51 pages • 1-hour read
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The narrative of The Bones Beneath My Skin engages with stories of alien and UFO encounters, exploring the implications of what might happen if those stories were true. Although reports of UFOs and aliens often are seen as a modern phenomenon, people have written of encounters with mysterious flying crafts for hundreds of years. In the ancient world, mysterious lights in the sky were interpreted as evidence for the existence of the gods, though modern historians often interpret these phenomena as shooting stars or comets. In the 1800s, newspapers frequently reported sightings of massive airships, including lights and engines—often seen as precursors for contemporary UFO sightings.
The contemporary era of alien encounters began in 1947 with pilot Kenneth Arnold’s sighting of “flying saucers” near Mount Rainier, followed shortly by the infamous Roswell incident, in which the U.S. military initially reported recovering a “flying disc” before claiming that it was merely a weather balloon. These events occurred during the early Cold War period, when technological advancement and geopolitical tensions created fertile ground for both genuine mysteries and government secrecy. The 1950s and 1960s saw the emergence of “contactees” like George Adamski, who claimed to have had peaceful interactions with humanoid extraterrestrials bringing messages of cosmic harmony. Accounts like his contrasted with the more ominous abduction narrative pioneered by Betty and Barney Hill in 1961, whose claimed experience involved medical examination and missing time, establishing patterns that were later repeated in subsequent reports. Government involvement has remained contentious, with declassified programs like the Pentagon’s Advanced Aerospace Threat Identification Program (2007–2012) suggesting that official interest in unexplained aerial phenomena continues despite the dismissal of the possibility by public officials.
Although The Bones Beneath My Skin can be classified as science fiction, it also exhibits characteristics of other literary traditions, most notably that of LGBTQ+ fiction. This genre has evolved dramatically throughout literary history, although its early expressions were often heavily coded due to legal and societal prohibitions. For example, Oscar Wilde’s The Picture of Dorian Gray (1890) and E. M. Forster’s Maurice (written in 1913 but published posthumously in 1971) both focused on the lives and experiences of gay protagonists, but the social taboos of the time forced the authors to either use subtlety or risk delayed publication. The early 20th century saw the emergence of more explicit LGBTQ+ literature within avant-garde circles, including Radclyffe Hall’s landmark novel The Well of Loneliness (1928), which featured lesbian themes and consequently faced obscenity trials despite its relatively mild content.
After World War II, the Beat poets and other countercultural writers like James Baldwin, Gore Vidal, and Christopher Isherwood drew upon various LGBTQ+ characters and themes to create works that reached mainstream audiences. However, these books often portrayed the experience of being gay as tragic or were published by small presses with limited distribution. However, the 1969 Stonewall riots marked a turning point, catalyzing the creation and distribution of more open LGBTQ+ literature during the 1970s, with writers like Rita Mae Brown, Edmund White, and Armistead Maupin depicting gay lives without apology. The AIDS crisis of the 1980s and early 1990s profoundly influenced LGBTQ+ fiction, as authors like Larry Kramer, Sarah Schulman, and Tony Kushner documented the devastation within LGBTQ+ communities while challenging government inaction on the HIV epidemic. These works often blended personal experience with political urgency.



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