time is Time is

image: public domain

disbelief

snorts out its fear

its arrogance a cold cloak

I know what I know,

I saw what I saw . . . 

light emits

whispers rustle

blue trees bend, 

remaining silent

voices float downstream

heavy moons, full,

hang above

time is Time is

missing, not lost

withheld 

in a floating orb

I know what I know,

I saw what I saw. . . 

regan lee

march 2014

eugene, oregon

OZUFO Kansas, UFO Reykawvik Summit

Alfred Lehmberg in UFO Magazine -- aside from his regular column he writes for the magazine each issue, we are treated to his artwork as well! OZUFO Kansas, UFO Reykawvik Summit

Moon and Concrete

I have a recurring memory-image from childhood: white concrete, the moon, the deep deep blue of night sky, Mt. Hood, feeling the cold of the rear window glass in my grandmother's car at night. They're all related, all connected, but I don't know in what way. Within all that are the memories of my "friends," the small beings that came in the night to float me through doors and walls and out the front of the house and up into the large fir tree in our neighbor's front yard. There, in that tree, I'd wait for "them" to come.

I did go to Mt. Hood when I was very little; younger than the age I was in this memory. And at that young age, we did not live in the house where these memories take place; that came about three years later. Furthermore, the concrete (front yard torn up and replaced with white concrete)  -- that too came later, after we'd lived in the second house for some years. So the memories are all true, but mixed up...

I said I'd been to Mt. Hood when I was very young, that I know because I was told so, but only remember seeing it as were drove away. And it was late at night. Why my grandmother would be driving just the two of us (for it was only herself and I that went up to Oregon at that time) in the Mt. Hood area late at night doesn't make sense... but I have a clear memory of the glass all around, the night sky, the moon, and the looming silent white of Mt. Hood's giant peak.

These memories have been nagging at me, as well as the images, and I was impelled to write this poem, without thinking of anything, just letting it come. The ending surprised me a bit.

Moon and Concrete
a stream of consciousness regression. . .

hard white
harsh, bone
rough
glittering, shimmers
stark light
chalk like
silence
pool of stone, reflecting a heavy Prussian-blue sky -- invisible

round white soft with gray
following
through windows
bouncing off cold cold snow mountains
at night

pretending sleep in my wool coat
gliding silently through cold snow white blue night light

moon and concrete,waiting, breathing
watching...
 

Old Poems and Images

I've been going through some of my poetry and creative writing with the idea of e-zines, or chapbooks, or something, not sure yet where I'm going with this. I noticed that some of theses early poems from the 1980s have recurring images of orbs, night skies, and feelings of disconnection. In re-reading them, I realized many of these were written around the time I saw the orange orb. In fact, this poem refers to an orb, although it's a sliver orb, not orange. The imagery is interesting: moon women, orbs, shadows, and the end, sweet jesus, "capturing my frozen eyes." ?! What was that about? I also noticed that I wrote a lot of these kinds of poems during the late summer and the fall, which is the time frame for our orb sighting. And in going back further, reading poems I wrote while living in L.A., the imagery of orbs and night and planets, etc. were present. As Jim and I know now, we had UFO related, and/or high strangeness events occur when we were living in L.A., before the orange orb sighting. And, of course, going back to our childhoods, independent of each other. Are there clues in these poems, signals from the subconscious? No doubt, lol.

unconnected with moon women

a silver orb waits silently in a
musty corner on a wooden shelf,
hidden by sharp shadows like Chinese meat cleavers poised
on thick pegs above labeled spice jars, corked and racked, 
full of the herbs of mid-wives, now forgotten.

on the windowsill, tart purple grapes, hot and shriveled
grapefruit and pomegranate exposing their soft pink and secret glistening red waiting to be eaten.

unconnected with moon women i wait,
a single artichoke on a a scalloped plate, my tips half chewed, strewn about the cream white edges

the sliver orb shifts forward slightly in the night, and
one sliver gleams bone white 

capturing my frozen eyes.

~ 1982

David Huggins and Crescent: Artistic Synchronicities

 Untitled, Regan Lee, oil pastel on paper

UFO researcher Farah Yurdozu was the guest on Coast to Coast last night. Much of the interview concerned her book Love In An Alien Purgatory:     
The Life And Fantastic Art of David Huggins; the story of abductee/contactee and artist David Huggins. One of the gray like beings he had many interactions he called Crescent; an interesting name, I thought.

Huggins described some of the beings, including Crescent, as white, typical gray-like aliens,  but wearing a dark wig. That description startled me. It reminded me of my Geisha Alien dream, where I am sitting in a domed space ship in space, sitting across a large, thin, white alien/woman, wearing a black "geisha style" wig. My friend Lola had an experience with a tall, white woman entity wearing a dark wig -- I wrote about that for my Trickster's Realm column on BoA. (Lola and I have a strong pyschic connection; we've experienced some tineresting things togehter including both of us being aware of "them" -- an alien intelligence/presence -- appearing, though invisibily, in my living room.)

A few weeks ago, she [Lola] called me to tell me she felt a presence in her bedroom. ... There have been times when, even over a long distance, one of us can sense what's going on. In other words, get a psychic confirmation of something. This experience Lola had was bothering her, and she asked me if I had felt anything. I truthfully told her I didn't see anything either way. 

Then there was the time Lola was talking on the phone to a friend, and looked up to see a very, very tall entity just looking at her. Just watching her. Lola had the distinct impression this thing wasn't human -- or ever was, as in, it was once a human, now a ghost -- but was trying to pass itself off as a human. She said it reminded her, in a typically goofy Fortean way, of the characters in the children's series Arthur. Long, long face, her eyes were up high, and her hair was fake looking, like someone pretending they had real hair. She said the eyes were very round, and very dark. I asked Lola about the shape of the eyes; she said that, while large, they were round, but it was the very deep darkness that was so strange. (Random Bits of Weirdness on the Oregon Coast on BoA)

Untitled, Regan Lee, acrylic on canvas

Lola's experience parallels in some ways Huggins descriptions, as well as my Geisha-Alien dream, and the imagery in my drawings.

Another startling thing: when Huggins said he called the being Crescent, I was reminded of an image I keep drawing and painting over and over. The faces in these paintings and drawings are somewhat inverted triangle like, or thinly oval, often white, pale, often featureless, or with very slight, brief features, and, holding a crescent shape. The two images here were ones I could find easily; the others are packed away. One oil pastel drawing I did  of a white faced woman holding a moon boat, or crescent shaped -- whatever, I don't know what it is, I just draw the shape -- I gave to a friend years ago. I have several of these images that I've either drawn or painted somewhere around here...

The drawing shown here I did about twenty years ago, and the painting is in the beginning stages and one I started about a year ago but haven't gotten around to completing.

Huggins is an artist, and an excellent one, from the images I've seen on-line. He said during the interview that he thinks there's an important connection between artists (singers, musicians, writers, painters, etc.) and this whole alien/UFO/abduction/contactee experience. He made it a point to say that he thinks it's an overlooked area of UFO/abduction research. I think there's something to that. . .

A fantastic interview and I'll be ordering Farah's book today.

Related links:
Kay Wilson's review of Farah's book on Alien Jigsaw

David Huggins artwork, and interview with Farah on the Jerry Pippin show

Flatwoods Creature by Alfred Lehmberg

I'm assuming that this is Al's interpretation of the Flatwoods creature. I really like it and stole it off his Picassa album. Alfred, let me know if there's a title or story to this. Anyway, here it is:

Mike Clelland: Aliens in the yard. . .

 Mike Clelland from hidden experience has a lot of nice art work of his on his blog that relate to his dreams and experiences. Mike writes about this experience that goes with this image <here.

Regan Lee: Night Visitor

Night Visitor, Regan Lee, acrylic on masonite, approximately 40" x 24"

Earlier today, when I posted this, I wrote that the image was over exposed a bit. Thanks to Insteller Housewife, who tweaked the above image, it looks better and closer to the actual image. (The original is below.)

As I wrote on my blog Saucer Sightings, this painting represents something that, while not exactly literally encountered, was encountered on some level nontheless:

This is a painting I did several years ago. At that time, I was trying to paint images of beings/visitors from my childhood. The ones I tried to do of the "aliens" that floated me out the door always ended up like stick figures, with inverted triangle/oval outlines for the face, but no features. I realized the other day I've made many paintings and drawings of figures, usually female forms, with these inverted triangle/oval faces, always featureless. I seem to place them alone in a room by a window revealing a night sky.

The painting shown here is a little underexposed, but it's the only image I have right now; the painting is big and heavy (painted on a large thick piece of Masonite) and packed away somewhere. At the time, I just started painting it; I remember feeling compelled and it just all came out very quickly; this large "Night Visitor" and at the time, the full title was "Night Visitor on Sherbourne Street" (even though the name was actually Sherbourne Drive but I thought Street sounded better.) That was the house I lived in in Los Angeles between the ages of six to about fourteen, and the house where the fuzzy puppet wolves and beings that floated me out the door came.

As to this being in the painting, I never saw anything like this, but I remember the feeling. . . it's as if the image came up from my subconscious in a very vivid and strong way and represents something that has a connection to all this.

James Rich: Sentinels

Sentinals, James Rich   acrylic

This is an old painting of Jim's, painted in the late 1980s. The painting reminds me of the Contactees and their meetings with friendly, wise and good looking Venusians and their space ships. Indeed, Jim has agreed to my using this painting to accompany an upcoming article on that very subject! The objects (beings?) in the painting don't look like Space Brothers or Contactees, but it reminds of that time in UFO history nonetheless.

Diana Pizzuti

Artwork by Diana Pizzuti

Diana Pizzuti is a California artist who paints images of UFO encounters; hers, family members, friends. The above painting was inspired by her mother's encounter on a California highway in the 1940s.

Diana will be sending more of her work our way soon.

My column for Tim Binnall's site, Trickster's Realm, will be up sometime tomorrow. It's about some of the pre-1950s encounters of Contactees; I give Diana a brief mention, and included the above painting.