The universe (which others call The Twitter) is composed of every word in the English language; Shakespeare's folios, line-by-line-by-line; the Exegesis of Philip K. Dick, exploded; Constantine XI, in 140 character chunks; Sun Tzu's Art of War, in its entirety; the chapter headings of JG Ballard, in abundance; and definitive discographies of Every. Artist. Ever...

All this, I repeat, is true, but one hundred forty characters of inalterable wwwtext cannot correspond to any language, no matter how dialectical or rudimentary it may be.

In the very first lines of “Exegesis” Dick writes, “We see the Logos addressing the many living entities.” Logos is an important concept that litters the pages of “Exegesis.” It is a word with a wide variety of meaning in ancient Greek, one of which is indeed “word.” It can also mean speech, reason (in Latin, ratio) or giving an account of something. For Heraclitus, to whom Dick frequently refers, logos is the universal law that governs the cosmos of which most human beings are somnolently ignorant. Dick certainly has this latter meaning in mind, but — most important — logos refers to the opening of John’s Gospel, “In the beginning was the word” (logos), where the word becomes flesh in the person of Christ.

When Philip K. Dick died in 1982 of a series of strokes brought on by years of overwork and amphetamine abuse, he was seen within the science fiction genre as a cult author of idiosyncratic works treating themes of synthetic selfhood and near-future dystopia, an intriguing if essentially second-rank talent. At the time, he was more popular in France and Japan, which have always had a taste for America’s pop culture detritus, than he was in his native country. Thirty years later, Dick — known to his most avid fans simply by his initials “PKD” — has developed a reputation as, among other things: a baleful chronicler of Bay Area working-class angst, thanks to a series of previously unpublished realist works written during the 1950s and early 1960s, such as Humpty Dumpty in Oakland; a postmodernist avant la lettre, due to his delirious explorations of deliquescent mindscapes in novels like Eye in the Sky and Martian Time-Slip, which Vintage began reprinting in imposing trade paperback editions in 1991; a godfather of cyberpunk via Ridley Scott’s film Blade Runner, adapted from Dick’s 1968 novel Do Androids Dream of Electric Sheep?; and a kind of Gnostic magus gifted with quasi-divine revelations that came to inform his final novels, beginning with VALIS in 1981. During the last decade of his life, Dick produced an 8,000-page opus of theological speculation known simply as the Exegesis, which struggled to come to grips with what seemed to be mystical experiences, and which editors Pamela Jackson and Jonathan Lethem have now culled into Houghton Mifflin’s massive doorstop of a book.

“March 3 and March 4: Philip K. Dick is undoubtedly one of the greatest Gnostic visionaries and literary giants in all of history. Much of what Dick wrote or accurately predicted was channeled by a series of disturbing mystic events in the early seventies. He received Gnosis by various means from entities beyond reality, and his astral ideas still grip the imagination of the world. Yet what Dick revealed in his books and notes was only a fraction of his visions and theological insights. He actually wrote thousands of pages that were kept away from the general public, even decades after his death. Until now. We discuss the earth-shattering findings with a member of the editorial team. We discover more secrets of the visible and invisible cosmos; and also realize that it will take years to properly decipher what is more than an arcane religious text but living, holy information itself that might free the spirit of humanity once and for all.

The Exegesis, much anticipated by fans of the writer, will come out in autumn 2011, publisher Houghton Mifflin Harcourt revealed.

Dick, who died in 1982 at the age of 53, had 44 novels published. His first was Solar Lottery in 1955.

He is best known for works including The Man in the High Castle and Do Androids Dream of Electric Sheep? - the basis of 1982 film Blade Runner.

Other films based on Dick's books include Total Recall and Minority Report.

Dick's journals include descriptions of a series of "visions and auditions" he says he experienced.