of course the alternate history framework of the novel is compelling, an engaging thought exercise about the other possibilities of war, those moments of immense directional change. what brings the book alive is the role of the I Ching for the majority of the characters (all but the germans, those ‘cynics with utter faith’…) , the cosmological propulsion of plot and character development. it serves as a mirror for each character, bringing to focus their fears and hopes and desires, their own form of prayer, a call for succor. on another level it is the representation of the appropriation of culture, and its propagation through subjugation. the japanese take from the chinese, then sow amongst their american subjects. one of those subjects, a fictional white american author, literally uses the I Ching to write his popular alternate history novel. look again and a real white american author, pkd, uses the I Ching as a plot device to write his popular alternate history novel. these rippling rings of meaning lend the story a satisfying depth and meta-flair.  the psychospiritual compulsion for divination is contrasted with the baser obsession to collect and fetishize the artifacts of early american culture. the same energetic drive, for truth and knowledge and authenticity, juxtaposed. this search for meaning is juxtaposed again further with the stereotyped german ethos, the ‘potpourri of pointlessness’ and cosmic fatalism.  <spoiler> and then it ends with another neat trick of perspective fuckery. the characters flirt with the fourth wall, discover that they may in fact be living in the world of a novel. our characters are all wandering amongst the ‘chaos of light and dark, shadow and substance’,  our universal human condition to seek meaning. they catch a glimpse, but doubt is the shadow of truth, always near. as for the author(s) - ‘you should read my book and accept it on face value…without inquiring if its genuine underneath…’. i accept. </spoiler>