The Aleph is what happens when consciousness recognizes the allegory of itself and communicates with itself as through a mirror, world of divinity communicating with the earthly realm, signaling like a satellite of love.
What if Borges had “accounted” for his encounter: his experience of simultaneity, oneness, and infinity? What if he hinted, for instance, that his friend Carlos had slipped him acid: a drug first synthesized in the laboratory of Swiss chemist Dr. Albert Hoffman two years prior, on April 19, 1943? (Borges published “The Aleph” in 1945.) Or, given that the postscript attached to story’s end is dated 1943, perhaps it was mescaline, a synthetic variant of peyote.
Did Borges and other magical realists experiment with psychedelics? How about indigenous plant medicines? Is that why Borges denounces the experience, calling the thing he encountered “a false Aleph” at story’s end? Is its illumination a profanation of the divine?
Forgetfulness wears away at the glimpse of paradise gleaned while high, much as it wears away at Borges’s memory of the face of his beloved Beatriz.
Borges and Huxley pair well together, thinks the Narrator. Both are blind prophets: mind manifesters gifted with inner sight.
CCCC is an agency encountered or imagined by legendary scientist-psychonaut John Lilly. The latter claimed the group reached out to him in the early to mid 1970s through its local affiliate, the Earth Coincidence Control Office, or ECCO, while Lilly was studying dolphins and conducting experiments involving combinations of LSD, ketamine, and sensory deprivation tanks at his marine research lab, the Communications Research Institute, on St. Thomas in the Virgin Islands. Erik Davis writes of Lilly’s odd experiences from this period in his book High Weirdness. Lilly wanted to communicate with dolphins, and Margaret Mead’s ex-husband Gregory Bateson assisted with funding. Lilly writes of his encounter with ECCO in his 1978 memoir The Scientist. His ideas informed the 1973 science fiction thriller The Day of the Dolphin starring George C. Scott, as well as the 1992 Sega Genesis videogame Ecco the Dolphin. Lilly also served as the basis for Dr. Edward Jessup, the mad professor character in the 1980 film Altered States. My sense of him follows a trajectory the exact opposite of Jessup’s: Lilly was a villain of sorts only in his early years. His research of the 1950s, funded by the military, was what we might call “MK-Ultra”-adjacent. Despicable acts like sticking wires into the brains of monkeys in the name of science. Yet Lilly rebelled, acquired a conscience, became a free radical of sorts. With commencement of his self-experimentation with psychedelics, Lilly transforms, becomes a rabbit hole of immense strangeness from the 1960s onward. Stewart Brand’s Whole Earth Catalog promoted Lilly’s books, especially Programming and Metaprogramming in the Human Biocomputer. A 1972 paperback edition of the latter features Brand calling it “The best internal guidebook I’ve ever seen—far more practical and generalized than transcendent Eastern writings or wishful Underground notes….It makes an open start on fresh language and powerful technique for the frontier.” By the latter, Brand means what? Some sort of moving boundary or threshold state, I guess, where through self-experiment with tools, subjects grow new organs.
“Put a lemon on it” is the first of several words received as I sit eyes closed beside a pool. Words overheard, duly noted, to be reimagined in the evening hours as dream material and as a step in a recipe for pasta with broccoli. There has been a desire of late, some chakra lighting up all that is. I play it records, feed it the exalted public speech of Odetta at Carnegie Hall.
A kind of love is organizing all things, Amens everywhere “all over this land.” That’s what Leary thought, isn’t it? “The history of our research on the psychedelic experience,” he writes, “is the story of how we learned how to pray” (High Priest, p. 171). Let us include among the characters in this story IFIF medical director Madison Presnell. A photograph of Presnell appears in the April 16, 1963 issue of Life magazine. A photographer with the magazine accompanies Cambridge, MA housewife Barbara Dunlap on her first acid trip. Presnell administers the drug. The caption for the final photograph in the series reads, “Dunlap smokes a cigarette while seeing visions in the seeds of a lemon.”
Excerpts from several of Hermann Hesse’s novels and short stories appear as paratext to a chapter on Arthur Koestler in Timothy Leary’s experimental 1968 memoir High Priest. ‘Tis the story of Koestler’s acid trip. Koestler had written a book about the East called The Lotus and the Robot. Koestler claims in disdainful orientalist fashion that the East, especially India and Japan, suffer from a sort of “spiritual malady.” Alongside the acid trip, Leary’s book also includes accounts of Koestler’s two mushroom experiences. Leary invited Koestler to participate as a test subject in the Harvard Psilocybin Project knowing full well of Koestler’s disdain for mysticism. The Hesse paratext supplements all of this, as Hesse had already portrayed Koestler in the manner of a roman-à-clef as a character named Frederick in Hesse’s short story “Within and Without.” Frederick is a stubborn, miserly rationalist, angered by the slightest hints of mysticism and superstition. So, too, with Koestler. He returns from India proud to be a European (as quoted in High Priest, p. 139). This is the same Koestler whose “confession” appeared in the 1949 anticommunist tract The God That Failed. “If these are the good old days,” wonders the author as he ponders this history, “then why am I so lonely? Why this ceaseless longing to grow through contact with others?”
Pranksters run loose across the country, reversing the journey West by heading east, unsettling what was settled. The future advertised at the 1964 New York World’s Fair: that was the destination toward which the Pranksters drove. Yet the Fair was just a ploy. They were also heading to New York for the launch of Kesey’s second novel Sometimes a Great Notion. With their doors of perception “cleansed,” however, the Fair appeared to them as it was: lame. The future as designed by clueless technocrats. And just as the Fair was a bummer, so was Millbrook. So they drove home and, as if in reply to the Fair, launched a series of “blissful counterstrokes”: the Acid Tests and the Trips Festival.
Can a text become a time machine, a weaver of strange loops? Where does free jazz fit in the machine’s equation, as Moor Mother says it must? Is the text composed through spontaneous play with others? Have we been living “atemporally,” as Bruce Sterling suggested? The form of these trance-scripts is both-and. One can scroll vertically through a stack of days. Or one can proceed rhizomatically, inputting keywords into a search of the site’s invisible index. Search for Willis Harman, for instance, and read about SRI and LSD. Harman was a square — an electrical engineer who, after getting turned on, turned on others. He became a pivotal figure in the human potential movement. He also coauthored a book with Wired affiliate Howard Rheingold called Higher Creativity: Liberating the Unconscious for Breakthrough Insights. Beware this talk of “liberation,” though. Harman’s research may have been CIA-funded. Something occurred there. Our time-traveling psychedelic detective needs to investigate SRI. If one wants to make it weird, sprinkle into the plot a secret order of time-traveling Hashishins — followers of Hassan i Sabbah. Have the detective find among his case files Michel Jeury’s Chronolysis and Daniel F. Galouye’s Simulacron-3.
A book called Realizing the Impossible called out to me the other day, the title resonating with a phrase I’d recalled in an email the day prior. A friend had recommended an article commending the importance of utopian visionary thinking in times of crisis. I replied with a line of Che Guevara’s spraypainted on the walls on the streets of Paris during May ’68: “Be realistic — demand the impossible.” Opening the book, I came upon an interview with late 60s acid anarchist Ben Morea, central figure in New York freak-left political-art groups Black Mask and Up Against the Wall Motherfucker, as well as — to my surprise — a later, short-lived collective called International Werewolf Conspiracy. The name pricks up one’s ears, does it not? For a short time in the late 60s and early 70s the group made and printed posters and manifestos. They’d pass out leaflets to fellow heads on the streets. Morea was friends with Valerie Solanas, author of The SCUM Manifesto. Morea wrote a pamphlet in support of Solanas when she shot Andy Warhol, an act shunned and disowned by the rest of the left and the art world. There’s a character based on Morea in the 1996 film I Shot Andy Warhol. By 1969, he was heading the International Werewolf Conspiracy. The group’s broadsheets amplify the gothic element in Marx and Engels. The specter evoked in the first sentences of The Communist Manifesto has given way to a pack of werewolves birthed when American youth drink the era’s “magic potion,” LSD. These werewolves are thus in origin a bit like Frankenstein’s monster — one of capitalist science’s Faustian lab experiments gone awry. The pose strikes me as pure Attentat. Then again, maybe it’s just an American “horror-show” version of épater la bourgeoisie: an attempt to shock the middle class out of its complacency as the country transforms into Nixonland.
Ishmael Reed may have been present at the founding of the East Village Other — indeed, he seems to have been the one who gave the paper its name! — but many of his poems of the 1960s, the ones gathered in Conjure: Selected Poems, 1963-1970, are quite scornful in their assessment of the counterculture. In his “Neo-HooDoo Manifesto,” for instance, Reed calls out Theodore Roszak, noting that in the latter’s famous book The Making of a Counter Culture, “there is barely any mention of the Black influence on this culture even though its members dress like Blacks talk like Blacks walk like Blacks, gesture like Blacks wear Afros and indulge in Black music and dance” (20-21). Speaking of neglected black influences upon the counterculture, why am I only just now learning that the acid trip sequence in Easy Rider was shot at or near Voodoo priestess Marie Laveau’s tomb in St. Louis Cemetery No. 1? Hopper and Fonda filmed the sequence guerrilla-style, without permission … while tripping on acid. Reed’s collection also includes a poem called “catechism of d neoamerican hoodoo church” — a self-conscious response of sorts, I imagine, to Millbrook resident Art Kleps’s Boo Hoo Bible: The Neo-American Church Catechism and Handbook. Several of Reed’s associates were participants in the psychedelic revolution — including East Village Other co-founder and publisher Walter Bowart. Bowart’s second wife was Peggy Hitchcock, the director of Leary and Alpert’s International Federation for Internal Freedom (IFIF). Peggy’s brother Billy is the one who arranged for the Leary crew to live on the Hitchcock Estate in Millbrook. Bowart went on to publish an important book on MK-Ultra in 1978 called Operation Mind Control.
Discovery of the AMC series Lodge 49 sends me back to Thomas Pynchon’s slim but not slight second novel The Crying of Lot 49, a book I read many years ago as an undergrad. This time around I’m delighted to be re-acquainted not just with the book’s heroine Oedipa Mass, but also with her shrink Dr. Hilarius, a psychotherapist running an experiment in a community hospital in the book’s version of 1960s Southern California, “on effects of LSD-25, mescaline, psilocybin, and related drugs on a large sample of suburban housewives” (17). Hilarius calls the experiment the bridge, or “die Brücke,” as in “The bridge inward” (17). At the back of the book, my twenty-year-old self had written a set of clues to the book’s decipherment, composed as if they were a type of verse: four lines, four simple statements: “lot 49 equals tristero. / tristero equals the disinherited. / oedipa awaits the crying of the disinherited. / auctioning off america … who will win?” The morning after receiving a phone call from Hilarius begging her to participate in his experiment, Oedipa experiences an altered state of consciousness, an “odd, religious instant.” Looking down a slope over a vast sprawl of houses, Oedipa discerns a pattern of sorts. “The ordered swirl of houses and streets, from this high angle,” Pynchon writes, “sprang at her now with the same unexpected, astonishing clarity as the circuit card had. […]. there were to both outward patterns a hieroglyphic sense of concealed meaning, of an intent to communicate. There’d seemed no limit to what the printed circuit could have told her (if she had tried to find out). […]. As if, on some other frequency…words were being spoken” (24-25). I begin to wonder: is what follows an acid trip? Did Oedipa unwittingly take one of the pills Hilarius had given to her?
Honey bees forage around a fence overgrown with ivy, the latter’s blooms providing the bees with sustenance this time of year, the early weeks of autumn. I sit beside them, imagining myself a visitor to their utopia, newly arrived via miniature Montgolfier balloon. A package arrives by mail containing Brian Blomerth’s beautiful new graphic novel Bicycle Day. The bees doing their thing, I enter the book’s retelling of the story of “mystic chemist” Albert Hoffman’s April 19, 1943 discovery of LSD. Intense stuff, particularly upon entering the trip proper, the famous bicycle ride home from Sandoz. In some sense, these scenes reinvent the classic superhero tale: the sudden, terrifying discovery of superpower. Hoffman didn’t know what was happening: the event was without precedent, a burst of pure novelty. He feared he’d lost his mind until his blissful day after, a time of rainbow-colored well-being and renewal. “Everything Glistening in the Soft Fresh Light,” he wrote afterwards of the experience. “The World was as if…Newly Created.”