Orthoteny: from a work in progress: drafts and fragments

Today, I end, for the time being, sharing cantos from Orthoteny, an epic-length poetic work dealing with “the myth of things seen in the skies.” Here are two drafts or fragments that may find their place in the final work, “Q’ Reveals the Real Secret Space Program” and “Ufo page discussion comment.”

Attentive readers will note the satirical tone of both, that the first poem is not from Q but Q’, and, depending on their social media experience, may well recognize the kind of thread the second poem pokes fun at.

Orthoteny: from a work in progress: Magonian Latitudes

Here, I share a poetic sequence from my second trade edition Ladonian Magnitudes, “Magonian Latitudes,” which concerns (among other things) those tales of ships in the skies from the Middle Ages that inspired at least the title for Jacques Vallée’s canonical Passport to Magonia. The sequence includes a version of a story that was to be repeated during the Mystery Airship wave of 1896/7, as well as reference to cave paintings thought by some to evidence alien visitation in prehistory, and broaderband thematic resonances of the these stories…

Orthoteny: from a work in progress: from On the Phantom Air Ship Mystery: April 18, 19, 21, 24, and 26

Today, the penultimate instalment of cantos from On the Phantom Air Ship Mystery, dealing most notably with perhaps the first cattle mutilation story (a hoax!) and an even more provocative tale that echoes one from the Middle Ages. This last had me scratching my head for a while, until I happened upon the explanation, looking into those Medieval stories of ships in the skies.

Orthoteny: from a work in progress: from On the Phantom Air Ship Mystery: April 12, 13, 14, 15, and 16

Today, the next instalment of cantos from On the Phantom Air Ship Mystery, here those dealing with five more days in April, 1897: further sightings, debunkings, newspaper articles, landings and encounters with naked, blond aliens decades in advance of George Adamski’s, an event reminiscent avant le lettre of the Maury Island incident, and even an aquatic sighting and encounter on Lake Erie…

Orthoteny: from a work in progress: from On the Phantom Air Ship Mystery: “The Phantom Airship”

Here, the third instalment of pieces from Orthoteny, a booklength poem on “the myth of things seen in the sky.” The first can be read and heard here. The second is the opening section of the chapbook On the Phantom Air Ship Mystery. Following that Prelude is “The Phantom Airship,” another nine cantos that recount salient sightings and reactions, which, in their turn, lead into the momentous month of April, the topic of the poem’s next section(s).

Orthoteny: from a work in progress: from On the Phantom Air Ship Mystery, “Prelude”

One of the most complete, if unfinished, parts of the work-in-progress was composed quickly after the project was begun. I took extensive notes on the Phantom Airship wave of 1896/7 from all those UFO books I had obtained to that point and rendered them poetically. These texts are woven from certain leitmotifs: triads, the colour blue, and other recurrent details. It is this coherence I was eager to show, if not refer to explicitly.

On the Phantom Air Ship Mystery was originally published as the chapbook On the Mysterious Airships in 1995. I had the opportunity to perform the Prelude at multiple readings in Europe in the summer of 1996, the most memorable being at the Stromlinienklub in Munich before an audience of over 500.

It remains uncertain whether this part of the epic will remain the same in the completed work. It is, after all, and may perhaps remain, as the epigraph says, “…a blueprint, a mock-up, a prototype…”

Orthoteny: from a work in progress: “Flying Saucers”

I’m reminded today is the thirtieth anniversary of the premiere of The X-Files, which strikes me as a synchronicitously auspicious day to return here to the original motivation for this blog, presenting and developing the booklength poem I’ve been struggling over the way our scientists are said to be endlessly working on back-engineering those crashed flying saucers retrieved by their respective governments.

I don’t know if the poem I present today was the first I composed, but it stands as the right place to start, as Kenneth Arnold’s 1947 sighting is the matrix for the utterance—itself inspired, by what unconscious processes at work in the mind of the journalist taking down Arnold’s story—of those fateful words that name a new mythology, a mythology for the Space Age, ‘flying saucers.’

The poem appears in the inaugural post of this blog, and I performed the poem to honour the launch of M. J. Banias The UFO People. The poem first appeared in print in my first full-length poetry book, Grand Gnostic Central. Here, I post a PDF and a new reading of the poem.

“Tethers into Contact” avant le lettre

Anyone who had a chance to catch Diana Pasulka’s plenary address at the recent Archives of the Impossible conference (my notes, here), will know that the promotion of her new book, tentatively titled Tethers into Contact, has begun. Where American Cosmic dealt, more or less, with certain technoscientific elites and their fascination with UFOs and related matters, this latest work shifts focus (as I understand it) to those researchers who are developing technologies that enable the exploration of nonlocal spaces, Pasulka’s working metaphor being James Cameron’s Avatar.

However, back in 2019, Q’ shared this crumb with Skunkworksblog that arguably spilled the beans on at least one version of this research…

SSP a “Blue Herring”
The Stargate Project:  Swedenborg Protocols
C12H16N2 Spirit Molecule
C12H17N2O4P Spore Drive
Mantids in Hyperspaces
C13H16CINO Lilly’s K-Drive
White Hat ECCO Black Hat SSI
Shaman’s Drum
Soul Torus in visible spectrum
“U”LP
Techniques of the Sacred
Q

Just what’s up at the Skunkworks (Skunkworksblog, that is)?

The fourth anniversary of this blog came and went last 22 February. I can, I think, be forgiven for not marking the occasion: here, in Montreal, the pandemic dragged on; the nation’s capital was occupied by a Canadian version of insurrectionists (so Canadian, in fact, they couldn’t recognize themselves as insurrectionists); and Russia was gearing up for that invasion of Ukraine it launched before the end of the month.

What prompts today’s clarifications, though, is the surprising and not unwelcome interest in my recent commentaries on some of the plenary sessions delivered at the recent Archives of the Impossible conference at Rice University in Houston, Texas: Jeffrey Kripal’s opening remarks and Jacques Vallée’s keynote address (here) and those of Whitley Strieber and Diana Pasulka.

On the one hand, sckepticks (my coinage) of the UFO phenomenon take quickly and enthusiastically to those remarks of mine that appear to harmonize with their dismissal of the whole matter: my notice of Vallée’s and Harris’ Trinity: The Best Kept Secret or my criticisms of aspects of the talks, above, usually their philological and scholarly lapses. Believers in the reality of the phenomenon, on the other hand, see me as a skeptic, too. Both, I claim, are mistaken, as would any believer who therefore takes it I side with them. Indeed, I would be especially disappointed if Kripal, Vallée, Strieber, or Pasulka reading my remarks (not for a moment that I imagine they have or do) took it I was crankily trolling them. And I am the first to admit that such confusion is a fault both the way my own interests wander and the relative subtlety of the more general stance I take here.

I started this blog in 2018 as a way of keeping myself honest. Since 1994 I’d been at work on an impossibly unwieldy project, an epic-length, poetic treatment of the UFO as, in Jung’s words, “a modern myth of things seen in the skies.” (Interested parties need only click on the ‘poems’ category to see some of the tentative results of this project). I had seen in a flash that year how the countless stories of UFOs and their pilots and their interactions with human beings composed a repressed critique of the technoscientific culture of the so-called advanced societies of the earth, a culture that at one and the same time served to revolutionize (scientifically and industrially…) human societies and has brought them to the brink of dissolution if not extinction. Here was a ready-made, generally familiar body of stories (contrast the recognizability of ‘UFO’ with “Prometheus’…) ready for the artist’s use.

In 1999 (I think it was) I presented this insight in the discourse of the sociology of religion at that year’s Society for the Scientific Study of Religion conference in Montreal in the form of a paper co-authored with a friend, Dr Susan Palmer, “Presumed Immanent: The Raëlians, UFO Religions, and the Postmodern Condition.” Jaws dropped, the editor of Nova Religio buttonholed me immediately after the session, and the paper has since appeared, first, in that academic journal, then, in university syllabi, textbooks, and most recently The Cambridge Guide to New Religious Movements. Though unposed as such, the question that motivated that paper’s argument was that of the appeal of Raël’s message. The answer is that Raël’s “religion of science” is in its essential presuppositions perfectly harmonious with the ideology of technoscience that governs the world’s advanced societies and inspires the imagination of technologically-advanced, extraterrestrial societies among “UFO people” and SETI scientists, alike.

The tendency of this blog has been to articulate that original insight in an ever more varied and hopefully more profound and thorough-going a manner. The vector of thought here has been critique (as opposed to criticism, fault-finding, mockery, or dismissal, the mode of many UFO skeptics…). ‘Critique’ hearkens back to the critical philosophy of Immanuel Kant that sought not to answer the metaphysical questions of his day (Does the world have a beginning or is it eternal? Does the soul survive death?, etc.) but to query how it is possible we have the knowledge of nature, morals, and beauty we do. After Kant, especially with the advent and development of historical materialism down to this day, ‘critique’ has come to sometimes denote that analysis of the presuppositions and implications of some position or body of belief or knowledge, in a word, a critique of ideology, here, precisely, that one Jürgen Habermas posited as that of our modern European or Western society, technoscience.

So, for example, my unrelenting critique of the various pronouncements of Avi Loeb should not be taken as claiming these are in any way false, but as attempts to reveal what goes unthought and uninterrogated in these positions. Of course, imaginably, an argument might be made from these critiques about the tenability of his claims, but this is an avenue my thinking does not go down. In the same breath, however, as anyone who has taken the lessons of deconstruction (namely those of Jacques Derrida and Paul de Man) to heart will understand, maintaining an airtight opposition between strictly “negative” critique (that is, it does not posit any theses of its own about the facts of the world in opposition to the positions it scrutinizes) and the demand to take some position with regard to the truth of things is ultimately unsupportable. Still, one, in all intellectual honesty and self-surveillance, can try….

In a more general sense, the project here, aside from publicizing the essential poetic project, is to bracket the question of the being (nature or reality) of the phenomenon to better bring into view its meaning. In this regard, the general stance most often taken here is phenomenological, in the sense first given that expression by Edmund Husserl and those who went on to develop his method of “philosophy as a rigorous science”. The dispute over the reality and nature of the phenomenon has proven exhausting and fruitless since 1947, and it’s one I consistently eschew. However, the significance or meaning of the phenomenon is an infinitely rich field of research for the more sociologically-minded, an argument I have made with greater force and at greater length, here.

For all that, I do sometimes criticize, but let it be noted not in the spirit of mere negation or dismissal, but precisely because I take the criticized and the matter under consideration seriously. This ethic is especially so in the case of more scholarly discourses, like those, for example, of Jeffrey Kripal or Diana Pasulka. I don’t demand a cold-blooded, heavy, Nineteenth century Teutonic demeanor (as doubtless some readers here hear me assuming) but I do have certain standards of precision, exactitude, and scholarship I can’t bear to see unfulfilled. Because what’s at stake is a grasp of the character and destiny of techno-industrial society, it is arguable that any lapse in such standards is understandably, at least, irritating. And let’s remember that “irritability” (“Does it react if you poke it with a stick?”) is a sign of life.

So, however gratifying it is to be read and, after a fashion, appreciated, I beg readers to remember that if they think the posts here are engaging in the never-ending for-and-against concerning the reality or nature of UFOs or UAP, likely something subtler and, hopefully, more profound is at work.

Sightings: Saturday 11 December 2021: The “alien” in “alienation effect”: concerning poetry, Martians, and related matters.

Regular readers here might be surprised to be reminded of Skunkworks’ raison d’être, namely, to showcase the work that goes into a long poem project attempting to portray the infinite stories of UFOs as a mythology, somewhat after the fashion of Ovid’s Metamorphoses (that so artfully collated and presented the mythology of his time and place) and somewhat in the manner of Ezra Pound’s Cantos or Charles Reznikoff’s Testimony ( among other exemplars). Some of these attempts are readable here at the Skunkworks via the “poetry” tag.

In this regard, it’s a pleasure today not to have to compose something of my own, but direct readers to an article by Tony Trigilio, the author of Proof Something Happened, a poetic treatment of the Barney and Betty Hill abduction, viewed by many to be the archetype of the experience. In his piece, “Writing What You Don’t Know”, Trigilio describes composing this latest book (among others), referring, along the way to other poets who have dealt—quite explicitly—with “Martians”: Craig Raine, Robert Hayden, and Jack Spicer. As he writes, his book

does not attempt to solve whether something physically happened to the Hills that evening. The poems take no stand on the possibility of extraterrestrial life and alien abduction. The collection presumes only that the three hours of “missing time” the Hills experienced in the White Mountains truly did happen psychologically, whether caused by an alien abduction or something else on the fringes of the known. As the poems explore the aftermath of that evening in 1961, they emphasize the Hills’ struggle to understand their terrifying dreams and disjunctive flashbacks…

Such experiences, or, more importantly, how the come to occupy a place on the margins of culture, “arcane” in Trigilio’s terms, serve, ironically, to reveal as much about the heart of culture, if in a refracted, “alienated” way.

Alexander Hamilton’s Prototypical Cattle Mutilation Tale

Over at Mysterious Universe, Brent Swancer shares a collection of premodern tales of cattle mutilation, among them the prototypical if not archetypal story told by Alexander Hamilton during the Great Airship Mystery of 1896/7. Spencer’s reminding us of this report opens the door to my sharing my own poetic rendering of the encounter, one of the many smaller poems that compose a long poem On the Phantom Air Ship Mystery, part of that larger, “epic” project whose working title is Orthoteny.

Since WordPress does violence to the lineation of poetry, I post the poem, below, as a PDF.

Sightings: Saturday 8 November 2020

Production continues slow here at the Skunkworks, due to personal reasons, the fact that the facility is still in the process of settling in to the new digs (thanks to the way the pandemic slows everything down), and, most pointedly, that, despite a lot happening in the field, very little has in fact changed or developed (more on that, below). To remedy the relative dearth of postings, here, therefore, I’ve resolved to try to post, more-or-less regularly, short takes with little commentary, less demanding to write, of what’s caught my attention the past week or so.

What strikes me first is the aforementioned present steadystate of ufology or of the phenomenon and its mytho/sociological import in general. On the one hand, I’ve speculated that the UFO as a vehicle of meaning, a sign, is as endlessly suggestive as any work of art, or even, more extremely, essentially mysterious. But, for a sign whose signifier never lands on its signified, the UFO’s significance seems little changed since the advent of flying saucers more-or-less post-1947.

Ufologically, no developments I’m aware of present data that has not been on the record since the phenomenon’s earliest days. The recent furour around the topic’s appearing in the mainstream media and its being taken seriously by the American government that has given rise to excited rumours about “Disclosure” are hardly unfamiliar to the cognoscenti with Donald Keyhoe’s oeuvre (well-thumbed) on their bookshelves. Exemplary is the second season of History’s Unidentified, which, in terms of the topics it addresses–UFOs near nuclear and military facilities, black triangles, sightings by commercial airline pilots, etc.–is as eye-rollingly dull as Elizondo & Co.’s speculations are risible, e.g., that black triangles observed flying slowly back and forth over the American back country are conducting a mapping operation, when we, with our relatively primitive technology, have been using much less obtrusive spy satellites for decades. Even the suggestion that UFOs (now UAPs), whether foreign or extraterrestrial, may pose a threat to national security is hardly new and is all-too-easily understood as an expression of America’s anxiety over its waning influence in a world that has moved on from its brief moment of monopolar power following the collapse of the Soviet Union and Communist Bloc, even if it’s more likely an unimaginative bid to inspire drama and interest in the series.

Even culturally there is little that strikes me of note. Reviews of the recent documentary The Phenomenon (for example, here and here) hardly move me to rent it, seeming as it does to be a somewhat introductory review of the well-known story pushing the “reality” of the titular phenomenon and (uncritically) its possible extraterrestrial origin. On the other hand, 2018’s The Witness of Another World at least focusses on a single, compelling close encounter case not within the border of the United States, probing more its meaning for the experiencer than seeking to uncover the material “truth” underwriting the experience. In this regard, the documentary is in line with two academic books of note, D. W. Pasulka’s American Cosmic and David Halperin’s Intimate Alien. Both develop lines of inquiry into the religious and collective psychological significance of the UFO, respectively, but neither in a way that introduces any new findings, none new to me, anyway. Pasulka’s work proposes to trace the links between religious sentiments, technology, and the UFO, but doesn’t add to or extend very far the existing literature. Likewise, Halperin develops Jung’s theses about the UFO’s expressing human, all-too-human anxieties and aspirations in a modern guise, but neither presents a reading of Jung’s views in this regard much less a grounding defense of why we should take his approach seriously, merely assuming its applicability. I have addressed these misgivings, in general and more specifically, here.

One development of especial interest here at Skunkworks has been the appearance of three ufologically-themed books of poetry (reviews forthcoming!). First is Judith Roitman’s 2018 Roswell rewardingly read in tandem with Rane Arroyo’s earlier (2010) The Roswell Poems. Though these works went under the literary radar, two more recent books have earned a higher profile. Mei-Mei Berssenbrugge’s A Treatise on Stars, framed in part by a New-Agey exploration of the imaginative implications of Star People was a finalist for 2020’s National Book Award, and Tony Trigilio’s treatment of the Hill abduction Proof Something Happened was chosen for publication by Marsh Hawk Press in 2021 by no less than the esteemed avant-garde American poet Susan Howe. UFO poetry, seriously!

The one other datum that caught my attention of late was an article from The Baffler shared by a member of the Radio Misterioso Facebook page, “Donald Trump, Trickster God”. For my part, I am unsure just how to take the author’s contention that Donald Trump is a “personification of psychic forces”, namely one of the faces of the Trickster archetype, Loki. The article’s tone, ironic and hyperbolic, suggests it’s as much a satire of the failure of the conventional wisdom to explain the rise and enduring popularity of Trump, or, at least of those who represent the failure of such wisdom (“political reporters, consultants and pundits”, “sober, prudent, smartphone-having people”) as an explanation of his demagogic power. Corey Pein, the author, marshals Jung’s explanation of Hitler’s rise to power (set forth in Jung’s essay, “Wotan”) to shore up his own analogous attempt to understand the advent of Trump. Jung famously essayed the UFO phenomenon using the same approach (and that Halperin and Eric Ouellet have since developed), a labour I find of creative if not explanatory value. On the one hand, one needn’t invoke myth, either in its inherited or newly-minted guise, to understand, e.g., the rise of Hitler: a passing acquaintance with German history and a viewing of Leni Riefenstahl’s The Triumph of the Will should suffice. Where Germany suffered a humiliating defeat, the Nazis offered the Germans pride in their culture and new military might. Where the populace had suffered terrible unemployment and want due to the postwar hyperinflation and the Great Depression, the Nazi regime gave it work and food. Where the nation had drifted aimlessly in the rudderless chaos of the Weimar republic (Germany having been one country for less than a century and having had little to no acquaintance with democratic institutions), der Führer offered it leadership and focus. Finally, the distraught and desperate Germans did not side with the international Communists but with the nationalist socialism the Nazis represented because of the atavistic sentiments the Nazis revived and cultured, and, most importantly, because the German corporate class, fearing Communism, sided with the Nazis and bankrolled them. These conditions, combined with the Nazis’ still unrivalled evil genius for propaganda, offer a more down-to-earth, compelling, and useful illumination of a very dark moment in European history. Of course, such explanations go only so far; there remains an obscure, singular residue of irrationality that resists explanation, but, if one is seeking a theory that might offer some praxis, better to take a materialist rather than a metaphysical or mythological approach. Happily, as I write this, the day after Joe Biden seems to have won this year’s election, with luck, the joke is on the Trickster…

“UFO-themed poetry”: seriously

Over at Mysterious Universe, Nick Redfern essays a topic dear to Skunkworks (being the site’s raison d’être), UFO poetry. However, despite accessing Poets.org’s page devoted to the topic, he somehow gets sidetracked by Jack Spicer’s joking about how “Martians” dictated his poetry, passes over the poems actually linked, and somehow, like Curt Collins at The Saucers that Time Forgot, serves up laughable doggerel instead of the more, well, serious examples, both at Poets.org (which include American poetry eminences, such as Stanley Kunitz) and like those few I remark here.

Even searching the Poetry Foundation‘s website with the keyword ‘aliens’ turns up a number of poems, some dealing overtly with aliens (one by Bob Perelman, a widely-recognized postmodern American poet) and abduction. More meaty is the link to an article on the British “Martian poets”, a school that explicitly deployed the point-of-view of the alien to reveal just how strange modern life is.

nwgs

Not unlike his British counterparts, the late Missouri poet David Clewell probed well-known ufological topics, flying-saucers-as-such, Roswell, the Schirmer Encounter, and the Face on Mars. Clewell’s UFO poems are part of a more wide-ranging wander through the America of his time and place (Clewell was born in 1955), which includes drive-ins, B-movies, Cold War paranoia, and the Kennedy assassination, among more mundane matters.

Unsurprisingly, Roswell has been the focus of at least two poetry books. Rene Arroyo’s 2008 The Roswell Poems was the first to my knowledge to focus on this now-iconic incident; and I just found out about Judith Roitman’s 2018 Roswell doing my due diligence for this post.

One book-length poem that should be better known, given its author and thematic breadth and depth is Ernesto Cardenal’s Los Ovnis de Oro / Golden UFOs. Cardenal was a world-class poet, who died only this year; Golden UFOs (subtitled “The Indian Poems”) picks up on the story of the god Ibeorgun who “came in a cloud of gold / now in a flying saucer of gold” and goes on to

interweave myth, legend, history, and contemporary reality to speak to many subjects, including the assaults on the Iroquois Nation, the political and cultural life of ancient Mexico, the Ghost Dance movement, the disappearance of the buffalo, U.S. policy during the Vietnam War, and human rights in Central America.

With Cardenal’s book, the potential of the UFO as myth, as literary topic fit as any for serious, poetic treatment is established beyond a doubt.Finally (though the few examples above are hardly exhaustive) we come to Skunkworks, itself. Skunkworks functions as a kind of notebook, where I essay and develop ideas that contribute to the composition of a book-length poem with the the working title Orthoteny. This poem, parts of which are readable here under the category poetry, seeks to set forth UFO mythology as a mythology (in the words of William Burroughs) “for the Space Age.” In this regard, Orthoteny is more akin to Cardenal’s poems than the doggerel often offered up as examples of “UFO poems” or the single poems or books I describe, above. Just what that mythology is about or what it reveals about human being and the cosmos is discernible in what I’ve been posting here since the beginning. To say too much too quickly, the vast literature of ufology expresses the anxieties and aspirations of our modernity in a surreal manner that opens out onto imaginative spaces apart from and beyond the fetishization of humanity and technology that compose the manifest content of this, the nightmare of our history.