Annie Jacobsen

This idea that it's – that what leads here is our –

perception of things and our sort of deep shadow self of fear.

And once the nuclear weapon was invented, man, I mean our grandparents,

had to confront this new fundamental new reality that just simply didn't exist before.

And then it was – that's with the atomic weapons.

And then in the 50s once thermonuclear weapons were invented and the thermonuclear weapon is essentially an atomic – a thermonuclear weapon is so powerful.

It uses an atomic bomb like from Hiroshima as its triggering mechanism.

And so the order of magnitude of destruction in an instant, according to Carl Jung, who looked at the UFO phenomena and the nuclear weapons phenomena hand in hand,

encourage anyone to read his stuff about it because he has a much sort of, you know, bird's eye view of it all about why that's so terrifying to people.

So the narratives, to my eye, the narratives of nuclear, of, you know, alien ships hovering over nuclear bases, I don't, I have never spoken to a firsthand witness who experienced that.

But I would see that in terms of the narrative of Carl Jung.

Part of the... I don't know if he went that far.

I think he left a lot more open to interpretation.

I think his...

My read of his analogy was more like the way that hundreds of years ago or thousands of years ago when Christianity was first being developed, people saw existential threats as part of the narrative of God.

So my read of Carl Jung is that he's saying now in the mechanized modern world, the existential threats, the sort of damnation is tied to machines, which is tied to, you know, is easily tied to little machines or big machines from outer space.

That was his take on it, which I think is interesting.

That is an interesting narrative too and that sort of – but again, that's a bit to my eye like the deus ex machina idea that God would intervene and save the faithful and – or rather the – in this situation, it might be that he's going to save those people that are paying attention.

I get into that in the end of the book.

So I write the book in essentially three acts, like the first 24 minutes, the next 24 minutes, the last 24 minutes, and then nuclear winter.