Ruins of people’s lives
The shadowy subculture of gang stalking.
Right away, we might be reminded of Thomas Pynchon’s Gravity’s Rainbow, in which Tyrone Slothrop may or may not have been secretly conditioned to get an erection every time a V-2 rocket is about to strike London. Yet to find more patients for Tausk, we don’t need to look to fiction. “At first I believed they could only terminate my erection, but recently I also started believing that they could create my erection,” writes the author of a recent blog about electromagnetic persecution by the government. “Often I am given erections in co-ordination with the brain butchery, and occasionally voided of semen,” writes another in the same field.
Both these bloggers are part of an online community centred on a phenomenon called gang stalking. Gang stalking, according to one website:
. . is a covert investigation that is opened on an individual. The individual is then placed under overt and covert forms of surveillance. The person is followed around 24/7. Foot patrols and vehicle patrols are used to follow the individual around, as part of the monitoring process . . . The secondary goals seem to be to make the target homeless, jobless, give them a breakdown, and the primary goal seems to be to drive the target to forced suicide.
Gang stalking has been linked with, but doesn’t necessarily involve, remote mind control. No one has ever come forward as a perpetrator. But large numbers of people have come forward as victims.
Before the internet, if you had developed the belief that you’d been targeted in this way, you would have been isolated. Anyone hearing your story – whether a friend or a relation, or a doctor such as Tausk – would have tried to persuade you that you were suffering from paranoid delusions. But today you would find confirmation of your suspicions on dozens of websites, blogs and message boards. “When you read the methods used by gang stalkers to harass their victims,” writes one blogger, “it is helpful to know that the stories told by victims worldwide are remarkably consistent.”
You would also find information on developments similar to gang stalking that have been documented in the respectable media, such as a declassified Pentagon report on the “Bioeffects of selected non-lethal weapons” or Ealing Council signing up eight-year-olds as “Junior Streetwatchers”. You could even make some friends. In other words, you’d be part of a community – and, as the British psychiatrist Vaughan Bell points out in his paper “‘Mind control’ experiences on the internet”, the American Psychiatric Association’s Diagnostic and Statistical Manual stipulates that a belief cannot be classed as a delusion if it is “accepted by other members of the person’s culture or subculture”.
Reading about gang stalking online can be dispiriting, because one has the sense that someone such as Tausk really ought to be intervening. But I confess I also find it addictive. For instance, consider one blogger who believes even birds and animals are his enemies: Birds, pigeons and crows, that can be controlled to fly (screaming) over me, to land in my garden when I walk into my kitchen and look outside, to crash into my kitchen window and car front window while driving. Birds, pigeons, that come sit, walk, on the roof of my house when I am upstairs having sex. Cats walking by like being programmed. Barking of dogs, flying away ducks etc, not by mind control but by beaming these animals with laser beams (directed energy weapons).
An entire menagerie of animal spies – if that isn’t in Pynchon, it should be. One might also recall Kafka or Don DeLillo, not to mention Mark Lombardi, the American artist whose work consisted of diagrams of various conspiracies involving the Vatican or the World Finance Corporation.
On another website, I found a collection of photographs of household objects – folding chairs, velcro straps, long underwear – that their owner believes to have been damaged during secret incursions into his home. The pictures have such eerie power that you could easily imagine them on a gallery wall next to a William Eggleston or a Laura Letin - sky. Elsewhere, the idea of harassment through the “everyday stimuli” of “red, white, yellow, strips, pens clicking, key jangling, loud coughing, loud whistling, loud smacking of clapping of hands together, cell phones, laptops, etc” evokes Sartre’s metaphysical nausea.
Still other online writers veer towards the psychedelic visions of Philip K Dick, proposing that the gang stalkers are really “lower astral entities, some aliens/non-humans, and Neg entities in general [who] are known to feed on the energies created by lower frequency emotions, since that’s what they resonate with, farming us for them in the same way we farm animals for their meat, milk, eggs and parts”, or, alternatively, normal humans wearing “frequency suits”, which “are invisible to the naked eye, but they seem to transport either your etheric layer, or another such layer from place to place”.
This is dangerous territory, however. Yes, there are precedents for appreciating the special energies we find in work by people who deviate from the psychological norm, going back to Hans Prinzhorn’s book Artistry of the Mentally Ill (1922). After reading it, the painter Paul Klee wrote: “In our own time, worlds have opened up which not everybody can see into, although they too are part of nature. Perhaps it’s really true that only children, madmen and savages see into them” – a remark the open-mindedness of which is not quite enough to outweigh its condescension. At Lausanne’s Collection de l’Art Brut and London’s Bethlem Royal Hospital there are whole museums devoted to such art.
None of the people describing their gang stalking experiences on the internet think of themselves as making art, however. They are serious. They want their writing and photography to be taken seriously. In most cases it is harmless to aestheticise modes of expression that are not deliberately aesthetic, otherwise there could be no such thing as Pieces of Intelligence: the Existential Poetry of Donald H Rumsfeld. (And there are grey areas: although Henry Darger’s The Story of the Vivian Girls, one of the cornerstones of the very idea of outsider art, was certainly intended as a creative work, there is no reason to think it was ever intended for public consumption.)
But human misery is different. A comparison here might be what’s sometimes called “ruin porn”. I can spend hours looking at beautiful photographs of derelict houses in Detroit or condemned council estates in London, but at the back of my mind I feel guilty about it, because I’m aware that these aren’t just evocative scenery, they’re also places where people less fortunate than me actually had to sleep every night. Gang stalking websites, similarly, are the ruins of people’s lives and I shouldn’t be cruising them for ephemeral thrills. I feel the same way about a lot of amateur YouTube videos that go viral: some of those “zany characters” wouldn’t be behaving like that on camera if the US had a functional mental health-care system. This is what the philosopher Mark Reinhardt, in his essay on the idea of “beautiful suffering”, calls “a kind of morally obtuse obscuring or exploitation of pain”.
Gang stalking is more resonant than these other examples, because here we find ourselves counterpoising two different methods of making sense of the inferno in which we all live. To compare notes on gang stalking with like-minded strangers on the internet is to take part in an investigation, almost a forensic science, a project to expose what Pynchon calls “other orders below the visible”, instead of merely sitting in your house with the blinds closed because you’re worried that everyone is out to get you. And to appreciate the artefacts of this subculture on an aesthetic level is not only to look sidelong at despair: it is also to play on sensibilities that were first sharpened in us by the work of Pynchon, DeLillo, Dick and so on: writers who were themselves trying to confront a world so large, so secretive, so random, so pitiless that not much human feeling can survive in it.
These two postures differ in the important respect that one comes from a state of abjection and the other from one of literary privilege. All the same, they are both ways of coming to terms with life. I would like to say that in future I’ll spend less time on gang stalking websites, but my own work is so derivative of the aforementioned authors in its preoccupation with conspiracies that I will inevitably find myself going back to these sources to forage for inspiration. Then I will launder them in my work like dirty money. Perhaps the challenge, then, is to prove that an aesthetic attitude and an empathetic one need not be mutually exclusive – that even if I’m planning a novel about remote-control spy-ducks, I can forage and feel at the same time.