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I notice how Dick is using a lot of imagery and descriptive terms here. He establishes an uneasy, unsettling mood by using terms that evoke such a mood, like “mortification” or “stammered.” The marigold smell of his store, combined with him feeling as if he’s falling into a sea, gives me the idea that there is some sense of anxiety or fear going on amidst an environment that acts otherwise.

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I notice how Childan “bowed spontaneously.” This seems to allude to the power dynamics in this world being quite different from what they are in our world. Bowing to others is generally not done in America, so it appears that the culture of another country (Japan) has been established in this book’s version of America.

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I notice how Frank goes from feeling animosity towards the Japanese, to, in some cases, positive feelings towards their actions. Notably, this was the result of his daily interactions with the Japanese people. To me, this shows an example of one’s perception of others being shaped by their own personal experiences--even the most insignificant ones. I think it’s a really important lesson and concept, and I presume that it will be covered more throughout the book.

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I certainly feel disgusted reading this description of the Nazi experiments in Africa. In our own world, the Nazis already committed countless atrocities such as that of the Holocaust. But the idea that they would commit acts of violent cannibalism in Africa if given the chance, certainly does give way to fear of them. With such potential power, it totally makes sense why Frank should stay from Nazi-controlled territory as much as he can.

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I notice how Childan is placing blame on people who are more heavily affected by racial discrimination than he is. Based on how he thinks about blacks and Chinese people, it appears that has internalized racial stereotypes. Maybe this is alluding to the manners in which stereotypes can negatively impact people, as Childan is pitting himself against not the oppressors, but rather the oppressed (even more so than he is).

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I notice how Mr. Tagomi is fretting about a meeting and rocket jets. Considering that the rockets are German, this seems to further symbolize a gap in technology between the Germans and the Japanese. The fact that Mr. Tagomi has any insecurities at all, also alludes to tension possibly being pretty high between Germany and Japan at this time.

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I notice how Juliana is showing signs of prejudice here. This parallels the prejudistic behaviors of Childan, suggesting they are both in a similar situation; they are both perpetrators of racism, and also victims of it based on their circumstances.

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It is interesting to me how Childan complains about being unable to distinguish between people of other races. Considering his views on race, it seems safe to assume that this struggle with distinguishing people is coming from a place of cynicism. While he identifies different characteristics, these are more so categories of people, rather than specifically identifying them as people. And perhaps that’s just how Childan sees those people: different categories of people who are not worth recognizing as individuals.

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I notice how Lotze is surprised by how Baynes doesn’t speak German. This seems to parallel German sentiments of superiority. Negative attitudes towards people from other countries can also be seen in how Lotze is in disbelief over someone like Baynes being on a Lufthansa rocket, a state-of-the-art technology by the Germans.

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I feel pretty amused by how Baynes claps back at Lotze. With Baynes himself supposedly having changed his appearance to no longer look like a Jew, it seems safe to assume that the Nazis’s goal of exterminating the Jews will never be fully accomplished. This is especially considering that there are Jews in top positions within the Reich.

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I feel intrigued by how the visitor responds to the gun being a fake. While he does vow to do his business elsewhere, he does agree with Childan to not disclose the forgery. This shows the extent to which racial solidarity is present in the society of the novel.

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I notice how one of these two lighters is intrinsically tied to a fictional event: the assassination of FDR. Wyndham-Matson’s critique of “historicity” seems to suggest the idea that a connection exists between historical significance and the stability of history itself.

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I notice how Wyndam-Matson has no qualms about potentially getting Frank deported. This shows the level of cruelty that he has, and seems to parallel real-life stories of cruel factory owners. The fact that Wyndam-Matson specifically highlights the Jewish aspects of Frank also points to his Anti-Semitic nature.

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I notice how Stalingrad is regarded as a town that was never heard of here. In our world, the Battle of Stalingrad was a very important event that helped lead to the Nazis eventually losing the Second World War. However, in this novel’s world, Stalingrad appears to be barely known--likely a result of the alternate history at-play here that helped lead to an Axis victory in the war.

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I notice how Baynes doesn’t seem to understand the Swedish that is being said to him. Considering that Baynes has said before that he’s Swedish, this is certainly pretty suspicious to me. It also shows me that Baynes is more than likely not who he claims to be, especially when considering this moment in conjunction with other actions by Baynes (i.e. his discussion with Lotze).

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I notice how Juliana notices war tattoos on Joe’s body. Considering that this is happening during a moment of intimacy, it highlights how politics have made their way into almost all aspects of society. This even includes the most intimate of moments, which is further supported by the revelation that Joe fought on the opposing side (the Axis powers).

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I notice how there’s an allusion to a large, strong British empire here. “That about the sun and the flag” presumably is a reference to the British empire being one on which “the sun never sets.” This portrayal of the British empire as a large, domineering force parallels the large, domineering nature of the Nazis--and suggests that the Allies have more in common with the Axis powers than they’d like to admit.

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I notice how the individuals mentioned were high-ranking Nazi officers in real life. The exposition given here highlights what they all were capable of doing in the novel’s world, and gives an idea as to what they could have done in our world if they had the chance. To me, this further highlights the danger of the Nazis, demonstrating the sheer force that they were.

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I notice the irony with Childan’s thoughts about Japanese colonization. He expresses frustration at it, but fails to realize the problem with simultaneously expressing pride about white men’s colonialism. Calling the United States his “own country” is ironic amidst the fact that the land of it was taken away from the natives-- the very land that the “white men cleared.”

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I notice how the Kasouras have a copy of The Grasshopper Lies Heavy. This is interesting because of the fact that the Kasouras are Japanese, and here they are in possession of a book that describes a world in which the Japanese lost. This suggests that Kasouras are open-minded and willing to challenge themselves with art.

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It irks me how Childan dehumanizes the Kasouras here. However, it is almost understandable considering the circumstances; Childan was falling into his own vulnerabilities as a white person in a now Japanese-controlled country, so to escape he engaged in his most bitter prejudices against the Japanese. This demonstrates the dangerous appeal of prejudice, as it shows what can happen when one dives into it too much.

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I notice how Childan is explicitly expressing desires to further align with the Nazis here. This shows the true extent to which he identifies with their beliefs. His disparaging of the Pacific States as a place where “history is passing us by” also contrasts with other characters, who have expressed a desire to steer away from Nazi-controlled territories.

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I notice how Reiss, a high-ranking Nazi official, is getting drawn into the story of The Grasshopper Lies Heavy. This gives further weight to the idea that art has real “power”, and is something more deep and thought-provoking than certain characters in the novel would like to admit.

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I notice how the first shop that Ed and Frank go to is Childan’s, which is an antique shop that normally doesn’t sell artful and original items. This implies that there really is no place for new American creations in the PSA, where people are more focused on historical objects and reminiscing about the past rather than trying something new.

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I notice how Joe has some characteristics that would not be expected from a truck driver; he has lots of money and a very fancy pen. This implies that he is not what he claims to really be, which is in line with many other characters we’ve seen so far. Perhaps this alludes to a greater level of false identities present within this world’s version of America.

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I notice how Childan only agrees to buy Ed and Frank’s jewelry on consignment, but later seems to realize that there may be some worth to the jewelry. Again, this highlights the lack of regard for original American art in the world of this novel. However, it also shows the high amount of regard placed on authenticity, which was previously seen with the whole ordeal with the fake gun.

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Like Baynes, I notice the irony in him having been able to travel to San Francisco in under an hour from Berlin, but then having to wait for a very long time to get his tasks done. This shows a way in which German attempts to change history are backfiring in a sense.

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I notice how Joe mentions the replacement of watching theater shows with instead watching bombastic spectacles. This seems to highlight the cultural effects achieved with the victory of the Nazis; intimacy and connection has been replaced with bombasticity.

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I notice how in The Grasshopper Lies Heavy, Great Britain emerged victorious over the United States in becoming the sole global power. This appears to be the result of a global competition between the two countries, which parallels the competition between Germany and Japan in this book. It also parallels the real-life competition between the US and the Soviet Union during the Cold War, which also saw one nation emerge victorious, albeit not to the extent of Britain in Grasshopper Lies Heavy.

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I notice how vom Meere is letting his prejudices get the better of him here. His plans are being derailed by his focus on mocking the Japanese and their characteristics. This shows the extent to which prejudices can be damning, in how they are capable of completely derailing things that they should not have even been a part of.

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I notice how there’s a duality with Paul’s complements of the jewelry. While he does compare it to a “rusty beer can”, he also highlights how the jewelry represents a change in the status quo of art. As has been highlighted before, the jewelry also breaks the authenticity problem that began with the fake gun that Childan had.

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This moment of apology and forgiveness between Childan and Paul strikes out to me. Not only does it introduce a new theme of forgiveness, but it also furthers the association of art with permanence that we’ve been seeing throughout the novel. The aspiration to create that comes with art, contrasts with the destructive nature of the Nazis.

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I notice how German and Japanese tensions are effectively coming to a head here. It is clear that the Germans are hungry for world domination, and that is reflected in the plans laid out by Operation Dandelion. The name “Dandelion” itself also provides a contrast--one between the innocent nature of a dandelion, and the likely violent ramifications of the operation named after it.

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I notice how this moment marks the coming together of the various strands of the plot. vom Meere and Reiss have been successful in their mission to disrupt the meeting, and Baynes and Tedeki are now in mortal danger. Most importantly, Tedeki takes out a Colt .44—likely sold to him by Childan and likely manufactured by Frank and Ed.

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I notice how, in a sense, the fake Colt .44 is emblematic of the authenticity debate. While it is a fake gun that holds none of the historical value of its real counterpart, it is capable of creating the same changes to history that any real gun could. This adds a new layer to the question on what it really means for an object to be “authentic.”

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I notice how Joe changing the appearance of his hair ties into other instances of appearances being changed. Specifically, this draws parallels to how characters like Baynes and Frank changed aspects of themselves in order to seem less Jewish. All of them made these changes in order to erase characteristics that would make them undesirable in a society controlled by the extremely prejudistic Nazis.

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I notice how Phillip K. Dick modifies his writing style here to reflect Juliana’s behavior. The short sentences and stream-of-consciousness nature reflect a confusion on what to do in this scene. It gives us, the reader, a visualization of sorts on how Julia is feeling in this moment; she can’t figure out what to do now, and we can’t figure out what she’s trying to do.

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I notice some slight irony here. Juliana has just actively avoided the Nazis through her killing of Joe. However, she’s now praising the German-built autobahns for being able to help her get to her destination faster. In one way, this still symbolizes the overbearing reach of the Nazis in this version of America.

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I notice how Tagomi is focused on his attempt to “find the small”. This ties into the greater theme of one trying to live their lives day to day, rather than trying to make sense of such a complicated world. Evidently, even though Tagomi is in a troubled situation due to the events of the previous day, he still tries to make the most out of his current day; this includes going to a park and taking the cable car.

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I notice how this moment is the first time that the novel associates art with the future. With “has brought the dead to life...the past has yielded to the future,” the novel is effectively making a connection between the nature of the art itself, and what it represents in terms of the future. It also parallels the fact that Ed and Frank have stopped trying to replicate the past (as they did in Tagomi’s Colt .44) and have started to create something new.

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I notice how Tagomi contemplates killing himself using his Colt .44. It shows the extent of the shock that Tagomi experienced upon entering the alternate reality. The fact that the weapon in question is the fake gun also represents the further blurring of the definition of authenticity in the novel’s world.

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I notice how, after getting released from jail, Frank almost immediately goes back to what he was doing beforehand: making jewelry. This shows his way of building towards a new future: going back to doing what he’s best at. It also adds to this idea that anyone can build towards a new future of their own in whichever way that they can, considering how other characters in the novel have previously done so.

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I notice how Juliana is reflecting on what Abendsen’s intent was when writing The Grasshopper Lies Heavy. What she says about the novel is pretty in-line with what Phillip K. Dick’s intent likely was when he wrote The Man in the High Castle; both are cautionary tales about prejudice and power.

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I notice how, in this closing passage, Juliana is again considering forgiveness and reconciliation as a crucial part of living in a world like hers. Forgiveness, uncertainty, and contradiction are perhaps all forms of the “truth” that Juliana reflects is so hard to find. But despite this uncertainty, she can now look forward to what is “moving and bright and living”—the future.