ALTERED STATES (English Edition)

By Paddy Chayefsky

Edward Jessup, a young psycho-physiologist, experiments with different states of consciousness, obsessed with an addiction to truth and knowledge. He injects himself with psychedelic drugs, lies locked in an isolation tank and experiences all the stages of pre-human consciousness until finally terrible changes take place with him: Jessup also physically transforms into a pre-human being. His thirst for knowledge drives him into ever new, increasingly irreversible transformations. Only the horror when his body begins to dissolve into pure energy brings him back to human bonds...

 

Paddy Chayefsky (January 29, 1923 – August 1, 1981), one of the most important US dramatists, wrote a breath-taking, equally philosophical shocker with his debut novel.

In 1980, British director Ken Russell adapted the novel based on Paddy Chayefsky's screenplay - starring: William Hurt, Blair Brown and Drew Barrymore.

• Language: English
• Publisher: BookRix
• Release date: Jan 19, 2022
• ISBN: 9783755405788

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The Book

Edward Jessup, a young psycho-physiologist, experiments with different states of consciousness, obsessed with an addiction to truth and knowledge. He injects himself with psychedelic drugs, lies locked in an isolation tank and experiences all the stages of pre-human consciousness until finally terrible changes take place with him: Jessup also physically transforms into a pre-human being. His thirst for knowledge drives him into ever new, increasingly irreversible transformations. Only the horror when his body begins to dissolve into pure energy brings him back to human bonds...

Paddy Chayefsky (January 29, 1923 – August 1, 1981), one of the most important US dramatists, wrote a breath-taking, equally philosophical shocker with his debut novel.

In 1980, British director Ken Russell adapted the novel based on Paddy Chayefsky's screenplay - starring: William Hurt, Blair Brown and Drew Barrymore.

ALTERED STATES

For my wife, Susan

For my son, Dan

  Acknowledgements

In the course of writing this book, I sought out and talked with dozens of scientists, who without exception gave of their time and knowledge with a generosity that can only be called extraordinary. I was also struck by the interest of these scientists in matters outside their disciplines - the humanities, for example. I confess I know few artists and writers who have an equivalent interest in the sciences. Yet, after two years of acquainting myself with contemporary science, it seems clear to me that art, science, religion and philosophy are all racing toward some common point of understanding. It has been a remarkable experience for me, the writing of this book, and for that I owe a great many people a great deal of gratitude.

I would like to thank Dr Grover Farrish of Hyannisport, Massachusetts, and Dr Mary Stefanyszyn of the Harvard Medical School for helping me when I was first fumbling with the original ideas of this book, and for introducing me to that remarkable community of scientists in the Boston area - anthropologists, endocrinologists, the entire tissue-typing lab of the Harvard Medical School, and members of the school’s psychophysiology department, especially Richard Surwit, PhD, now Associate Professor of Medical Psychology at the Duke University School of Medicine. I would also like to thank Charles Honorton, Director of Research of the Division of Parapsychology and Psychophysics at the Maimonides Medical Center Department of Psychiatry; and Shelby Broughton of Stockton State College who showed me my first isolation tank.

I acknowledge my deep appreciation to Dr Harry L. Shapiro of the American Museum of Natural History; to Professor Eric Delson, also of the Museum and of Xehman College, CUNY; to David Post, PhD, of the Department of Anthropology at Columbia University; and to Professor Sol Miller of Hofstra University. I thank them all for the grounding they gave me in physical anthropology and paleontology.

I am grateful to Francesco Ramirez, PhD, of the Department of Human Genetics at Columbia University, for introducing me to molecular biology. Daryl E. Bohning, PhD, biophysicist in the Department of Medicine of SUNY at Stony Brook, and Garrett Smith, PhD in theoretical physics, of the Department of Philosophy at Fordham University, generously and patiently took me through some of the extraordinary beauty and philosophy of quantum mechanics. I also want to thank Drs Ramirez, Bohning and Smith for reading the manuscript and offering me their counsel.

And most of all, I thank Jeffrey Lieberman, MD, who funneled and clarified the mass of information that poured in from all these scientific disciplines. When he did not know the material himself, he found others who did, and then sat with me patiently explaining it all. I also want to acknowledge his support in those moments of despair when the sheer volume of requisite knowledge seemed to me more than I could ever master.

I am deeply grateful to you all.

  Bethesda, Maryland: 1965

The isolation tank itself was nothing more than a coffin-like bathtub made of plywood and lined with aluminum, eight by eight by ten feet and half filled with a 10 percent solution of magnesium sulphate in water to increase buoyancy. The water was heated to 93°F, the temperature at which a floating body feels minimal gravity. Every morning, a volunteer from Andrews Air Force Base came by, stripped, and stood there while a medical student from Johns Hopkins took blood samples and Jessup wired him up to all the EEG and EKG equipment. Heart rate, pulse, blood pressure and galvanic skin response were tested. After this preparation, the subject climbed into the tank and floated. Jessup and his assistant placed the lid on the tank and went off to the monitoring room. Inside the tank, the volunteer subject floated in utter darkness and utter silence, effectively deprived of sensory stimulation, alone, isolated.

In the beginning, it had been presumed that being entombed in a black, silent, coffin-like contraption would in duce paranoia, certainly anxiety. But, on the whole, that didn’t happen. In Jessup’s two years in Bethesda, only five of the sixty-two subjects showed signs of anxiety and opened the hinged lid and asked to be dropped from the experiments. The others reported experiences ranging from pleasant to exhilarating. It seemed that depriving a man of external stimuli simply triggered a whole new set of internal stimuli. All the subjects, including those who dropped out, reported early disturbance in temporal and spatial orientation. The sense of confinement disappeared quickly, and after half an hour, the subjects couldn’t tell if they had been in the tank ten minutes or two hours. Most of the subjects reported intense sensory excitement, especially in the area of sexual fantasy. Several even achieved orgasm. Forty-nine of the subjects had hallucinatory experiences, and almost all reported increased clarity of mental processes and even new patterns of thinking. That is to say, their thinking, normally linear and logical, became holistic and patterned. They saw things as a Gestalt rather than in specifics. Some were able to do complicated algebra problems instantly, problems that would ordinarily have required a step-by-step solution. The most common reaction was a deep sense of rest and refreshed energy. This was supported by the electroencephalographic evidence. The first phase was marked by a distinct, repeated pattern of change. Within minutes after the activating period, well-organized alpha waves of 40-30/V, 11-12/sec., appeared in all regions. After fifteen minutes, there was an increase in alpha amplitude, as much as 30-70/W, predominantly in the frontal and central regions. At the half-hour mark, rhythmical waves of 7-B/sec. appeared, and then, suddenly, rhythmical theta trains (6-7/sec., 70-100/zV) began to appear. This EEG pattern was startlingly similar to that of Zen priests in meditation.

At any rate, on November 19, 1965, Jessup decided to take a shot at going into the tank himself. His series of experiments for NASA were over. He was writing up his findings now. The tank wasn’t being used. At 11.30 aun. on that day, he went down to the tank-room, filled the tank with three feet of water, checked the temperature gauges, stripped off his clothes, climbed into the tank, pulled the hinged lid back over himself, lay back and floated in the black, confined silence.

At first, there were a number of physical distractions. He was fearful his head would sink, and some water got into his ears. His toes and fingers began to wrinkle. He poked about with his feet, causing ripples, hanging on in a strangely frightened way to the last bits of external sensation. He had some trouble finding a comfortable position and finally settled on folding his hands behind his head. He was conscious of the intense confinement of the walls all around him, but mostly he was startled by the utter blackness. Even in the darkest rooms, one always expects one’s eyes to adjust and to find some light. But there was absolutely no light here, nothing for his eyes to adjust to. It was relentlessly black and suddenly silent. The abrupt rush of silence was shocking, palpable, alive. He felt fear. Nobody knew he was here; suppose he couldn’t get the lid off. There were only three feet of water in the tank, but he was no longer sure of that. He had the feeling he was floating in bottomless blackness. He had the feeling he was suffocating. He had the feeling he was drowning. Panic tore out of his deepest self and swept over his white, naked, floating body. Then, as suddenly, it was gone, as though washing out into the water around him. He could almost envision his fears liquefied, greenish in color, occasionally viscid, oozing out of his white body into the water. He was abruptly aware he was seeing now in the utter blackness. In fact, there was a great deal of light, almost a radiance. The wooden grains of the black walls of the tank behind the aluminum lining took on living forms. He suddenly saw an image of a green veronica, one of those religious handkerchiefs with the face of Christ painted on it, chalk-white with little red kewpie spots on the cheeks, a crown of thorns on the brow. In an instant, he saw an infinite expanse

BETHESDA, MARYLAND: I 9 6 S'

of surrealist landscape, stretches of brilliantly white beach on which his naked body lay thickly, blackly outlined in ink. My God, he thought to himself, I’m hallucinating.

It was of interest that, despite the hallucinatory experience, he was not losing his rational awareness. He was Edward Jessup lying naked in an isolation tank in Bethesda, Maryland, and he was hallucinating. He wondered what the precise physiological activities must be to produce a hallucination. A page of a medical textbook popped up on a computer screen in front of him on which was printed: Visual displays are caused by spontaneous excitation of parts of the brain. It seemed a remarkably pompous statement. Suddenly, everything was red, the color of rage. He felt himself shouting: »What parts of the brain? What the hell are you talking about?« Then he saw an image of a cluster of neurons, sleeping neurons, actually curled up in postures of sleep, lying in subdued shadow. The implication was clear. These were stored neurons, stored in some bank of our mental computers, perceptions picked up somewhere in life and selectively filtered out of our rational consciousness, the stuff of dreams. They were waiting to be activated, to be fired.

One thing seemed immediately shatteringly clear. Aside from the beach hallucination, his imagery was of a physiological nature. Apparently, one brings into the hallucination the constructs of one’s ordinary life. He was a physiologist; therefore, his hallucinations would be within physiological forms. He was looking at his own brain now, moving into the greyish masses of thundering neurons, concerned for the moment with a curious contradiction. Since his hallucinations and his awareness of the hallucinations were both products of his own brain, how could one detachedly observe the other, especially as his self-awareness was now taking the shape of a swollen, obviously aroused vagina, into which his whole body was plunging with trembling anticipation.

The vagina changed to a very realistic, extraordinarily eidetic image of a faceless yet somehow beautiful young woman back on the eternally white beach writhing in sexual exuberance, and he was there on the beach, writhing with her in totally uncharacteristic abandon, wildly, freely, heedlessly, violently, thrusting at her, in her. He noted that the face of the girl was the face of Jesus Christ, the one on the veronica, but now distorted in sensual pleasure, despite the crown of thorns still on his brow. With a flash of red brilliance, Jessup exploded into orgasm. He was suddenly back in the black, silent tank, floating effortlessly, serene, peaceful, and hooked.

He stood up in the three feet of water and pushed up at the hinged lid. It opened with no trouble at all. Dripping wet, he clambered out of the tank and into the dark, sound-attenuated room. His clothes and a bath towel were in the corner of the room where he had put them. He dried himself languorously. After a few moments, he felt ready to click on the soft lights of the room and to return to external reality. He felt very pleased with himself, singularly voluptuous. He enjoyed toweling himself very much. He fetched his wrist watch out of his jacket pocket, tried to read the time in the subdued light. It appeared to read 5.4.2. That didn’t make sense; so he unlocked the door of the tank-room and walked, oblivious of his nakedness, into the lighted corridor outside and looked at his watch again; he had been in the tank for more than six hours. It was extraordinary.

  New York, Nairobi, Simla, Boston: 1967 - 1975

Emily Jessup first met her husband in New York at a party in Arthur Rosenberg’s house. That was in the fall of 1967. Rosenberg, newly married, was living in a three-room flat at Ninety-seventh Street and West End Avenue, and the gathering was one typical of young intellectuals, subdued Janis Joplin on the stereo and joints being passed around. There were two biochemists, a geneticist, one pregnant painter (Mrs Rosenberg), one sculptor, a pharmacologist (Rosenberg), one physical anthropologist, and one psychophysiologist. The physical anthropologist was Emily, then doing postgraduate work under Holloway at Columbia. She had, in point of fact, just handed in her doctoral dissertation and was sweating out the response of the committee. She was twenty-four years old, and a very pretty twenty-four, cropped blonde hair and hip-hugging jeans, a leggy, confident young woman. Anthropology seems to attract good-lookers. The psychophysiologist was Edward Jessup, then twenty-eight years old, middling height, slight of frame, flaxen-haired, fine, intense features, pale complexion. He wore gold-rimmed glasses which pinched his face and gave him a look of Calvinist austerity.

Emily thought him very attractive in a monkish way. He had just got his doctorate and was teaching physiology at the Cornell Medical College. He was doing some work on schizophrenics with Rosenberg and a clinical psychiatrist named Hobart at Payne Whitney. He and Rosenberg were also doing some moonlighting research of their own in sense deprivation and isolation. Emily had had her eye on him for some time. He had parked himself in a corner of the living-room couch at nine o’clock and had had almost nothing to say all evening. She squeezed in beside him and said, »Arthur says you’re very