"The Alien Jigsaw, by Katharina Wilson"

Reviewed by Richard Cutting

Strategic Communications, 1995 The Alien Jigsaw by Katharina Wilson Katharina Wilson's The Alien Jigsaw, is an exciting first-hand account of the day to day experiences of an alien abductee. Written in journal form, it reflects the growth of an individual who has had lifelong interaction with many kinds of alien life forms. Wilson's experiences cross section the complex range of physical, psychological and spiritual phenomena associated with such encounters, and displays a good mix of generality and specificity regarding her discoveries in each of these domains. Wilson spent her formative years on Florida's Gulf coast, the middle child in a family of lapsed Lutherans. She first had encounters at the age of six, which she describes as being "visits with God." At the age of seven she felt she was aware of human sexuality "as if it dropped out of the sky one day and into my brain." The themes of the manipulation of human sex, reproduction and breeding activities by aliens is one of the most resounding topics in her book. It is part of a growing body of testimony asking us to consider the possibility of alien presence on Earth involved in genetic research and possibly the engineering of our species. Another major theme running through The Alien Jigsaw is her repeated injection by aliens into situations that test her empathic responses, frequently involving the protection of helpless animals from dangerous circumstances. Wilson's background; as a young music student, married and then divorced from a U.S. Marine, as an MBA and psychology student, an office worker, then remarriage, couldn't be more Acme American Standard. She is careful to state that there is no history of family abuse in her story, and that she has had the full battery of standard psychiatric testing which indicated no unusual pathologies. "This is what happens when you allow ignorant, selfish and uncaring people to reproduce...do not interfere," was a message she got telepathically when she was shown infants wrapped in filthy clothes lying next to toilets leaking raw sewerage. In another encounter she is put in a situation in which she is made to believe her family is participating in the slaughter of seals, and she "had to choose between the animals and my own family." These entries from Wilson's journal, which describes a clear flight path in her own emotional development, portrays alien concern with how we have been rotten stewards of our planet, both in our treatment of each other and in our regard for our animal brethren. Wilson decided to start keeping a journal when she was twenty-three, something her grandmother suggested, as a means of having a record of her experiences so she could assess the growth in her coping skills and emotional development over the years. She describes her experiences in chronological order for the most part. This tactic makes for a clearer understanding of her interior learning experiences, but it tends to disturb the progression of the reader's learning curve. The gamut of various types of experiences come fast and heavy for the uninitiated. Some experiences are visions (where she observes but doesn't participate), and some are "teaching dreams," in which she actively participates as a character within events. Still others are post-abduction memories and some are spontaneously occurring waking memories. Sometimes she is only the subject of physical/surgical procedures, while at other times she is not so much being studied as being prepared for some world to come. But if the downside of the sequential journal format is some confusion about the physicality of the realities she's recounting (dream, memory, or real event), the main benefit of The Alien Jigsaw is that it contains a lot of significant and diverse information for those who wish to know what occurs during alien abductions; what kinds of players are, quite literally, out there, and how one might feel after different kinds of these intensely emotional experiences. Given its potpourri nature, the book is appropriately named. The experiences Wilson relates fall out like jigsaw puzzle parts in a kaleidoscope of packets that have individual interest but no coherent whole until they are linked to each other. And the many multi-piece fragments she can give coherence to do not yet fit for her, or the reader, into the greater whole of the puzzle's overall meaning. A sampler of her many experiences illustrates the point. She has been shown glass enclosures containing chimerical animals, half reptile, half-lion, and cats or apes that seem to be reading newspapers. She has encountered a Blond being over her life that has alternatively assisted other aliens in doing painful surgical procedures on her, and who may have had sex with her, and who has "rescued" her from dangerous situations. She has been shown visions of, and has participated in, training drills in some post-apocalyptic scenario in which humans and aliens are fighting some sort of guerrilla war using advanced weaponry and are billeted out of an extensive underground network of command posts. She has herself at times seemed to have colluded with various aliens in abducting other humans, and has seen other humans; including in a number of instances, humans with military affiliations, acting in league with aliens to abduct and experiment on her and others. The most important general insight Wilson brings us in The Alien Jigsaw is the importance of individual human empathy, its surplus or deficit, and its relation to the deterioration of our world as a result of our fear-based violence and cruelty, our lust for power and domination, and our poisoning of the biosphere. She does refer to certain "evil" alien presences in her experiences, but the vast majority of her encounters have been with life forms whose focus seems to be upon improving, or at least altering our capacity for empathic shut-down. The implication is that such shut-down naturally leads to the pollution and toxicity (both spiritually and physical) we see about us, including the neglect and abuse of our children. It would seem, looking at the teaching dreams of Katharina Wilson, that we have reached a near-combustion or negative critical mass in our pollution-induced genetic deterioration and spiritual atrophy process, which will shortly have apocalyptic consequences. Its endgame now, or real soon. Additionally, Wilson's experiences also seem to argue that the aliens may be in part responding to the fact that our species is presently overdosed on apocalyptic "doomsday" scenarios. We are in a global empathy meltdown consisting of billions of individual "cry wolf" responses that add back up to toxic mayhem. Our psychological "warning systems" have been damaged. This diminished capacity to see what's before our eyes, because our eyes are tired of seeing it, is the most dangerous feedback loop of all. The reduced capacity for threat detection paradoxically sets the table for the final chapter of extinction as we die in our own excrement, with our much-loved science and rationalism rushing last minute unsuccessfully to perform a rescue before the petulant patient dies. What's behind the potential alien concern for our stewardship of our condition? What's their motivation? Wilson, quite properly, does not claim to know with certainty why they seem to care, and she is very up front in saying that she speculates only from the point of view of her own experiences. She does not believe they are here to "eat us," a concern that some have expressed. She does indicate that somehow we may seem to really matter in the grand scheme of the universe, and that we may be a little off track and in need of some guidance. This 'we matter' scenario would seem to provide some relief for those who cannot reconcile the belief in higher alien intelligences with those of their religions because the ideas of the superiority of and control by, particularly regarding reproductive matters, higher intelligences leaves no room for God. It is hard not to be reminded of lost sheep or children, in the metaphorical sense, in reading Wilson's accounts, and that the ultimate Higher Power is merely introducing us to an additional set of agents in its service. But these are speculative extrapolations on the actual information Wilson gives us, not her direct conjectures in The Alien Jigsaw. The angles on the "we matter" issue Wilson does give air time to run more along the scary-awesome-humbling arc of discovery. One is reminded of Jorges Luis Borges' The Aleph, a story about that infinitely recessive point in space and time that contains all things past, present and future. The density of Wilson's experiences are akin to something like simultaneously experiencing a showing of Invaders From Mars (1953), a Nobel Laureate lecture on anthropological genetics and being two hours into a mantra-induced prayer. Many of her experiences involve heavy use of "screen memories," "camouflaging" and other psy-ops-type mental manipulations by the aliens. Wilson, and therefore the readers of her journal, are never exactly sure where the fixed reference points of reality are in a given experience. Wilson makes an honest attempt to give us some bearings in her individual discussions after each journal entry, but one senses that she is at the limit of human capacity to understand when she attempts such analyses, and that the aliens intentionally fish just outside the territorial waters of our perceptions for their own reasons. And are they equipped for the expedition. They seem to have excellent understanding of human organic neuro-electrochemical phenomena, in addition to their other technologies, and feel no compunction in using high physics to create bogus perceptions, trance states, memories and other events using their master of and the majesty of our neuro-molecular circuits. Alternately they can daze us, "turn us off," plant virtually indistinguishable-from-real memories, and inject us into waking virtual and absolutely lifelike live-action scenarios-and then they control how much of any of it we remember. In looking at Wilson's accounts, these manipulations are used in almost every instance in her alien interactions. Why? To hide their presence because we are so violent a species that we would use violent force against them were they to contact us overtly? Or, is it because, as Wilson speculates, and actually believes, they are supervising a "massive breeding program," and we would start the mother of all wars (perhaps the one Wilson's underground training drills render), in an attempt to terminate them and their breeding program (i.e., we like the way we are now)? These matters are indeed awesome and scary. Wilson goes so far as to hypothesize that, "It is possible the aliens are attempting to alter me physiologically and this alteration is occurring on a molecular level...because the planet I live on is being drastically altered in an environmental sense, my physiology must also be altered in order for the aliens to continue to obtain what they require from me." Is their concern for our degradation of our environment solely focused on how this may negatively affect their ability to harvest human genetic material, or do they seek to put us into higher harmony with some universal force with whom they are in touch or in whose service they perform? How do we treat our normal sense of time if the aliens can play with the content of what seems to be waking events and our memories of them? Was Wilson shown visions of real future events by some unknown use of time's physics, or were these mental allegorical paintings she has been shown? The issue of whether the U.S. or any other human government is involved in the alien phenomenon seems to be a crossroads issue regarding this matter. If the government has had contact with aliens, and is withholding the fact from the public; or if it is in actual ongoing contact with aliens-it takes the discussion to an ultimate realm. If the aliens are real, and if the government does know about them, or is working with them, then the government also has deep knowledge of these end-of-the world scenarios available through advanced alien time-manipulation, environmental sciences and other technologies. If the wrapper came off governmental participation, no longer would the MUFONs, Budd Hopkins and Katharina Wilsons be a marginalized, and thus controllable, minority. A great reckoning would be in order, particularly over matters such as human abduction and animal mutilations. Perhaps the government's potential role is the reason for the alien's covert mode of operation. Perhaps, as Wilson often speculates in The Alien Jigsaw, the aliens are only creating the illusion of government involvement in order to instill fear in abductees or for some other reason. If so, much credit goes to Wilson for saying what she has said in The Alien Jigsaw. She is quite indignant and expositive about what she feels was human military involvement in several of her experiences, some of which were highly unpleasant and physically painful. In typical paradoxical fashion, however, Wilson does say that she feels the alien experiences she's had, good and bad, have been "for some greater good." Is this a screen memory the aliens want us to hear from her? Wilson has, according to her account in The Alien Jigsaw, had no less than; open heart surgery, a complete knee resection, extensive vaginal, cervical, ovarian and rectal examinations and procedures, laparoscopic and brain implant surgeries involuntarily performed on her over the years. She has been put in highly uncomfortable psychological situations which she feels have been tests, and may have been induced into having sex with an entity she had not chosen for such intimacies by her own free will. If nothing else, Katharina Wilson has served. And perhaps this is why she's been "allowed" to write The Alien Jigsaw, for she says toward the end of it that, "...it is almost as if they are grilling me for reasons and explanations (about my book)," referring to alien interactions she had during the final preparations for its publishing. The Alien Jigsaw is a dense but worthwhile read, and will be a useful addition to any ufologist's library. She often includes information that makes no sense to her whatever in attempts to archive such information for potential future use by investigators. The large number of drawings in The Alien Jigsaw are quite helpful, providing the reader with visual locus points, and thus enabling visualization in the mind's eye of the experiences she describes. Specifically, the drawings set has an unusually large "rogue's gallery" of different alien types which may be helpful to those trying to identify beings being reported in encounters. She has also produced a Supplement to The Alien Jigsaw which contains transcripts of her hypno-regression sessions, and importantly, "a relational grid that compares [her] experiences with several theories and important questions about the abduction phenomenon." The Alien Jigsaw is recommended reading. One can only wonder what "the Guys" with think of it. -Richard Cutting Richard Cutting is a freelance writer and playright. His work has appeared in UFO Magazine and his 1991 play, Nature of the Business, was produced Off-Broadway. He has been following the alien abduction phenomenon for the last five years and has interviewed key players in this ongoing mystery including John Mack, Budd Hopkins, Debbie Jordan and Jaques Vallee. Currently, he is working to bring several aspects of the alien contact mystery to the World Wide Web. ©1993-1996 Katharina Wilson. All Rights Reserved. Puzzle Publishing, PO Box 230023, Portland, Oregon, 97281-0023, USA. The preceding is reproduced with permission of the Author. Permission is given to reproduce and redistribute in printed form, for non-commerical purposes only, provided the information and the copy remain intact and unedited. http://www.alienjigsaw.com

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