Things have been so quiet here at the Skunkworks (six weeks without a post) it prompted a tactful and warmly-received inquiry as to our well-being!
Posting here has slowed for a number of reasons. Materially, after nearly two years without a functioning library, the custom-made bookcases ordered over a year ago are almost finally installed, which has entailed the sorting, schlepping, alphabetizing, and shelving of more than 2,400 books. The ufological library’s soon no longer being a pile of books in the corner will at least facilitate a return to some of the projects undertaken here, e.g., a continuation of the study of the books cited in Jung’s Flying Saucers, categorized as “Jung’s Ufological Bookshelf”, along with some tardy notices if not reviews of recent ufological and ufological poetry books….
Admittedly, other concerns have imposed themselves. Apart from the more philosophical, ideology-critical reflection that goes on here, the raison d’être of the Skunkworks is to make public (and to make me publicly accountable for) the on-going composition of the mytho-ufological epic, Orthoteny (e.g., the last post, “Alexander Hamilton’s Prototypical Cattle Mutilation Tale” that shared a part of that epic, from On the Phantom Air Ship Mystery). Editing and submitting at least two other, unrelated poetry manuscripts and their component poems have also eclipsed for the moment much of the work that goes on here at the Skunkworks. Moreover, readers who recall the last two “Sightings” (4 July and 26 June) will also likely remember how these posts’ concerns, however related to the UFO mythology, were as much if not more the climate emergency (I’m working on an essay about the belief in near-term human extinction) and the ongoing liquidation, cultural and physical, of Canada’s First Peoples (30 September 2021 was the first National Day for Truth and Reconciliation in Canada).
But, more acutely, is the striking irony that as the phenomenon wins more “official” legitimacy (whether from various branches of the U.S. military and intelligence establishment or even scientifically, in the form of Loeb et al.’s Galileo Project) its cultural significance is all the more staid. As the cognoscenti have observed, in terms of governmental interest, we’ve been here before, nor does the Galileo Project push forward or, more importantly, deepen the research of SETI. How many times need I reiterate the ideological underpinnings of the search for technosignatures or extraterrestrial technological artifacts?
Indeed, these recent, dramatic (at least among some circles) developments, within the modern (post-1947) history of the phenomenon, seem an instance of an “eternal recurrence of the same”, that characteristic of myth that sees history as a pattern of eternally repeating structures. (Little wonder the circularity of the flying saucer reminded Jung of the mandala…). This aspect of the development of the mythology seems to have reached a limit point with the publication of Vallée’s and Harris’ Trinity. As I have argued the book seems a repressed work of science fiction, a provocative characterization of the UFO mythology itself (a discourse whose literality is unstable, questionable and problematic). It’s as if at the moment when the literality of the phenomenon seems to be approaching institutional acceptance (a moment in the unfolding of Disclosure?), its symbolic, mythological (if not ideological) significance presses against that literality to near a bursting point.
The “Disclosure” we are pursuing here is the presentation if not revelation of just that Symbolic, ideological content of the UFO mythology, “the myth of things seen in the skies”, and therein and thereby the myth (ideology) that underwrites, sustains and inspires the civilization and its worldview that finds it easier to imagine the end of the world than its own transformation, no small task and one, like poetry, alienated and distant from the march of “current events”.