Whitley Strieber

Strieber y Kripal — The Super Natural (2016) [DECLARED]

Strieber — Communion (1987) [DECLARED]

Cuarto Camino · Member

«She was great with child, and I knew that the body inside her was to be mine. I was born in June of 1945. As it was already warm in South Texas, this must have been in April or May of» — es el único sitio del corpus donde él imprime su año de nacimiento, junio de 1945, y lo dice dentro del relato de un recuerdo que sitúa antes del parto; el tramo se corta al pasar de plana.

«From 1977 until 1983 I wrote imaginative thrillers, but in recent years I had been concentrating on much more serious fiction about peace and the environment, books that were firmly grounded in fact. Thus, at this time in my life, I wasn't even working on horror stories, and at no time had I ever been in danger of being deluded by them.» — declara su propio oficio y lo fecha: thrillers de imaginación de 1977 a 1983 y después ficción sobre la paz y el medio ambiente, y con eso se deslinda del género de horror.

«I had been indifferent to the whole issue of unidentified flying objects and extraterrestrials; I had viewed them as a false unknown, easily explainable as misperceptions or hallucinations.» — declara de qué posición venía: la del escéptico que daba el asunto por falso desconocido.

«At first, I thought I was losing my mind. But I was interviewed by three psychologists and three psychiatrists, given a battery of psychological tests and- a neurological examination, and found to fall within the normal range in all respects.» — opone al diagnóstico de locura un peritaje que enumera; el guion suelto tras *tests* es de la capa de texto del PDF.

«I was also given a polygraph by an operator with thirty years' experience and I passed without qualification.» — añade el polígrafo a la lista de pruebas, con la experiencia del operador como aval.

«Ours is a very sedate life. We don't go out much, we rarely drink more than wine, and neither of us has ever used drugs.» — descarta de antemano la explicación por sustancias describiendo su vida doméstica.

«This part of my narrative, covering December 26, is derived from journal material I had written before undergoing any hypnosis or even discussing my situation with anybody.» — declara la procedencia del relato del 26 de diciembre: diario escrito antes de la primera hipnosis y antes de hablarlo con nadie.

«I am not a candidate for conversion to any new religion that involves belief in benevolent space brothers» — rechaza la conversión.

«I do not have it in me to be a believer. Nor can I be a true skeptic» — declara no decidirse ni por la creencia ni por el escepticismo.

«True agnosticism is a very active mental state, a sort of eager unknowing.» — nombra así el estado que reclama para quien pasó por la experiencia.

«Maybe I have located these symbols in the visitor material simply because they are so central to my own life.» — la reserva con que él mismo presenta todo su material simbólico.

«I loved Christ and Mary especially, and used to pray with great fervor whenever I was trapped into going to church.» — consigna su formación católica de infancia.

«I spent fifteen years involved with the Gurdjieff Foundation» — Adjudica a Gurdjieff y a Ouspensky la tríada como clave de lectura.

«The central effort of my life has been the fulfillment of the triad, the creation of the eagle within me.» — declara la tríada como su propio programa, no como enseñanza recibida.

«I wondered if there was any relationship between my experience and the mystic walk of the shaman, or the night ride of the witch.» — plantea el paralelo como pregunta.

«The reason I carried out the polygraph was to reassure readers that I honestly think that I perceived the things reported in this book. It is not fiction, and does not contain a word of fiction. My successful completion of this test in no way proves that my recollection of my experiences is correct, but it does confirm that I have described what I saw to the best of my ability.» — dice para qué se hizo el polígrafo y qué alcance le da: no que su recuerdo sea correcto, solo que describió lo que vio como supo.

«In late December of 1985 I was awakened by strange noises in my little rural cabin. I found myself surrounded by odd and menacing figures. I’d felt that I was being carried, then manhandled, and then I was in what I initially thought was a tent.» — Strieber sitúa el episodio fundacional en su cabaña rural a fines de diciembre de 1985.

«As a sometime horror novelist, I was initially delighted by this useful dream. But when I tried to wake up, the horror became real.» — Strieber cuenta que primero lo tomó por sueño útil de novelista de horror, y que el intento de despertar lo desmintió.

«I recalled seeing a familiar face during the initial stages of the experience— a school friend who had joined the Central Intelligence Agency. But when I tried to look him up, I was appalled and confused to discover that he had died months before the night in question.» — Strieber dice haber reconocido entre los presentes a un amigo de escuela ya muerto meses antes de esa noche.

«a test for temporal lobe epilepsy indicated that I had a brain that was not only normal but also exceptionally resistant to seizures. An MRI scan revealed no sign of any illness that might account for my perceptions.» — los resultados médicos que Strieber consigna contra su propia hipótesis de convulsión.

«The alien explanation—while fascinating and touched by deliciously uneasy romance—has, from the beginning, made me wary.» — Strieber declara su recelo ante la explicación extraterrestre, sin negarle atractivo.

«I wish to suggest from the outset that the phenomenon is much larger than any of the usual explanations, including alien visitation and such interpretations as brain seizure.» — Strieber declara desde el inicio que el fenómeno excede tanto la visita alienígena como la explicación neurológica.

«Most of my nonfiction from Communion on reflects my attempts to make sense of this.» — Strieber sitúa toda su obra de no ficción desde Communion como intentos de entender lo mismo.

«As this point in our intellectual and scientific evolution, it seems possible to study this material without recourse to beliefs, old or new.» — Strieber declara que ya hay herramientas para estudiar el material sin recurrir a creencias, viejas ni nuevas; la primera frase va con la errata del libro, que imprime As donde se espera At.

«After I realized that my 1985 experience was a true mystery, I began compulsively going out into the woods around the cabin where it happened— quite a large woodland, in fact—and attempting to somehow face it again. At the same time, I wrote and published my book about it called Communion, the reaction to which was easily as unexpected as the experience itself.» — Strieber cuenta que volvió al bosque de la cabaña a buscar el suceso y que de ahí salió Communion.

«Then the letters started coming in, at first by the hundreds, then the thousands, then a great cataract of letters, easily ten thousand a month, from all over the world.» — Strieber describe la respuesta de correo a Communion como diez mil cartas al mes.

«Far from parroting versions of my own experience, my correspondents revealed that they were perceiving an extremely complex phenomenon that involved hundreds of different types of events.» — Strieber niega que sus corresponsales repitieran su relato y les adjudica cientos de tipos distintos de suceso.

«To expedite this, I created the Communion Foundation. However, I found that I could get no support. There was not just no scientific interest, but the reaction was often hostile.» — Strieber cuenta que fundó la Communion Foundation para dar el material a estudio y que no encontró apoyo científico.

«I very well remember the day that Dr. Mack called me and told me that both his license to practice psychiatry and his tenure at Harvard were under review.» — Strieber fecha por memoria propia la revisión de la licencia y la titularidad de Mack en Harvard.

«It took me a quarter of a century to even describe the experience as a rape to my wife.» — Strieber fecha en veinticinco años el silencio sobre ese punto, incluso ante Anne Strieber.

«My intellect says that it cannot be true. My life bears witness to its truth.» — Strieber deja el conflicto entre su juicio y su vida sin resolverlo hacia ningún lado.

«I cannot answer these questions, and they might not even be the right ones. I am not a believer in any hypothesis. On the contrary, I am a wanderer, lost in the forest of hypotheses.» — Strieber declara su abstención en forma de figura: no creyente de ninguna hipótesis sino perdido entre todas.

«I frequently see and interact with nonphysical and quasi-physical beings. They seem to be part of nature just like we are, but, as Jeff advocates, in some “super” way for which we have neither an adequate religious model nor present science.» — Strieber declara trato frecuente con esos seres y toma de Kripal el calificativo para el modo en que serían parte de la naturaleza.

«So I don’t see it through the lens of religion or myth or superstition, but rather through eyes that look at the immensity of reality and see aspects of being that are living by a physics that we apparently do not fully understand, but which, in the end, is knowable.» — Strieber declara que no lo mira con lente religiosa sino como física todavía no entendida, y sostiene que es cognoscible.

«Over the years, my recollections of that night have become complicated by the fact that they returned only gradually, and I am not really sure that I can accurately differentiate between precisely what I recalled in the days immediately afterward, and what came into focus later on.» — la advertencia de Strieber sobre su propia memoria: no puede separar lo recordado en los días siguientes de lo que se aclaró después.

«I would never have believed them, not for a moment, had there not been witnesses. As has so often been true in my experiential life, these experiences, outré as they were, were shared with others.» — Strieber condiciona su propia creencia a la existencia de testigos, y lo pone por delante de los relatos que siguen.

«My spiritual search began in a confessional at Mount Sacred Heart School in San Antonio, when I informed the priest that I didn’t believe the Old Testament. I did not believe that god had created the world in seven days, that Adam and Eve had been formally tossed out of a garden called Eden, that Jonah had been swallowed by a whale, or that a god worth worshiping would have amused himself by causing Job all that misery.» — Strieber fecha el comienzo de su búsqueda en un confesionario y en su rechazo del Antiguo Testamento.

«I had a strong sense of the presence of soul within me. In fact, I began to see that body and soul are really a continuity, not two separate entities, and I began, at the age of seventeen or eighteen, to attempt to meditate. I could feel that I extended in some way beyond the physical.» — Strieber declara cuerpo y alma como continuidad y no como dos entidades, y fecha ahí sus primeros intentos de meditar.

«But ultimately I found the same defect in Buddhism that I had in Christianity. Both of them—and all religions—promote structural visions of the unseen world, and are based on the assumption that their particular vision is accurate.» — el defecto único que Strieber le imputa a toda religión: dar por exacta su propia imagen de lo invisible.

«I was introduced to the work of G. I. Gurdjieff in 1970 by a man I met while a Director’s Guild trainee.» — Strieber fecha en 1970 su entrada al material de Gurdjieff y nombra a quien se lo presentó.

«Ouspensky’s book In Search of the Miraculous and began attending meetings at the Gurdjieff Foundation in Manhattan. There were three reasons that the Work drew me.» — Strieber declara la lectura de Ouspensky y las reuniones en la Fundación Gurdjieff de Manhattan como punto de partida.

«In 1983, I left formal engagement with the Gurdjieff Foundation, on the theory that I would either continue my inner work on my own, without the support of weekly group meetings, or I would slip back into the less acute consciousness that is associated with ordinary life.» — Strieber fecha en 1983 su salida de la Fundación y deja las dos salidas posibles que veía entonces.

«Well, another teacher I had in the Gurdjieff Work, P. L. Travers, expressed it most eloquently. While she was famous as the author of Mary Poppins» — Strieber nombra a P. L. Travers como maestra suya en el Trabajo y consigna que ella mantuvo esa parte de su vida en privado.

«exploring the process of looking out at the world and back at oneself at the same time, and learning from this work that there are realms of consciousness all around— cathedrals of consciousness—of which we are generally unaware.» — la práctica que Strieber dice haber aprendido en la Fundación Gurdjieff, la doble atención, y los recintos de consciencia que le atribuye.

«We are wild animals. We have tamed others to us, but nobody has ever tamed us. On that night, I began a process of education that started at the most basic level. I was being broken as I used to break horses when I was a boy, on the rollicking ranches of South Texas. In fact, every summer when we returned to our country place in the Texas hill country» — Strieber lee lo que le pasó como doma, con el oficio de su infancia por comparación.

«My unconventional sexual life has been wildly promiscuous, fearsomely intense, at times even somewhat perverse—or at least, what this very conventional man would regard as perverse.» — Strieber describe esa vida y acota el juicio a su propio criterio, no a uno general.

«As I recorded in Solving the Communion Enigma, I ended up in some sort of program that I believe to have been carried out at Randolph Air Force Base near San Antonio. My primary recollection is of being jammed with other children into a dark space—a box—where horrific, deafening sounds were played. I remember it as shrill screaming that made us scream, also, as we twisted and struggled.» — Strieber remite a su propio libro y describe el programa que ubica en la base aérea Randolph, con la caja oscura y los sonidos.

«Over the course of the season, my financial condition deteriorated further. Soon, it became clear that we could no longer afford the cabin, so we packed up our car and moved to a tiny condo we owned in San Antonio.» — Strieber consigna el motivo económico de dejar la cabaña.

«My mother did not leave me when she died. One night about fifteen years ago, I was at dinner at a friend’s house in San Antonio. I’d stepped out into the back garden when I suddenly felt her presence. At that point, she had been dead for about five years. Her presence was palpable. I stood there, my eyes tightly closed, communing with her.» — Strieber relata la presencia de su madre muerta en un jardín de San Antonio, cinco años después.

«This period was when I began walking deep into the woods behind our cabin at night, carrying only a flashlight.» — Strieber fecha ahí el comienzo de sus caminatas nocturnas por el bosque, con una linterna por todo equipo.

«On December 26, 1985, at a secluded cabin in upstate New York, Whitley Strieber went skiing with his wife and son, ate Christmas dinner leftovers, and went to bed early. Six hours later, he found himself suddenly awake... and forever changed.» — la contratapa del editor, en tercera persona y no en voz suya, fecha el episodio el 26 de diciembre de 1985 en una cabaña del norte del estado de Nueva York.

«I have examined Whitley Strieber and found that he is not suffering from a psychosis.» — declaración firmada por Donald F. Klein, MD, en el Apéndice I. Voz de Klein, no del autor.

«WHITLEY STRIEBER is a novelist and the author of a number of nonfiction works, among them the Communion series, which includes Communion, Transformation, Breakthrough, and Solving the Communion Enigma. His fiction includes, among many others, The Wolfen and The Hunger, both made into movies; Superstorm, which was filmed as The Day After Tomorrow; and the Alien Hunter series, which is being made into the SyFy channel series Hunters by Gale Anne Hurd.» — solapa biográfica de Strieber, con la serie Communion y su obra de ficción; texto editorial, no de los autores.

«I am not saying: “Whitley Strieber is a shaman.” Nor am I saying: “Whitley Strieber is a prophet.”» — negativa triple; añade que tampoco dice que chamanismo y profecía sean funciones de abducciones.

«I consider Whitley Strieber to be just such a super story–teller. I do not, of course, think that Whitley has everything right. How could he? How could anyone? That’s not the point. But I take his deepest instincts and intuitions as pointing us in the right direction: toward a conscious cosmic evolution, a subtly material or electromagnetic soul and a future environmentally sustainable civilization—all embedded in an already super natural world.» — Kripal adjudica ese papel a su coautor y aclara que no le da la razón en todo.

«The most striking example of this door of trauma opening out onto some form of transcendence is Whitley’s suggestion in the last chapter that the physical and psychological traumas that he apparently endured on the air force base outside of San Antonio as a young boy may have been engineered by German scientists, who in turn may have stumbled on this possibility through their gruesome observations of accidental survivors» — Kripal toma como caso extremo la hipótesis de Strieber sobre los científicos alemanes y sus observaciones en los campos.

«Later in this same text, and again in this one, Whitley compares himself and his terrified reactions to the presence of the female visitor to a wild, frightened bucking ranch horse. He was being “broken.”» — Kripal recoge la comparación que Strieber hace de sí mismo con un caballo cerrero al que se doma.

«The most newsworthy claimant to step forward has been popular horror novelist Whitley Strieber. He sought out Hopkins in 1986 to cope with a baffling experience, and hypnotic investigation soon uncovered memories of aliens removing him from his bedroom for examination aboard a UFO. ‘This experience became the basis of his best-selling book, Communion (1987), bearing a cover illustration of an alien face that became a popular icon.» — el caso de Whitley Strieber, su Communion de 1987 y la portada que se volvió icono popular.

«Whitley Strieber acknowledged the harrowing side of abductions but found a transformative purpose behind the pain and fear. The experience suggested a communion of the earthly and everyday with something mysterious and wonderful to lead humanity toward a rebirth or new awareness.» — la posición de Whitley Strieber: reconoce lo desgarrador y le encuentra propósito transformador.

«Other students of the phenomenon, among them psychologists Leo Sprinkle and Kenneth Ring and writer-abductee Whitley Strieber, concur that transformation of consciousness is the real business of abduction, Beyond the trauma and messages, the bottom line is that abduction leaves the experiencers different people. They outgrow a parochial planetary awareness for the broader perspective of cosmic citizenship, relate with aliens and hybrids in a communion of opposites to create a new unity, break through materialistic consciousness to access other realms of awareness.» — quiénes coinciden con esa lectura —Leo Sprinkle, Kenneth Ring, Whitley Strieber— y en qué: el negocio real de la abducción es transformar la conciencia.

«Abductee Whitley Strieber and abduction investigators like University of Wyoming psychologist Leo Sprinkle, University of Connecticut psychologist Kenneth Ring, and Harvard psychiatrist John Mack have proposed that UFO encounters are unsettling for a purpose. These encounters disturb the intellectual status quo, break down established boundaries of materialistic, earthbound thought to free consciousness for evolution toward transcendence of rationalistic capabilities, a healthier relationship with nature, and openness to nonhuman intelligences.» — posición compartida por Whitley Strieber, Leo Sprinkle, Kenneth Ring y John Mack: el encuentro perturba a propósito, para liberar la conciencia.

«Hopkins raises the point that the oftenseen alien illustration on the cover of Communion actually misrepresents the entities reported by Strieber—that, in fact, they had a much more bulbous heady Yet as misleading as this single most familiar image of a UFO alien ought to be, few abductees have copied its error. This prominent cultural icon has failed to alter the preference for big heads in actual reports.» — el argumento que él considera decisivo: la portada de Communion no representa bien a los seres de Strieber y casi nadie ha copiado ese error.

«If cultural influences chart the course of abduction reports, the movie Close Encounters of the Third Kind in 1977 and the 1987 books of Whitley Strieber and Budd Hopkins should serve as turning points in the development of the story. Comparative study of abductions shows that the reports fail to develop very much at all. The descriptions of aliens changed little in response to the movie and have changed little over the years.» — la prueba que propone y su resultado: la película de 1977 y los libros de 1987 debieron ser puntos de inflexión y el relato apenas cambió.

«The visitors are sweeping up from where we buried them under layers of denial and false assurance to deliver what is truly a message from the beyond: There is something more to us and the universe, and it is rich with the potential of the unknown. It will be incredibly hard for us to achieve real relationship with the visitors. But also, I can tell you from experience that there will be wonder. There will be great wonder.» — tercer epígrafe del capítulo segundo, de Whitley Strieber en Transformation: The Breakthrough.

«That is exactly the sequence of operations that Whitley Strieber went through after a terrifying abduction experience in New York in December 1985.» — la secuencia aplicada al caso de Whitley Strieber

«After much panic and recanting, Strieber was able to distill the true meaning of his continuing confrontations with the Other Side.» — con el pánico y la retractación previos a la destilación del sentido

«“I think that there’s a supermind,” he said recently of his experiences, “and I think the physical level of humanity is entering the supermind.» — y la declaración de Strieber sobre la supermente que cita

«Whitley Strieber is now active in helping others through their own experiences and believes there is a “Secret School” that is giving us instruction on how to exist in higher consciousness.» — con la Escuela Secreta que Strieber dice existir

«He is more responsible than anyone for having established the face of the Gray, which was featured on the cover of his bestselling Communion (1987), as the iconic “alien” image in contemporary American popular culture.» — el papel que atribuye a Whitley Strieber y a la portada de *Communion* en la fijación de la imagen del gris.

«An X-ray eventually confirmed the presence of the implant that had been put into Strieber’s ear during this incident.» — el resultado de la radiografía, en su relato del caso.

«When he engaged a doctor, John Lerma, to surgically remove the object (which Lerma thought might be cyst), the small, white, disc-shaped implant moved under Lerma’s scalpel as if to deliberately relocate itself at another place in Strieber’s ear.» — el implante que se mueve bajo el bisturí, referido desde el médico.

«What really changed Ring’s mind about UFO abductions was his having read Whitley Strieber’s Communion.» — el papel de *Communion* en el viraje de Ring.

«Strieber and his wife Anne had suspected that there was some connection between the abduction phenomenon and death or the afterlife.» — la intuición de Whitley y Anne Strieber, que él va a documentar.

«probably the best-known and certainly the best-written abduction case of the twentieth century» — así califica *Communion*, de Whitley Strieber.

«We might also recall what is probably the most well-known and most sophisticated account of an abduction experience, that of the science-fiction writer Whitley Strieber in his nonfiction Communion (1987). Much of the book is a series of transcripts of hypnosis sessions he underwent with Dr. Donald Klein to make sense of his abduction and bring it into consciousness (recall Théodore Flournoy from our last chapter).» — Kripal remite el procedimiento hipnótico de *Communion* al mismo linaje técnico que el estudio de Flournoy sobre la médium.

«Strieber would later bravely describe the original abduction as a rape. Again, there was no consent. Vila-Boas and Strieber were both raped by female entities. Let us be clear and blunt about that.» — Kripal nombra la violación sin eufemismo en los dos casos fundacionales; la fuente escribe aquí Vila-Boas y una plana antes Vilas-Boas.

«Anne eventually crystallized the massive store of letters down to the five thousand or so that we now have in the archive after Whitley gifted them to us a few years ago.» — Kripal describe cómo Anne Strieber redujo el cuarto de millón de cartas recibidas a las cinco mil que hoy custodia su archivo.

«They all look like that. Yeah. I thought at first it was like a skeleton on a motorcycle or something. It was flying—no, it wasn’t flying. I could just see it, and I see it almost does, really does, look like a praying mantis, only bigger. It’s got great big eyes that just scare the hell out of you.» — Whitley Strieber bajo hipnosis, sesión del 14 de marzo de 1986, describiendo la figura de mantis; transcripción citada por Kripal. Voz de Strieber.

«Indeed, Whitley Strieber even suggested in Communion that the triangular form imprinted on his body during his original abduction account may be related to the yantra, or “sacred diagram” or geometrical form, of the Hindu goddess Kali and what he describes as the “Indian Tantras.» — Kripal consigna que el propio Strieber ligó la marca triangular de su cuerpo al *yantra* de Kali.

«Whitley Strieber had been on a path of transformation through the Gurdjieff Foundation before he became aware of his encounters» — única aparición de Gurdjieff en la obra, y es sobre Strieber, no sobre el autor.

«When he told his Gurdjieff teacher about his experiences with the beings, which had initially been intensely terrifying, the teacher said, “Fifteen seconds with those people; fifteen years of meditation. You’re very lucky”» — la sentencia es del maestro de Gurdjieff de Whitley Strieber, recogida por el autor vía Strieber 1987 y 1996b.

«Whitley Strieber told me that his first encounters were “terror absolute” and an “annihilating catastrophe of spirit.”» — Whitley Strieber al autor sobre sus primeros encuentros.

«As Whitley Strieber told me, “acknowledging the fear is what gives you freedom.» — la fórmula de Whitley Strieber al autor.

«As he overcame his terror, Whitley Strieber felt “a very deep heart opening,” and “an incredible, powerful love for people” emerged.» — lo que Strieber dice haber sentido al vencer su terror.

«Says Whitley Strieber, I do not differentiate between physical and spiritual worlds. “The spiritual” is simply a matter of seeing better. But there is no break between the spiritual and the physical» — nota 1 al capítulo 11, y la voz es de Whitley Strieber: niega la distinción entre mundo físico y espiritual y define lo espiritual como cuestión de ver mejor, sin corte entre uno y otro

«as a spiritual act—the act of a spiritual rebel, really. To me, the placing of an object in the body is the placing of the object in the soul» — sigue la nota 1 al capítulo 11, y es de Whitley Strieber: exponer los implantes sería acto espiritual, porque poner un objeto en el cuerpo es ponerlo en el alma

«1998 letter of Whitley Strieber to Michael and Ian Baldwin, in response to Ian’s reading of the manuscript of Strieber’s book Confirmation» — el autor documenta la procedencia exacta de la cita anterior: una carta de 1998 de Strieber a Michael e Ian Baldwin sobre el manuscrito de *Confirmation*

«You sit in a situation where you can't bear to be—and you grow» — epígrafe del capítulo 1, de Whitley Strieber en entrevista con el autor, Wagner, South Dakota, 16 de junio de 1996. Es de Strieber.

«Strieber, Whitley. 1987. Communion: A True Story. New York: Morrow/ Beech Tree Books. ———. 1996a. The Secret School: Preparation for Contact. New York: HarperCollins. ———. 1996b. Interview with the author, June 16» — de la bibliografía: de Whitley Strieber se citan libros y también una entrevista con el autor, de modo que funciona a la vez como obra citada y como informante

«replied, “The perceptual problems are significant and complex. I think that the fundamental indeterminacy of all perception (the quantum perception problem) makes it extremely difficult for us to correctly observe things for which our brains lack any reference point at all.» — Nota 2 al capítulo 1: Mack transcribe la respuesta que Whitley Strieber le dio por internet a Will Bueché sobre por qué los relatos de encuentro discrepan tanto entre sí. Para Strieber la falla no está en el testigo sino en un límite general de la percepción —lo que él llama el problema cuántico de la percepción—, y se agrava cuando el cerebro no tiene ningún punto de referencia previo para lo que mira. La frase arranca al pie de la p. 306 y se cita por su mitad anclable.

«Whitley Strieber’s work and friendship helped me understand aspects of the phenomenon that are not easily understood.» — agradecimientos: sitúa a Whitley Strieber como quien la ayudó a entender aspectos del fenómeno que no se entienden con facilidad.

«Reflecting on a talk by “alien abductee” Whitley Strieber about the experiences that informed his best-selling novel, Communion, Jeffrey Kripal notes the role played by popular culture: “One evening he [Whitley] explained to us that he was perfectly aware that his visionary experience of the visitors was deeply informed by the bad sci-fi B movies that he had seen in such numbers as a kid in the cold war 1950s in southern Texas.”» — Jeffrey Kripal sobre una charla de Whitley Strieber: el propio Strieber sabía perfectamente que su experiencia visionaria de los visitantes estaba informada por las películas B de ciencia ficción que vio de niño en el Texas de los años cincuenta.

«Remember what Whitley [Strieber] told us? That the artifacts we studied also studied us? That is what I think is happening here,” he said.» — Tyler citando a Whitley Strieber ante el sueño de un amigo sobre su mochila: los artefactos que estudiábamos también nos estudiaban a nosotros.

«Author Whitley Strieber’s book Communion came out in the 1980s. It is a harrowing tale of his own experience with beings he calls “the visitors.” The cover of the book features the image of what has come to be the iconic look of an alien being, with large almondshaped eyes and greenish reptilian skin. The image pervaded culture to the extent that Jacques noticed that if witness stories did not conform to the look of Strieber’s alien, researchers discounted their reports» — el caso con que documenta el poder de los medios sobre el campo: la portada de Communion fijó la imagen icónica del alienígena, y Vallée notó que los reportes de testigos que no se ajustaban a ella se descartaban. El reflujo del EPUB parte almond-shaped al final de renglón y la herramienta lo devuelve pegado.

«Some witnesses react to the phenomenon with a feeling of awe and fulfillment: for Whitley Strieber the outcome was communion and transformation. Yet for many others I have interviewed the experience is better described as confrontation.» — la glosa del título, construida por contraste con el prologuista de su libro anterior.

«Foreword by Whitley Strieber» — el prólogo de las pp. 4–6 es de Strieber, no de Vallée, y la página de derechos lo separa incluso en el copyright: «"Foreword by Whitley Strieber" Copyright © 1988 by Wilson & Neff. Inc.»

«And yet I myself have faced physical beings.» — en el prólogo Strieber habla de su propia experiencia, no de la tesis del libro que prologa.

«The public is left – as I was left – facing the visitors in the middle of the night without any notion of what they are, where they came from, or how to act in their presence.» — Strieber habla desde su propia experiencia de contacto, no desde la tesis del libro que prologa.

«One of the thousands of people who wrote me concerning my book Communion had this fascinating insight: "Whatever cosmology or mythology I was immersed in seemed to be the factor for shaping the context and attendant imagery of my experiences, which I believe are essentially of an abstract nature."» — Strieber cita a un corresponsal suyo, no a Vallée; la cosmología del sujeto daría forma a la experiencia.

«The context of my own experience, with extensive witness by others, makes it clear that the phenomenon can emerge as an entirely real, physical presence that is quite capable of manipulating its environment. The next moment, though, it can evaporate into thin air, leaving not a trace of what was a moment before an immense and overwhelmingly real presence.» — Strieber describe su propio caso: presencia física que después se evapora.

«Whatever it is, it changes with our ability to perceive it. The fifteenth century saw the visitors as fairies. The tenth century saw them as sylphs. The Romans saw them as wood-nymphs and sprites. And so it goes, back into time.» — Strieber hace variar la forma del fenómeno con la capacidad de percibirlo de cada época.

«Dimensions begins with a foreword by Whitley Strieber, the science-fiction author and self-confessed abductee» — Jeffrey Kripal lo nombra al presentar el prólogo de Dimensions y le da dos rótulos, autor de ciencia ficción y abducido confeso; el verbatim se corta antes de la coma que abre la definición que Kripal le atribuye.

«For example, Whitley Strieber was woken one night by a jolt on the shoulder.? Three dwarfish greys stood by his bed. They wore blue overalls and had glittering deep-set eyes.» — Patrick Harpur recoge el testimonio de Whitley Strieber dentro de su argumento sobre la duplicidad de los daimones; la llamada de nota sale como signo de interrogación en la capa de texto.

«As if satirizing Strieber’s ‘normal’ response, it was wearing a cardboard imitation of a blue double-breasted suit, complete with a triangle of handkerchief sticking out of the pocket.» — y qué lee Harpur en el detalle del traje de cartón: una sátira de la respuesta normal de Strieber. La lectura es de Harpur, no de Strieber.

«Eva had written in her journal that she had started to read Whitley Strieber's Communion, but discontinued it so as not to be "influenced by anyone or anything» — John Mack consigna el efecto de Communion sobre una de sus informantes: Eva empezó a leerlo y lo dejó para no quedar influida por nadie ni por nada.