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Please Meet The Janos People. Part 6.

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  • John Winston
    Subject: Please Meet The Janos People. Part 6. Sept. 1, 2005. This talks about the enterior of the space craft.
    Message 1 of 1 , Sep 2, 2005
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      Subject: Please Meet The Janos People. Part 6. Sept. 1, 2005.

      This talks about the enterior of the space craft.

      .......................................................................
      .......................................................................

      The interesting thing about this picture is that it shows a feature
      - a broad double yellow beam diverging downwards towards the ground -
      which was not recalled by any of the adults until John saw it in his
      'dream' a week later. Natasha's parents did not know she had spoken to
      the teacher, and did not know that she had made the picture, until the
      end of term much later, when Natasha brought her books home from
      school, So that John, when he dreamed about the yellow beam (see
      Chapter 2) did not know that Natasha had drawn a yellow beam coming
      down from the flying saucer; and Natasha, when she drew the picture,
      did not know about her father's 'dream' experience of a yellow beam
      because it had not yet happened. It is also interesting that this
      theme of the downward-diverging beam turns up again much later in the
      story, where it features as part of the design of the badge (emblem) or
      insignia worn on their uniforms by the crew of the spaceship; clearly
      it was a symbolic significance for them.

      It is also surely significant that Natasha, when they had arrived
      home and Frances was about to leave for her own home, warned Frances
      not to get 'sucked up' into a spaceship. Note that, in the 'cover story
      which is all that the adults had conscious recollection of at that
      stage, nobody had knowingly been 'sucked up' into a spaceship. Her use
      of the term spaceship' is perhaps significant, because hitherto the
      grownups had used the term 'flying saucer'. As will appear presently,
      Natasha would have heard the craft they visited referred to by its own
      crew as a 'spaceship'; the Janos people, when speaking English, spoke
      of it as a spaceship, or more often, simply as a 'ship'.

      It seems useful at this point to quote from the tape recording of a
      conversation which happened much later - on the first of October 1978
      to be precise - when John, Frances and I had just been driving slowly
      along the section of road concerned with the story, checking locations
      etc. We had arrived at the entrance to Faringdon, at the place at which
      Frances and John felt they had 'switched back' into reality, and the
      'cover story' and the 'real story' had abruptly reunited.

      We had parked the car - almost exactly, as it later turned out, at
      the 'set-down point' at which the spaceship set them down back on the
      road - and we were talking over the incident. I quote from the tape:

      JOHN: Well, we were discussing last night between ourselves, and we
      remembered that Natasha had made a remark, when Frances went to leave
      our house. . . to keep her windows shut and mind that she doesn't get
      sucked up inside a spaceship on the way home; and we were talking about
      this, and I realized and said to the others that it was something like
      that on our journey; that if they could imagine that after I got back
      in the car and we drove off, that we were as if sucked up inside
      something, and all sat in the car, imagining we were driving with like
      a picture screen at the cinema in front of the car, so that you could
      see hedges and bushes go by, and stayed in that position for the time
      that we lost, and were then dropped back down on the road without
      realizing it, just as we came into Faringdon, and we saw the houses
      that we knew and were familiar with, at that point . . . because the
      road that we came along, as we said just now, certainly wasn't this
      piece of road here.

      FRANK: [that is, myself, the author of this book) I don't think you
      were ever on that road at all.

      JOHN: I know myself, though, I'm quite convinced that nowhere on that
      journey did we turn off or turn back on to a road. When we drove off,
      we stayed on that road. There was no possible turn. And we came back to
      reality, still on this piece of road, facing those houses.

      What John said on that occasion is of interest in showing how, even
      at this early stage of the investigation, his mind was definitely
      turning towards the idea that they had actually been 'sucked up' in a
      spaceship, and away from the idea of the interminable closely-hedged
      road being a real experience. He did not get it quite right at that
      stage; but he was beginning to think of the experience of the 'cover
      story' being an artifact, a visual memory planted in their minds for a
      purpose. The 'real story' was beginning to take over from the 'cover
      story.

      It follows logically from this new pattern of thought, that the five
      people in our story had been for a time under the control of
      intelligent beings - the people of the spaceship. John at this time was
      leaning towards a realization that the five of them had been actually
      in the spaceship. He speaks of being "dropped back down on the road" at
      the point where we were talking in the car, which is exactly what did
      actually happen.

      CHAPTER TWO

      John and Frances Dream

      ABOUT A WEEK after the incident near Faringdon, John was taken ill
      with influenza, and was lying in bed in the daytime, feeling, as he
      say, "pretty rough"; and in this state, which was drowsy without
      actually being asleep, he began to recall experiences relating to an
      actual entry into the flying saucer by all the family. He thought of it
      at the time as a dream, and always referred, afterwards, to this part
      of his recall as a 'dream'; but as it were in quotation marks, as if he
      were not convinced of its being a dream, but felt that he had to call
      it a dream because, at that stage, he was still reluctant to accept the
      entry into the flying saucer as real experience; though later on he
      became convinced of it, and now is unshakable in his conviction. The
      same is true of Frances, who also had a 'dream' recall.

      On several occasions, while he was describing this part of his recall
      to me, John laughed in a slightly embarrassed way, saying by way of
      qualification: "Well, of course, it was only a dream".

      Now dreams can be very detailed; but there is always a recognisably
      dream-like quality about them, familiar to all of us. I will quote
      enough of the tape recording of John's account of his 'dream' recall to
      make it quite clear, I think, to the reader, that we are here dealing,
      not with a typical dream, but with impressions based on an actual
      memory. John, like all the adults, had a degree of amnesia about the
      entry into the flying saucer, which we now know was induced by the
      saucer people, to protect their visitors from the consequences of
      immediate publicity; they explained their purpose very clearly, as we
      shall see.

      Amnesia can be relaxed by hy-nosis, a technique which we used
      extensively in the later stages of the investigation; my suggestion is
      that, in his abnormal state of mind as an influenza patient, John
      slipped accidentally into a self-induced hy-notic trance. The hypno-ist
      who later helped us with the case advises me that this is perfectly
      possible.

      I will now give a summary of John's 'dream' recall. It is necessary
      to be aware, at this stage, that while there is a large area of
      overlapping agreement with the later, much fuller recall under
      regressive hypn-sis, there are some discrepancies (uoverenstemmelser)
      between this 'dream' experience and the later hypnotic recall. As a
      matter of method, I always regard discrepancies as of particular
      importance; quite often they point the way to something highly
      significant: so I am never tempted to disregard them, and I shall bring
      them out clearly. The existence of a few discrepancies, on the other
      hand, does not in itself invalidate a statement; it indicates, quite
      often, that different parts of the experience are being described.

      In his 'dream', John says that he and the others all got out of the
      car, and went up a sloping hazy (disig) beam of light into the flying
      saucer, entering through a doorway in the side of the ship. Through the
      doorway they found themselves in a corridor which extended to left and
      right, following the curve of the circular hull of the ship. The
      corridor was uniformly lit in a bright yellow color. They turned to the
      left, where there were three doors to their right, leading into
      separate rooms. The two women, each carrying one of the children, were
      ahead of John in the corridor; John, obeying an inner compulsion
      (trang) in his mind, entered the first door, that nearest the entrance;
      and as he did so, he was aware that each of the women entered one of
      the remaining doors, each still carrying a child. (There is a
      discrepancy here, in that in the later, fuller recall under hypno-ic
      regression, the two children both went with their mother Gloria, and
      Frances went in alone. Moreover, in the later account, the curving
      corridor was not entered directly from the outside, but was reached
      from the interior of the ship, which they had entered by another way.)

      John says that he entered a darkened room, in which the only areas
      he could see clearly were a series of panels carrying instruments,
      extending round most of the walls. (This was not quite correct: the
      full recall describes instruments only on the wall opposite the chair,
      the side walls being blank.)

      Part 6.

      John Winston. johnfw@...


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