Blue_Opossum

Morning of March 8, 2020. Sunday.

Dream #: 19,438-01. Reading time: 54 sec.



In my transition from complete lucidity to liminality near the beginning of my dreaming experience, I think about the nature of imaginary physicality, though it does not correlate with the usual falling sensation anticipation.

As the rapid morphing of various random settings slows and stabilizes, I see a variation of the “Gunsmoke” Dodge City set, though its implication is ambiguous, as both people on horses and modern cars are present and in motion. I know that horses are more of an instinctual rendering when imaginary proprioception is an anticipated factor, whereas cars, although still signifying the physical body as sublimated while dreaming, indicate a partial level of cognizance. As a result, my liminal state integrates the ambiguity of both in an atypical form of sleep-wake mediation.

What results, as I am moving into my sleep cycle instead of out of it, is that all the cars unrealistically rotate, reminiscent of a tornado, ballerina’s pirouette, or helicopter rotor system (all of which are variations of mediating this process) as I allow my lucidity to lessen. There is no emotion as only one horse bucks at the impossible scene (only because I briefly anticipate it). The cars do not lift off the ground but rapidly rotate in place until their spinning makes them a seemingly transparent circular anomaly. After a few minutes, I allow the scene to fade.

---

Morning of October 25, 2018. Thursday.

Dream #: 18,938-02. Reading time (optimized): 2 min. Readability score: 83.



In late morning, I find myself in a big barn (in an unknown location) that serves as a recording studio for the Beatles. There is much sound equipment on hay bales and the barn floor, such as big amplifiers and mixing consoles, but I do not see any musical instruments. There are a few unfamiliar men present, one being a producer, another, a sound engineer.

While a man is checking a track, there is an unusual drum fill where the snare audio reverses at least twice. The man is puzzled and asks Paul McCartney what that was, but he does not reply. A different “drum fill” is heard, but it turns out to be someone knocking on the barn door. (This scene is ambiguous for two reasons, one, a door knock would not have reverse audio and two, the sound came from the equipment.)

A man comes in with a tiger that belongs to John Lennon’s wife (Cynthia Powell). He pets it for a short time. There is no sense of danger.

Later, there is an unknown man with a Bainbridge livestock prod. He taps the tiger with it on the rump, and John and the man with the tiger slowly leave the barn. They seem cheerful. Next, the man uses the prod on some farm animals. He touches the rump of a horse with it to get it to move to the corner of the barn. The horse seems annoyed but goes where the man wants him to go.

I do not see any of the Beatles at this point and decide to leave the barn. I go around to the back and see a young version of Zsuzsanna, who is about eight years old. However, my real-life identity is not extant in this dream, and so my dream self does not recall who she is. There is a cage adjacent to the back of the barn. There are at least three brown-mantled tamarins in the cage, a mother and two babies. Zsuzsanna is sitting on the ground watching them. She does not speak. I hold the paw of the mother tamarin, stroking the fur on the back of its “hand.” It seems tame.

Later, I get up and go back into the barn, which is now empty and full of hundreds of flies that start buzzing in my face. The air is thick with them, and they are loud. I soon decide to leave the barn and slowly wake after I walk back out. As I wake, I realize that the illusion of the flies was a distortion of the sound of the fan and its air on my face (from the foot of the bed).

---

Two other dreams came before this, one of sending many DVDs over time to a member of the dream journal website (a long-term male poster). The other related to capturing each instrument from the Beatles’ “Being for the Benefit of Mr. Kite!” to use virtual versions (mostly on keyboards) for a live cover.

---

Morning of October 31, 2017. Tuesday.



The dream state induction symbolism here is water flowing in (most common). The waking transition symbolism here is water lowering over time and “return flight” waking symbolism (most common; over twenty percent of regular dreams and about ninety percent of all dreams). Dream state induction symbolism and waking transition symbolism are inherent to the dream state itself based on the real-time dynamics of going to sleep, being unconscious, and waking, and is unrelated to real life or the inventive untruthfulness of “interpretation”. These forms of induction and waking transition factors have occurred at least once per day for over fifty years. The water induction and reduction is biologically based on the glymphatic system and the flight-related symbolism is based on the reticular activating system (RAS) and inner ear dynamics during sleep (especially as a factor relating to the fictitious dream body as being upright while the real physical body is lying down, which is what causes most falling dreams and is unrelated to the deception of “interpretation” or cruelly fabricated “meaning” to negate someone’s livelihood under the oppression of disinformation - in fact, if you watch a baby sleeping and a noise occurs in some cases when they are in the dream state or when air blows on them, especially their face, they will throw up their arms and automatically briefly maintain a falling position - not to mention the common term “falling asleep” - how could people miss this?).

---

Stepping into a beach scene in late afternoon (a very common lucid entry simply because I like the beauty of the ocean and the liminal space of the beach, which symbolizes the state between dreaming and waking), a young version of Zsuzsanna in black lingerie approaches on a black horse. The essence of beauty increases and is appreciated. Zsuzsanna is with me in an extended love-making scene. My lucidity decreases to semi-lucidity though my conscious self identity remains intact. Sexuality symbolizes…wait for it…sexuality (oh snap), at least in lucid and semi-lucid dreams, because, well, that is what I unconsciously will via conscious self identity (it is not rocket science).

Over time, after indulging in sensuality for seemingly a long time, the usual water lowering event as a waking precursor “timer” (common since around age four) commences. (Among other analogies, this directly represents the tidal analogy of the glymphatic system.)

We have somehow teleported, while on our sides, to a field of knee-high grass adjacent to the beach we had just been on. In the distance, I see a red combine harvester approaching, but not that close to our location. “Oh-oh,” I say, but with somewhat of a comedic mocking of the semi-lucid dream content.

A change occurs where some of the ocean water nearest the beach is topped with ice. I see what I think is a helicopter and I assume it is the flight symbolism (end marker) out of my dream. Instead, my dream does not decay but transitions to being slightly more vivid again. “It’s a snowmocopter,” I say, noticing that it is actually a snowmobile (though was a helicopter that changed into the snowmobile).

I sit down on the snowmobile and do some sort of kick start maneuver with my left foot as if I was on a motorcycle. As I am doing this, the preconscious (as an unfamiliar young male) sneaks up from behind me. Some sort of strange teleportation occurs again, and I am standing and watching the preconscious on the snowmobile (as I am standing on the left of the snowmobile), and he is now trying to start it. “Well, that thing ain’t gonna fly,” I say, as he looks amused, as I laugh myself awake.

---

Morning of May 31, 2017. Wednesday.



I am sitting on the floor in the lounge room in our present home on W Street (though it is bigger yet with less features). My wife Zsuzsanna and our youngest son are present. He is playing a Skylanders game though is ready to play a new one with a new figure which Zsuzsanna had apparently just bought for seventy dollars. The game is also new.

The toy figure that fits onto a joystick-like device is a horse of mostly yellow and brown tones. The figure is rendered into the game. At first, I thought it was going to be a human or at least an anthropomorphic character. Instead, I eventually see that the toy figure and the rendered video game image looks like a horseshoe-shaped horse facing left in profile. (It also reminds me somewhat of an arched Halloween cat.)

Our son plays for a short time before the joystick falls apart. There is some sort of small rod from it that goes through the top of the head of the Skylander figure and falls out, causing the rest of the entire game controller and figure to fall apart. He is upset. I think about trying to fix it, but notice tiny screws on the floor mixed in with pieces that I am not sure are even part of the game controller. I think about taking it back for a refund, though this idea quickly fades. I get annoyed and decide to just discard it. I also decide to get rid of the game as well, but this part is unusual in that I start to dismantle the whole works (thus subliminally initiating the biological waking mechanism) like a three-dimensional setup rather than just taking out the cartridge.

---

This dream is a result of my temporary dream self (unstable higher range personified subconscious) not being fully linked to the dream state because of slightly disrupted sleep. It is a metaphor for “not holding the dream together” (and my dream self subliminally wanting to “put the dream back together”). I have had hundreds of dreams of this nature since early childhood, always when my sleep has been slightly disrupted by an environmental factor. The horse represents the essence of physical energy (as in “horsepower”), similar to car symbolism in some states, symbolizing the potential for healing and rejuvenating energies in real time. It is not a real horse here as it is caught within the sleep disruption (and the disruption of a more viable rejuvenating state). On a secondary level, it possibly relates to our youngest son not being an adult in control of his life and still needing us to be in control, though I am certainly not annoyed in any way by that fact, though it does suggest he might need more vitamins (or a stronger immune system). Still, something “falling apart” (or falling in general) is just a very common dream cessation (waking) metaphor I have seen continuously all my life.

---

Morning of June 5, 2015. Friday.



Haywire (Silas Weir Mitchell as in “Prison Break”) is throwing a lavish party in a small living room, though it does not seem all that crowded. He seems unexpectedly shy at some points, almost as if he regrets having all the people come to his house (the setting of which seems completely unfamiliar to me). There is a clear awareness of motion and laughter of the people who are present, not necessarily any other celebrities that I am aware of. Silas seems to be somewhat of a composite of the “real” Haywire and his “Grimm” persona (Monroe).

At one point, there is a dark brown horse in the room and a few people briefly pat it. Almost as if in an accelerated frame rate, Silas is astride the horse and dressed somewhat like a colonial soldier. The horse rapidly gallops through the room and leaps onto a table where the scene instantly freezes at the attempt of the horse to leap into Haywire’s painting (which of course is too small). Both horse and man are “frozen” as if in complete confusion (or a change of mind) at their attempt to go through the “portal” to escape the other people at the party. This is because the horse is too big to fit through the picture frame even if it were a true inter-dimensional portal, something that they (both horse and man) did not seem to realize until they were almost upon it. (The painting is to the right. I see the horse and rider in profile, facing right.)

Paintings that include a windmill have sparsely recurred throughout my life and always seem related to “escape” or an implied “better” place. Thus I found the “Prison Break” metaphor as such years after these dreams first began as quite amusing if not vaguely precognitive or of an archetypical association I am not yet aware of, although a windmill may simply represent the dreaming process itself.

Morning of March 5, 2015. Thursday.



Johnny Cash sings in the background, sounding somewhat distant yet somehow close at the same time, like an old anachronistic Buick with a loudspeaker atop following me from perhaps a block away. “I ride an old paint, I lead an old Dan, I’m off to Montan’ for to throw the hooley-ann.” The voice is somewhat familiar in a different way, somewhat melancholy, the nature of the “reality” of this deserted 1800s half-defined world. Not much to look at but a pale brick wall in the late evening, a wall that flows past me as I ride a weird clay-like bay roan horse into an eerily empty town. Or so it seems. There are only a few men in the streets of the town, as it is so late at night. Is this Laredo? “I spied a young cowboy all wrapped in white linen, wrapped in white linen as cold as the clay…” (As cold as a clay horse?)

However, without explanation, without a backstory, without even a false memory to build a nonsensical foundation to explain my location and direction, I find myself riding Pokey into an old western town. My clay horse will not behave. His mouth grows and “roars” like the “roaring worm” from “Eraserhead”. Johnny Cash’s singing remains a statement of fact in the background. These cowboys cannot live here. My horse will swallow them.

Eraserhorse will eat everyone eventually, and I cannot do much to stop him.

---

This dream utilizes coalescence waking symbolism, a type of waking symbolism where the dream self or other dream features are rendered as being metaphorically “swallowed” into waking consciousness.

---

I confess that I was never a fan of “Gumby” and went out of my way to avoid it whenever I could, even as a child. I found it over-the-top irritating. It was like a trend in society to force children to watch certain things as a form of punishment - and many forms of “entertainment” still seem as such.

---

Morning of May 15, 2014. Thursday.

Dream #: 17,314-04. Reading time: 2 min 45 sec.



I am riding in a landau with Zsuzsanna either late at night or early in the morning before dawn in Rochester, Minnesota. I get the feeling we are enjoying an expensive tour. The unknown coachman is on our left as I sit in the middle. At one point, we are going down 2nd Street SW so that when we turn right, we will go past the Mayo Clinic Baldwin Building. There are many high buildings adjacent to the streets. There is no other traffic or any other people.

What is surreal about this scene is that the small brown horse pulling the carriage is nearly half a city block ahead of us on a very long lead rein. It seems to be like this so that tourists cannot take control or cause the landau to go in a different direction. Even so, the lead rein seems too slack for feasible control of the horse. I wonder what will happen when we get to an intersection and have to turn the corner.

When the horse reaches the intersection and turns right, we have to stop. We have to get out of the carriage to push and align it to the perpendicular street to continue our journey. I consider we will probably have to do this several times before we get to our destination. Zsuzsanna and I decide to walk.

In a room on the second floor of the hotel, I find a television broadcast annoying, but I am unsure how to turn it off. Zsuzsanna is on the bed, and there is an unusual movement over her skin, like a ripple effect (reminiscent of moderate ocean waves).

Later, I am in a library where there are many other people. I am standing in an area near a long table that is mostly to my right. A young male approaches me and pulls something out of my left plaid shirt pocket with his right hand. It is a Mars candy bar wrapper. He throws it on the table while claiming it is against library policy for anyone to carry a card in their pocket. His activity makes no sense to me, and I decide to punch him and knock him to the floor.

My instinctual awareness of being in the dream state increases to full recognition I am dreaming. I leave the library, though it is now part of a larger building. I follow two people out into the hall as I see it is like a college I went to and later worked at in maintenance in La Crosse.

I walk westerly down the hall. I see through the glass doors that sparse raindrops are falling outside. It now seems to be winter. I feel anticipation because I enjoy walking and flying in the rain in dreams, and I know it will vivify my dreaming experience. When I walk outside, the rain is stopping. I walk down the alley, and my awareness seems to fade only slightly.

I am sitting on the ground. I look out from the end of the alley and notice a pair of feminine legs that shine with a golden light. (It is a pale gold but then closer to canary yellow, but at one point, it looks mottled with white or paler yellow). The unknown girl stands near a parked car. She is briefly talking on a payphone but then on her cell phone. She is wearing a short dark blue skirt and black stilettos. For a time, I can only see her from the waist down due to a low tree branch blocking the rest of the scene. I am intrigued.

Otherwise, she seems to be an ordinary woman engaging in everyday activities. When I get up and go closer, I see her walking a bit north from the car, but she stops and looks at me as if expecting me to say something. My dream fades as her glowing skin dims somewhat.

My liminal awareness arises to full recognition of being in transition in my dream relative to the shifting somatosensory dynamics and my physical orientation in bed (a factor more sustained in childhood).

---

Night of April 4, 2014. Friday.



This is one of the only times in recent years I have deliberately tried to focus on a person I did not know at all (other than as an assumed bizarre and relentlessly narcissistic persona), though I have (not by intent) dreamt of the YouTube hillbilly conspiracy theorist a few times (one dream being precognitive of his finding a much younger wife).

In my dream, there is only one main scene of a man riding backwards on a horse. He goes about in circles seeming very delighted and pleased. There seems no threat of injury. This is close to being a “glowing dream” but does not reach that visual quality (that is, a dream where everything seems to glow from within, sort of like a photographic negative but with correct color). He leans forward over the back of the horse, his upper body eventually being nearly horizontal to the horse. His head, with the side of it touching the horse’s back (as if seemingly attempting to hear something - but probably only incidental in appearance as such) is mostly over the croup and his hands open and about the horse’s hips for the most part. He continues to seem delighted as the horse gallops about but he never sees me at any point. He seems very proud and fulfilled over how “well” he is doing in a sort of absentminded, yet totally certain way.

He is dressed informally and has flushed cheeks with a reddish nose and even a reddish chin, with a sort of odd pale complexion as if out of the sun for a long time or appearing to have a continuous “alcohol complexion”. He grins in euphoria. It is almost as if he views the horse as his own body. Even though he is riding backwards, it seems to be how things have “always been” for him, almost as if he is not aware that a horse has a head.

Eventually, he has a very large bed-sheet (or possibly a picnic blanket), wearing it over himself sort of like an implied cape, leaning down closer to the back even more as if the horse were like a bed, with the tail being the head of the bed. Eventually, he covers himself completely (somehow able to hold onto part of it) as the sheet moves up and about almost like distorted wings of an airplane. I stand puzzled and wondering if he will see me, but no. At one point, the sheet waves like a flag. I continue to watch, feeling a sense of hilarity as well as a sincere pity.

Morning of April 9, 2006. Sunday.



How wrong can a partly scripted and incubated lucid dream go of indulging in lovemaking while in a flying chariot (pulled by bronze winged horses) above an endlessly continuing large city? Well…guess. Try it, and you will probably see what I mean.

My wife Zsuzsanna as Vulnavia and I are in a partly undefined area. This area of course starts out as the bed in light sleep paralysis but has motion and movement over time into a cityscape. Regardless of the recent romance in reality (which automatically triggers this form of light sleep paralysis and blissful lucid dreaming in the first place), that only makes my dream’s essence more soothing and “realistic”. Well…make that in some ways.

I look ahead at the “realistic” rendering. At times, other than the regular team, I see a few stray horses at quite a distance ahead, yet somehow I know they are still pulling our chariot (which I seem to know has the Roman numeral for six on the side; VI). (For some reason, this scene of a horse being way ahead of our vehicle yet still guiding it somehow, has occurred a few times though in different context. Added August 11, 2015; for example “A stolen candy bar wrapper and a girl with golden skin” from May 15, 2014, which also ended with a play on “golden calves” and as with that later dream, I am concerned about “how we will make the corner properly” at one point, though relating to the tops of buildings in this case.)

There is a strange physical awareness that the chariot cannot maintain horizontal orientation, though that is more of a benefit in this scenario than a distraction. There are transitions in setting between bed and chariot, a bit like typical in-dream environmental bilocation. Mouths press together sensually and at times, there is a sense of slight vertigo at being so high in the sky. I have to check the horses now and then to make sure they know where they are going. A large flock of birds disrupts our otherwise smooth flight and wild lovemaking at one point. Well, I suppose that was almost a certainty.

After a time, in getting closer to clock towers and whatnot, I accidentally perceive the notion of supposedly linear time and how to “properly” perceive time. Of course, in dreams, that can be an attention-altering mistake.

We are still having fun. “Oh what fun it is to ride in a one-horse open sleigh.”

(Who said that?)

Of course, a chariot and a sleigh are two completely different things (try telling your dream-self that). Unfortunately, the power and speed of self-as-dream-maker thought simply does not care. Thought does not wait to check itself for logic or run self-diagnostics (other than in apex lucidity I suppose, but this is a level down from there).

Thus we are now making love in a bed on a raised platform under a candy cane canopy in a Christmas display (in April, yet) - Gimbels I think (though not extant in reality). I am concerned about visitors though there is only one male who vaguely reminds me of Phil Silvers, but I know many more people are going to be coming in soon. My wife is up and out and in Vulnavia’s white fur outfit.

“Have you seen Santa?” he asks. Oh, how stupid. I have to remain under the sheets, completely undressed, as I cover my head as much as possible. I feel him tugging on the sheet near my feet and lower legs. It is very clear. “Santa? Santa? Come out of there Santa.” I need to teleport back to our “real” bed and I do. (Apparently, Zsuzsanna had been lightly caressing my leg with her foot in reality in her half-sleep.)

Update August 11, 2015. I just realized that “Phil Silvers” is possibly a play on “Feel Shivers”.

Morning of September 13, 1988. Tuesday.



I am in my L-shaped apartment in the King Street boarding house. An attractive but mysterious woman in black (including black lace and a hat) is riding a black horse. She rides from due south from Tenth Street and then northwesterly into the backyard. She is actually able to ride effortlessly vertically up the side of the house, over the south outer wall, to the right of my window (from my perspective), and likely (seemingly) somehow continues over the roof and northward. In some ways, this seemed “menacing” in implication (mostly regarding consensus, though), but there was no apparent threat, especially in afterthought.

Her overall appearance, being the seeming presence and essence of my usual “mystery girl”, but a bit older here, was the same as my wife-to-be. I would make real-life contact with her in 1991. The seeming implication here was that she was south of me (in Australia) and I would make first communication with her by mail from my sister’s house, which was on the north-side of La Crosse. (The King Street house was on the south-side of La Crosse.) The black horse is seen as the “future yet to be” or the “movement of mystery” coming into my life’s path. The black horse is loosely linked to the black swan theme (relating to Australia), perhaps, though black itself is simply the unknown or again, implying the “yet to be” or “things to come”.

Morning of October 6, 1979. Saturday.

Dream #: 4,674-04. Optimized 1 minute 30 second read.





My dream implies I am in an ongoing monster movie called “In a Nutshell” in Cubitis. Although it is vivid, my emotions are not intense enough to initiate wakefulness as I summon the essence of horror to serve my dream’s imaginary narrative. (I often do this by habit to manifest ASMR, the “spine tingling” that brings about bliss, but which is rarely complete in this mode of dreaming.)

My father is near at one point, sitting on the bed, but only as a backstory commentator.

Most scenes occur in semi-darkness in the southwest bedroom of the Cubitis house (not where I am sleeping in reality but still the result of background awareness I am in bed).

The featured monster begins its life by growing inside an egg that mimics a walnut. I see one of them prematurely hatch as a tiny black horse that jerks about on its side on the floor - reminiscent of a mosquito larva (“wriggler”). This one may be dying because of hatching too quickly (though I hit the “walnut” with a hammer as a requirement of the “movie’s script”). (There is no outcome here, only a transition to another scene.)

The adult form of the monster is a mutant bear that has poisonous porcupine quills. It hunts people for food. There is a nighttime scene when I am “surprised” by the creature (though it is metacognitive summoning and pretending). It occurs as I walk around a corner of the Cubitis house (at its south end). The monster lifts its arms, but it does not attack me.

---

Metacognitive Dreaming Responses:

Predominant bedroom setting.

REM atonia (something enclosed or its movement restricted; the tiny “horse” inside the “walnut”).

Sleep myoclonus (the wriggling “horse” on its side, modeling my sleeping position, as a horse typically appears when anticipating my physical mobility after waking).

Association with “hibernation” or sleeping (the mutant bear).

“Around the corner” metacognitive summoning (a deliberate dreaming element since early childhood). In a childhood dream, the result was a dog coming from around the same corner. It jumped up to press against my chest, resulting in a myoclonic awakening.

---

Influences:

The movie “Prophecy” (1979).

The movie “The Valley of Gwangi” (1969).

The Crazy Magazine parody of “The Waltons” titled “The Walnuts” (1974).

---

Optimized 1 minute 30 second read.

Thursday morning, 7 April 1977.

Cosmic Dawn (Wild Haflinger Horse in Front Yard)

Dream # 3,762-02.

I am standing in my front yard near the south side of our driveway in Cubitis early in the morning. The sun is incorrectly rising in the west.

A beautiful Haflinger horse is standing nearby. It faces me from the south near the first small silver oak tree. I think its name might be Cosmic Dawn, but I also vaguely consider “Cosmic Dawn” may be the name of a movie I am making. I try to recall if the horse is mine.

I calmly approach the horse to pat its nose, anticipating a spiritual connection. It suddenly seems afraid of me. It backs away and neighs loudly and unrealistically. It gallops to the highway, making stiff, unrealistic dancing and kicking movements with bizarre wriggling reminiscent of a mosquito larva.

Despite the increasingly surreal imagery as the horse continuously bucks as it progresses south, it briefly seems like a mechanism controlling the cosmos, including the movements of planets and stars. The night sky is visible through parts of the morning sky near the western horizon only.

---

Lucidness and conscious bias seemed to result in the bizarre outcome. I often have more control of dream content in the second half of my sleep cycle with less lucidness (because of conscious bias), including when my dream self has no recall of what “dreaming” is but intuitively recognizes the essence and inconsequentiality of non-reality.

Ultimately, a horse corresponds with my ongoing perception of my imaginary physicality while in the dream state. My dream body and other imagined physical aspects of non-reality are not always stable, and awareness of that factor was present here. My dream made me realize that temporality outside of consciousness is ambiguous, as the night sky is visible through the sunrise in the wrong direction.

This dreaming experience integrates a real-world influence regarding a younger former schoolmate tying his horse to the first silver oak tree from our driveway. He had come to talk to my father about something his parents wanted. I was no longer going to school since age fifteen. I was not with him at any point, but I watched his horse through my window.

---

Afternoon of January 7, 1973. Sunday. In-depth revision on Sunday, 22 April 2018.



Scene one: My dream starts with my semi-lucid dream self walking south beyond the backyard of my Cubitis home (the backyard being on the east side of the house) in late afternoon, close to the railroad tracks. I do not attempt to actively auto-script my dream but I do summon some schoolmates into the setting, which discernibly includes (in order of real-life familiarity) Toby, Brenda, Steve W, Tina, and Sharla. I contemplate experiencing a science-fiction adventure. Walking a short distance from my home, behind what would be the second house south of mine, there is an area where the railroad tracks had somehow seemingly been pulled upwards. Looking up at the bent and twisted railroad tracks, which are at least twelve feet in height, creates vague vertigo. The feature also reminds me of a ladder. From here, we soon come to an old wooden sign, with “FORBIDDEN LAND” (in two rows, that is “FORBIDDEN” written above “LAND”) sloppily painted in red. Despite the sign, I know we are going to explore the area.

Scene two: Eventually, after walking east, we find ourselves in a small isolated town of which has the overall appearance of Dodge City, from the “Gunsmoke” television series, though there are a few additional modern features. When we are inside a restaurant and there is noise outside, like amplified galloping and implications of an earthquake, there are people talking about this event as if it occurs on a regular basis, at a certain time each day around noon. We notice plaster falling from the ceiling as whatever it is passes by, down the dirt street. There are not many cars and most are from the early 1960s. There is talk of a giant white horse. It is said that it is a hundred hands high, which is about 33 feet. I realize that the damage to the railroad tracks was caused by the giant horse galloping across that area. Despite the damage it has caused to the buildings (apparently the people are always rebuilding), the giant horse apparently does not go after people.

Scene three: We make our way up a mountain, but I am on my own in the final view. I am looking down over a large field, mostly featureless except for a lake in the right of my view, though there is also a cluster of trees beyond. The giant white horse was a mother that had been looking for her foal which she has now just found. The giant foal is drinking from the lake, which is not much bigger than him. I sense that they will go north to another land and no longer be problematic for the town. My dream takes on a very peaceful and positive tone. I feel very happy upon waking.

---

Threads of scene one explained: The vague vertigo is a dynamic of vestibular system correlation (and the lack of viable awareness of my real physical body as I am sleeping), even in the intriguing ambiguous railroad tracks to ladder association, a ladder implying the potential to rise up from the dream state or augment lucidity.

Threads of scene two explained: My subliminal conscious self chooses the “Gunsmoke” set in recognition of my dream being like a movie or television show (unrelated to real life), which has been the case in a number of other dreams. Additionally, I typically pick the farmland to the east in such dreams (though it sometimes resets to being back closer to my house) as I was unfamiliar with its overall real-life appearance as I had never gone there and could only see some of it from my backyard. This way, my lack of experience with what the area looked like benefited the imaginary layout of my dream (even though my dreams do not render locations correctly anyway, to avoid associations with waking life memory). The restaurant in scene two seemed modeled somewhat after my middle school’s cafeteria, though was only around half the size. The attention to the plaster falling from the ceiling is a focus on liminal space division while in the dream state. It is more linked to vestibular system correlation than is doorway waking symbolism (or other subliminal anticipation of the dream ending).

Threads of scene three explained: In this dream, the emergent consciousness factor, more commonly rendered as an animal in childhood dreams, is the giant white mare. In the final waking event, my dream self, perceived as the foal, due to its incomplete nature while in the dream state, is found by way of the preconscious transition, without any conflict. This is a type of coalescence event which activates consciousness. The final dynamic is the very common water lowering waking symbolism, key autosymbolism for leaving the dream state since early childhood.

Conclusion: The main concept of this dream (the giant horse) was borrowed from the “Arizona Midnight” episode of the “Gunsmoke” television series seen the previous week (January 1). There was also an incidental association with the large plastic black stallion Aurora model that was of a much larger scale than all of my other animal model kits.

---