human society. His exclusion from the greater social structure leaves him yearning for companionship, a longing that drives him to connect with the fugitive androids. However, his attempts at forming relationships reveal the depth of his isolation. The androids exploit his kindness and view him with contempt, treating him more as a tool than a person. Even his bond with Pris, the android he initially sees as a friend, is marked by a disturbing lack of reciprocity. Despite his desperate attempts to find meaning and belonging, John remains fundamentally alone, embodying the broader societal alienation that defines Dick’s dystopian world. His plight reflects the dehumanizing effects of a fragmented, artificial existence where empathy and genuine connection are scarce. Through figures like Rick and John, Do Androids Dream of Electric Sheep? suggests that alienation is an inevitable outcome of a world where artificial constructs replace authentic relationships.
Alienation ThemeTracker
Alienation Quotes in Do Androids Dream of Electric Sheep?
In addition, no one today remembered why the war had come about or who, if anyone, had won. The dust which had contaminated most of the planet’s surface had originated in no country and no one, even the wartime enemy, had planned on it. First, strangely, the owls had died. At the time it had seemed almost funny, the fat, fluffy white birds lying here and there, in yards and on streets; coming out no earlier than twilight as they had while alive the owls escaped notice. Medieval plagues had manifested themselves in a similar way, in the form of many dead rats. This plague, however, had descended from above.
He wondered, then, if the others who had remained on Earth experienced the void this way. Or was it peculiar to his peculiar biological identity, a freak generated by his inept sensory apparatus? Interesting question, Isidore thought. But whom could he compare notes with? He lived alone in this deteriorating, blind building of a thousand uninhabited apartments, which like all its counterparts, fell, day by day, into greater entropic ruin. Eventually everything within the building would merge, would be faceless and identical, mere pudding-like kipple piled to the ceiling of each apartment. And, after that, the uncared-for building itself would settle into shapelessness, buried under the ubiquity of the dust. By then, naturally, he himself would be dead, another interesting event to anticipate as he stood here in his stricken living room atone with the lungless, all-penetrating, masterful world-silence.
“No one can win against kipple,” he said, “except temporarily and maybe in one spot, like in my apartment I’ve sort of created a stasis between the pressure of kipple and nonkipple, for the time being. But eventually I’ll die or go away, and then the kipple will again take over. It’s a universal principle operating throughout the universe; the entire universe is moving toward a final state of total, absolute kippleization.” He added, “Except of course for the upward climb of Wilbur Mercer.”
“Because Wilbur Mercer is always renewed. He’s eternal. At the top of the hill he’s struck down; he sinks into the tomb world but then he rises inevitably. And us with him. So we’re eternal, too.”
Garland said, “It’s a chance anyway, breaking free and coming here to Earth, where we’re not even considered animals. Where every worm and wood louse is considered more desirable than all of us put together.”
The painting showed a hairless, oppressed creature with a head like an inverted pear, its hands clapped in horror to its ears, its mouth open in a vast, soundless scream. Twisted ripples of the creature’s torment, echoes of its cry, flooded out into the air surrounding it; the man or woman, whichever it was, had become contained by its own howl. It had covered its ears against its own sound. The creature stood on a bridge and no one else was present; the creature screamed in isolation.
“Listen,” she said to Rick. Some of the color had returned to her face; once more she looked—at least briefly—alive. “Buy me a reproduction of that picture I was looking at when you found me. The one of the girl sitting on the bed.”
“It has often been said by adherents of the experience of Mercerism that Wilbur Mercer is not a human being, that he is in fact an archetypal superior entity perhaps from another star. Well, in a sense this contention has proven correct. Wilbur Mercer is not human, does not in fact exist. The world in which he climbs is a cheap, Hollywood, commonplace sound stage which vanished into kipple years ago. And who, then, has spawned this hoax on the Sol System? Think about that for a time, folks.”
What a job to have to do, Rick thought. I’m a scourge, like famine or plague. Where I go the ancient curse follows. As Mercer said, I am required to do wrong. Everything I’ve done has been wrong from the start. Anyhow now it’s time to go home. Maybe, after I’ve been there awhile with Iran I’ll forget.
“Mercer isn’t a fake,” he said. “Unless reality is a fake.” This hill, he thought. This dust and these many stones, each one different from all the others. “I’m afraid,” he said, “that I can’t stop being Mercer. Once you start it’s too late to back off.” Will I have to climb the hill again? he wondered. Forever, as Mercer does. . .trapped by eternity. “Good-bye,” he said, and started to ring off.