Far Journeys

«Contents Flow Sheet Cover Other Books by This Author Title Page Copyright Dedication Prologue Part I Near Reaches 1. Old Local Traffic 2. Hemi-Sync et al. 3. The Gateway Program 4. Explorer Team I 5. New Associations 6. Segue» — el índice declara la arquitectura: Hemi-Sync, el programa Gateway y los equipos de Explorers

«we took to sending our Explorers out beyond the solar system at what appeared a near-instantaneous change of locale. The instruction was to keep going until he or she perceived something worthwhile. They passed by the other suns, found other planets, but no intelligent life» — el método declarado y su resultado inicial

«It seemed to us a sterile universe. The change came in 1974. It took place in all of our Explorers» — cómo nombra ese resultado, y la fecha en que dice que cambió

«Those interested in the activities of the Institute may write The Monroe Institute Route 1, Box 175 Faber, Virginia» — la obra remite a una institución con domicilio: el trabajo ya no es privado

«A later development at the Institute has utilized the same methods and technique in a form of “binaural beats” to create synchronization of both left and right hemispheres in the human brain. The unique coherent brain state that results is known as hemispheric synchronization, or “Hemi-Sync.”» — define el Hemi-Sync: latidos binaurales para sincronizar los hemisferios

«This discovery also permits external control of the degree of activity of eit» — y lo que dice permitir; el corte trunca la frase

«In the current Explorer group, only two remain from the original team. The tide of personal events has moved the others away from the area, their lives visibly altered by the experience» — la rotación del equipo, y cómo describe su efecto en quienes lo dejaron

«Part of my energy that I have when I’m out of body» — palabras de un Explorer, no de Monroe: la energía se reparte entre construir el cuerpo y salir de él

«There seems to be an easy way to do—and a hard way. Given the choice, all of us take the easy route simply because it’s more efficient, saves time and energy. If it’s too easy, some of us feel guilty. We get the uncomfortable sense that we’re missing something if we don’t go the laborious, tried-and-true pattern. If it’s that easy, it must not be good, might even be sinful.» — abre el prólogo, en voz de Monroe, con la sospecha cultural contra lo fácil: si algo ahorra tiempo y energía, sentimos que nos falta algo y hasta que peca.

«Now the problem. Suppose you met someone who had never driven on an interstate. All his life, he has driven only in local traffic. He’s heard about such superhighways. He might even have seen one from a distance or heard the rumble of vehicles or smelled their exhaust fumes. He rationalizes any number of reasons why he hasn’t and won’t go interstate; he doesn’t need to, he’s satisfied the way he is; they travel too fast so it’s not safe; you have to go out of your way to get on it; it’s full of strangers from all over the place so you don’t know whom you’ll meet so you can’t trust them; your car isn’t in very good condition and it might break down and leave you stranded without anybody to help, in some lonely spot you never heard of. Maybe sometime you’ll try it, but not right now.» — la parábola central del prólogo: el amigo que solo ha manejado en tráfico local enumera razones para no entrar a la autopista, y Monroe las llama racionalizaciones.

«Suppose you happened to see a construction order from the state highway department to begin demolition of the old highway so that all local traffic will have to go interstate eventually, like it or not. What do you do? What would you do? Nothing? Suppose the recalcitrant is an old and dear friend. Then what? Your friend knows of the order but refuses to believe it. He can see the work crews beginning to form at the end of the old highway and he» — y el plazo que la parábola impone: la vieja carretera se va a demoler, el amigo lo sabe y lo niega. La frase sigue en la plana siguiente, donde dice que ignora la existencia de las cuadrillas.

«Finally, finally—you discover the stupidly simple answer. You and your friend suffer from the same affliction but from different causes. It is inertia.» — el diagnóstico del prólogo, y su reparto: el obstáculo es la inercia, y el autor se la adjudica también a sí mismo, no solo a quien no quiere cruzar.

«Back in the old railroad days, a locomotive could pull only four or five cars at a time because if more cars than that were added, it would simply spin its drive wheels trying to get started. Inertia. Then a smart young thinker came along and invented the sliding coupler, which let the locomotive pick up the slack—and inertia—one car at a time. Ask any freight conductor what it was like to be in a caboose on the tail end of a 100-car train when he highballs the engineer.» — de dónde deriva el remedio: el acoplador deslizante, que deja a la locomotora recoger la inercia vagón por vagón, es el modelo del paso gradual que propone.

«It’s doubtful that explosive or catapult methods to full-speed interstate in a different form will be less than confusing and bewildering, even with modification to local traffic standards.» — y la reserva con que lo acota: el método explosivo o de catapulta llevaría a la autopista de golpe, y Monroe duda de que resulte otra cosa que confusión.

«(It is focus of attention, of consciousness, which is without diversion or deviation. No other energy available to you as human is as» — la definición de conciencia que el prólogo trae, y que NO es de Monroe: la dice el interlocutor no humano cuya voz el libro imprime entre paréntesis. Conciencia es foco de atención sin desviación ni diversión, y ninguna energía humana es tan poderosa; la frase sigue en la plana siguiente, donde la compara con una lente que dirige la luz.

«Each time I hear something like that, I realize how far I have to go. (You are doing very well, Mister Monroe. Your own recognition of such percept is an indication.)» — la réplica de Monroe a esa voz y la respuesta de ella: él mide lo que le falta, y el interlocutor lo llama por su nombre. El intercambio muestra el reparto de voces con que trabaja todo el libro.

«Going from local traffic to interstate does indeed require an entry or acceleration lane to merge into the flow. If you can make the tools supplied by local traffic apply in the design and building of the ramp, so much the better. You need to remember especially the inertia factor—pick up the slack on one loaded car at a time, start in low gear so you don’t stall the engine, then shift smoothly; automatic transmissions don’t know when you need to shift. If the design is correct, your friend is cruising along the interstate long before the old highway is closed down.» — el cierre del prólogo: la vía de acceso se construye con las herramientas del tráfico local, y esa concesión es el programa declarado del libro.

«If there is a first and obvious point to be made, I can report that I am still alive physically after twenty-five years of exploring personally the out-of-body experience. A little timeworn, but still more or less operational.» — abre el primer capítulo, en voz de Monroe, con lo que llama su punto primero y obvio: veinticinco años de exploración y sigue vivo.

«There were several moments when I was not so sure. However, some of the best medical authorities have assured me that the physical problems I have encountered have been simple causeand-effect of living in the culture/civilization of mid-twentieth century America. Some take another position. I am still alive as a result of such OOBE activity. Take your pick.» — consigna las dos lecturas de sus problemas físicos sin arbitrar entre ellas: unos médicos las atribuyen a vivir en la cultura estadounidense de mediados del siglo XX, otros a la propia actividad, y Monroe deja la elección al lector. La fuente parte *cause-and-effect* con guion de fin de línea y la herramienta lo une.

«So it would seem that one can practice “going out of the body” regularly and survive. Also, after having been tested periodically by experts, I can still make the statement that I am reasonably sane in a not so reasonably sane world.» — la conclusión que saca de su propia supervivencia, y la acota con ironía: la práctica es compatible con seguir vivo y, según los expertos que lo probaron, razonablemente cuerdo.

«What is the out-of-body experience? For those who have not encountered the subject as yet, an out-of-body experience (OOBE) is a condition where you find yourself outside of your physical body, fully conscious and able to perceive and act as if you were functioning physically—with several exceptions. You can move through space (and time?) slowly or apparently somewhere beyond the speed of light. You can observe, participate in events, make willful decisions based upon what you perceive and do. You can move through physical matter such as walls, steel plates, concrete, earth, oceans, air, even atomic radiation without effort or effect.» — la definición operativa que da del OOBE: hallarse fuera del cuerpo físico, plenamente consciente y capaz de percibir y actuar, con la salvedad de que se atraviesa el espacio, se decide y se pasa a través de la materia.

«In earlier literature, it was commonly labeled “astral projection.” I began by refusing to use this term, as it had an occult connotation and was certainly nonscientific by our standards.» — el rechazo explícito del vocabulario astral, y su motivo: Monroe dice haber empezado negándose a usar el término por su connotación oculta y por no ser científico. Es la raíz de la nomenclatura propia que sostiene todo el libro.

«Charles Tart, a psychologist friend, popularized the term “out-of-body experience” when we were working together in the sixties. In the past twenty years, it has become the accepted Western generic term for this particular state of being.» — y a quién adjudica el término que lo sustituye: Charles Tart popularizó out-of-body experience mientras trabajaban juntos en los años sesenta.

«A psychologist friend riding with me took one look at the house, turned, and smiled. “The answer is easy. It’s the house. Take a good look at it.” I stopped the car. The house looked the same. Green roof and stone. The new owner had maintained it nicely. I turned to my friend. “I don’t see anything different.” “The roof.” He pointed a finger upward. “It’s a perfect pyramid. Moreover, it’s covered with copper just like the tops of the big ones in Egypt before the looters took over.”» — palabras de un amigo psicólogo, no de Monroe: atribuye las salidas a la casa misma, un piramidal recubierto de cobre. Monroe lo transcribe como hipótesis ajena.

«That the out-of-body experience frightened me then is a quantum understatement.» — cómo describe su reacción inicial, sin suavizarla.

«One thing is certain. The purpose of the previous book was many times fulfilled.» — lo único que declara cierto sobre el primer volumen: su propósito se cumplió muchas veces.

«However, I’m sure that the great majority of people in our culture are still unaware of this facet of their lives.» — y el límite que le pone a ese cumplimiento: la gran mayoría de la gente sigue sin saber que esta faceta forma parte de su vida.

«I would remain just as I was. I was too much in control—this left-brain “I.” What would happen if I turned this decision-making process over to my total self (soul?), who was purportedly conversant with such activities.» — el giro del método, y la reserva con que Monroe lo enuncia: entregar la decisión al total self —al que él mismo añade un signo de interrogación tras la palabra alma— en vez del yo de cerebro izquierdo.

«Since that night, my nonphysical experiences have been almost totally due to this procedure.» — y lo que adjudica a ese cambio: casi todas sus experiencias no físicas posteriores.

«The results have been of a nature so far removed from anything my conscious mind could conceive of that a new problem arose.» — el problema que dice haberle traído el nuevo método: los resultados quedan fuera de lo que su mente consciente podía concebir.

«Although my physical here-now consciousness is always a participant, better than 90 percent of such events seemed to me impossible to translate into the time-space medium.» — y la abstención con que lo mide: más del noventa por ciento de esos sucesos le parece imposible de traducir al medio tiempo-espacio.

«I never was a consequential drinker, but even a glass of wine begins the rejection process.» — los cambios corporales que consigna al cierre del capítulo, sin explicarlos.

«In recovery, under intense pain, a shot of Demerol only brings on extreme vomiting.» — y el más concreto de ellos: en recuperación quirúrgica, el Demerol solo le provoca vómito.

«A psychologist friend back in the early days was skeptical of this drug allergy. Further, he was interested in what the effects of what are now called entertainment drugs would be on my type of personal and physical makeup. We tried “laboratory”-quality mescaline and LSD on my system. Nothing happened.» — el episodio de las drogas, en voz de Monroe: un psicólogo amigo dudaba de la alergia y probó mescalina y LSD de calidad de laboratorio. El resultado que consigna es el nulo.

«Another item: I asked a nonphysical friend if I had been in a physical life existence in the recent past. It was one of the few clear verbal answers that I received: “Your last human life was spent as a monk in a monastery in Coshocton, Pennsylvania.”» — palabras de un amigo no físico transcritas por Monroe, no afirmación suya: sitúan su última vida humana como monje en un monasterio de Coshocton, Pennsylvania.

«I looked at the map of Pennsylvania and there was no Coshocton indicated. I knew there was a Coshocton, Ohio, because I had lived in the state.» — y la primera comprobación, que sale en contra: en el mapa de Pennsylvania no hay Coshocton; el que él conoce está en Ohio.

«I mentioned the event to a Catholic monsignor friend, and he offered to look it up in his records. Some weeks later he called to say there really was a monastery in a place called Coshocton, Pennsylvania.» — la segunda comprobación, que sale a favor y que Monroe adjudica a un tercero: un monseñor católico buscó en sus registros y confirmó el monasterio.

«For years, I have kept this as a closet secret because no one believes it. I have shown it to my wife, Nancy, and she still is skeptical. It seems that if I leave a certain pair of pants hung in the bedroom closet, it generates paper money.» — el episodio del pantalón, presentado como secreto de armario porque nadie le cree, con su mujer entre los escépticos.

«We have theorized that I may walk in my sleep and insert money in the pants pocket.» — y la hipótesis mundana que él mismo pone a prueba antes que ninguna otra: caminar dormido y meter el dinero.

«One rationale is that it is an ongoing result of a very urgent need for a few dollars back in my teenage period.» — la única explicación que ofrece, y la ofrece como racionalización, no como causa establecida.

«A previous edition of this book was originally published in 1985 by Doubleday It is here reprinted by arrangement with Doubleday.» — la página de derechos declara la genealogía del ejemplar: el texto es de 1985 y esta impresión de Broadway lo reedita por acuerdo con Doubleday.

«First Broadway Books trade paperback edition published 2001 An Eleanor Friede Book» — y fecha el ejemplar que se ficha: la edición en rústica de Broadway, 2001.

«“The Out-of-Body Experience A Phenomenological Typology Based on Questionnaire Responses,” by S. W. Twemlow, G.O. Gabbard, and F.C. Jones. The American Journal of Psychiatry, Vol. 139 4, pp. 450-55, 1982. Copyright © 1982, the American Psychiatric Association.» — el aparato externo que la obra incorpora en apéndice y consigna en el copyright: el artículo de Twemlow, Gabbard y Jones en el American Journal of Psychiatry, reimpreso con permiso. No es texto de Monroe.

«“The OBE Psychophysiology of Robert A Monroe” from With the Eyes of the Mind by Glen O. Gabbard and Stuart W. Twemlow. Copyright © 1984 Praeger Publishers Reprinted by permission.» — y la segunda pieza ajena: el estudio psicofisiológico sobre Monroe firmado por Gabbard y Twemlow, tomado de un libro suyo de 1984.

«The Library of Congress Cataloging-in-Publication Data has cataloged the previous edition as: Monroe, Robert A. Far journeys “A Main Street book” 1. Monroe, Robert A. 2. Psychical research—» — cómo cataloga la obra la Biblioteca del Congreso, según la propia página de derechos.

«DEDICATED TO: Nancy Penn Monroe, much more than a wife, whose constant and consistent love, support, sharing, and understanding were the indispensable elements in the writing and completion of this record.» — la dedicatoria, en voz de Monroe: nombra a su mujer, Nancy Penn Monroe, como elemento indispensable y llama al libro un registro, no un relato.

«The literally hundreds of others over the past fifteen years who freely gave their time, energy, and interest in so many different ways and without whom very little would have been accomplished.» — y la segunda mitad de la dedicatoria, donde el sujeto se vuelve colectivo: cientos de personas a lo largo de quince años, sin las cuales dice que poco se habría logrado.

«Contents Flow Sheet Cover Other Books by This Author Title Page Copyright Dedication Prologue Part I Near Reaches 1. Old Local Traffic 2. Hemi-Sync et al. 3. The Gateway Program 4. Explorer Team I 5. New Associations 6. Segue Part II Far Reaches 7. Surveys and Schematics 8. Contact Point 9. Rainbow Route 10. Newfound Friend 11. Rescue Mission 12. Hearsay Evidence 13. Shock Treatment 14. One Easy Lesson 15. Promised Plan 16. The Gathering Epilogue: End Game» — el índice completo de la plana, del que la ficha traía solo la primera mitad: las dieciséis unidades numeradas se reparten en Near Reaches y Far Reaches, y el epílogo se titula End Game.

«Appendices I. The Out-of-Body Experience: Most Frequently Asked Questions and Answers II. The OBE Psychophysiology of Robert A. Monroe By Stuart W. Twemlow, M.D., and Glen O. Gabbard, M.D. III. The Out-of-Body Experience: Phenomenology By Stuart W. Twemlow, M.D., Glen O. Gabbard, M.D., and Fowler C. Jones, Ed.D. Paper Presented at the 1980 Annual Meeting of the American Psychiatric Association, May 5-9, in San Francisco» — y la plana siguiente lista los tres apéndices, dos de ellos firmados por Twemlow, Gabbard y Jones: el aparato clínico sobre Monroe es de otras manos y la obra lo declara desde el índice.

«Robert Allan Monroe is a man of many talents. More important, he has the ability to explore and experience these different facets that make up an unusual personality.» — abre la nota biográfica del editor, en tercera persona: no es voz de Monroe sino aparato del volumen.

«The son of a college professor and a medical doctor mother, he received his degree from Ohio State University after studies in engineering and journalism, and entered the radio broadcasting industry as a writer and director of programs. In 1939 he went to New York, where he was the creator and producer of some 400 radio and TV network programs in the ensuing twenty-year period. In addition to directing and writing, he composed all of the orchestral music for his programs, much of which is still in use in television and motion pictures.» — la formación y la carrera que la nota le adjudica: ingeniería y periodismo en Ohio State, y unos cuatrocientos programas de radio y televisión en veinte años.

«He later became vice-president of programs and director of Mutual Broadcasting System, Inc., a position he held until mid-1956. He then became president of Laury Associates, which brought him into ownership and operation of radio stations in North Carolina and Virginia. He also formed Jefferson Cable Corporation, which, as president, he guided in the construction and operation of cable-TV systems in Charlottesville and Waynesboro, Virginia—a position he held until April 1976.» — y los cargos empresariales con que la nota cierra esa etapa, hasta la televisión por cable en Charlottesville.

«Mr. Monroe’s major avocation in recent years has been exploration and research into practical methods of accelerated learning through expanded forms of consciousness. To augment such activity, he founded the Monroe Institute of Applied» — cómo la nota nombra el giro de su ocupación: métodos prácticos de aprendizaje acelerado por formas expandidas de conciencia. La frase sigue en la plana siguiente, donde fecha el instituto en 1973.

«Sciences in 1973, with facilities and laboratories at Afton, Virginia. With his long and varied experience in sound, it was natural that he utilized this medium for his investigation. One of the results of his work was a method and technique of inducing relaxation and sleep, which was granted a generic patent in 1975.» — su continuación en la plana siguiente: laboratorios en Afton, Virginia, y una patente genérica en 1975 para el método de inducir relajación y sueño.

«Along with others, the Monroe Institute (now located in Nelson County, Virginia) is exploring the potentials of such methods in all areas of individual and cultural activity.» — el dato que sitúa al instituto al momento de esta edición, ya en el condado de Nelson.

«He is author of the book Journeys Out of the Body (Doubleday & Company, Inc., 1971; Anchor Press edition, 1977), which has been published in five languages worldwide.» — y la referencia bibliográfica del primer volumen tal como la nota la imprime, con editorial y las dos fechas.