Blue_Opossum

Morning of May 13, 2018. Sunday.



I find myself in an unfamiliar park at night. Zsuzsanna is present but is only about eighteen years old. My conscious self identity is not extant, though I want to be with Zsuzsanna, though it is implied we have not yet spent time together. Her father is present at one point. There is a cheerful atmosphere. A number of strange events take place with the typical timeline distortions and setting alterations. Part of the park has a cemetery, as has sometimes been the case in dreams since childhood.

At one point, Zsuzsanna is standing near me and something invisible pushes her from her right. I wave my hand to make it visible and it is a tyrannosaurus of a somewhat yellowish color. It is not rendered very realistically and I wave it off.

In one scene, I wave my hands in front of a small audience. The expectation is to cause trees to uproot and to float in the air as well as headstones being lifted from the ground to float in the air. It does not happen right away, which puzzles me (even though I am not lucid), but there is some eventual movement.

In one of the last vivid scenes, I want to be with Zsuzsanna but I am puzzled by having barnacles growing from my left shoulder and upper left arm. I realize that this is not a serious medical condition, but I think it might make me undesirable. The barnacles jut out to about two inches.

In the last sequence, Zsuzsanna is standing near me and about six people, mostly in white with numbers on their tank tops, run toward us, though we are not directly in their path, so they run past us. Soon after this, what I first consider is a wheel rolls toward us. I turn to look behind me as it rolls down the path. It turns to the right and seems to jump and then rolls a short distance into a field before stopping. The scene shifts to where I am on the Barolin Street house’s porch without realizing I had lived here once or remembering that a porch has been common autosymbolism for the waking space of a dream since early childhood.

An unknown male of about twenty is present on the porch (the preconscious). He has a backpack and had been in the marathon. He is also a skydiver. Apparently, the “wheel” that rolled and jumped was his parachute wrapped up in the circular shape and it somehow got away from him. I cheerfully tell him of how it seemed to somehow jump on its own from the side of the road, implying that it might indicate a supernatural “I am” held by the parachute itself, as if it possessed consciousness.

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Working at decoding in reverse, the last scene is the very common (once per sleep cycle for over fifty years) vestibular system correlation autosymbolism and personification of the vestibular system factor by way of the preconscious. (This always represents a subliminal anticipation of the return to consciousness due to the nature of the falling start, which is solely biological.)

The barnacle scene is from “Barnacle Bill the Sailor”, a rather ribald song my father used to perform fairly often in public. Still, the lines I laughed at the most as a child were “I’ll come down and let you in,” (sang three times in a falsetto voice), said the fair young maiden. “Well, hurry before I bust the door,” says Barnacle Bill the Sailor. Therefore, I suppose there is a very subtle liminal awareness of doorway autosymbolism as well as the autosymbolic nature of using a staircase (for changing the level of awareness in a dream). Still, there are usually transpersonal influences in levels of unconsciousness closer to waking. In this case, Zsuzsanna had been looking at a pirate outfit for a small teddy bear (which additionally is a dream state indicator), which I had not known about, so there are always intriguing external correlations and synchronicity.

The tyrannosaurus scene is a throwback to childhood dreams where I had liminal dream control and created chase scenes without my dream self fully perceiving the source of the dream events by way of the preconscious (which is how dreams are mainly rendered, not by way of the unconscious, which the dream self does not have viable access to, or so-called subconscious, as the dream self is the subconscious personified, and without much intelligence or memory unless lucid).

The cemetery is often perceived as the factor of the conscious self not being extant in the dream state, the same aspect that creates certain types of ghost autosymbolism.

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Morning of January 1, 2013. Tuesday.

Reading time: 1 min. Readability score: 63.



It seems to be morning. I am in a setting that mixes my bedroom in Cubitis with our current bedroom. I perceive the Cubitis carport as being to my right (ambiguous mix of north with south). There is also a presence of indoor-outdoor ambiguity.

A paratrooper (as an unknown male of about twenty) has landed in our bedroom. He may have crashed through a wall or ceiling, but I do not think he is injured. I get the impression that I had been sleeping on his parachute, but I also consider he may be mistaking our bed sheet for his parachute even though the suspension lines seem to trail to under where I am lying. I also wonder if his parachute is under our mattress. Zsuzsanna does not wake. I remain annoyed. I feel slight movement when he pulls on the lines. As I start to consider yelling, though I do not have a feeling that he is deliberately intruding, I find I cannot speak, and wake.

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Thread 1: Liminal awareness of being asleep, recall that Zsuzsanna is sleeping to my left.

Thread 2: Vestibular system correlation. Derivation as someone else having fallen.

Thread 3: RAS avatar as VSC personification.

Thread 4: Mix of Cubitis home with present home.

Thread 5: Current conscious self identity extant.

Thread 6: Indoor-outdoor ambiguity.

Thread 7: False directional orientation.

Thread 8: Waking priority to my right.

Thread 9: Possible play on “lines of communication” between the dream self and conscious self or interconsciousness or nuances correlating physicality.

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Age 11. Morning of November 4, 1972. Saturday. About 8:00 a.m.

Dream #: 2,147-07. Reading time (optimized): 2 min.



My emerging consciousness and waking-life identity exist, but I am still dreaming, though I correctly recognize the location of my body as being in bed in my Cubitis home. It is morning.

An airplane flies over the area, its flight path and linear distance from the front of our house (though as high in the sky) correlating with my school bus route. (I am aware of this correlation as I dream, though it is Saturday. I had let go of my expectation of attending school.) I see the airplane’s underside as it flies from north to south.

A cage falls from the airplane, though moving slightly east as it falls so that it lands in our front yard about ten feet from my windows. (I vaguely consider it a gift from my dream girl, though possibly a mistaken delivery which replaced my gift with someone else’s). Inside the cage is the Warner Brothers cartoon character, the Tasmanian devil, though he is Pepto-Bismol pink. He seems about my height. He does not make any attempt to escape. I do not perceive him as a threat to me, despite his behavior (like exercising his mouth and waving his arms). I awake with a sense of amusement.

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“Something coming down” is a prevalent dream event as a result of vestibular cortex arousal during the waking process. Associations with flight occur throughout every sleep cycle as a result of my lack of physicality. This status also results in the rendering of a cage in this instance that represents my emerging awareness of how I cannot move my physical body as I sleep.

The Tasmanian devil, as the cortical arousal simulacrum, represents a visual association and expectation. I often woke around this time to watch “The Bugs Bunny Show.” There are influences from “Devil May Hare” and “Bedevilled Rabbit.” (In some cases, a tornado would represent the process, though it is important to note the Tasmanian devil cartoon character travels about in a miniature tornado.)

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On a personal spiritual level, I saw a Tasmanian devil at a zoo not long after I met Zsuzsanna (my dream girl). I had traveled to Australia by airplane. I only include this because of the correlations. For example, “When Worlds Collide” (1951) had aired the night before (November 3, 1972, though I had chosen to watch “The Valley of Gwangi” again as it was on at the same time). “When Worlds Collide” was the chief influence of my dream “The Pink Planet” from November 6, 1971. It had aired the night before in that case as well. In that dream, a Pepto-Bismol pink twin version of Earth was coming in view as I looked up to see Australia. In my “Wild Weasel” dream from 1969, a “real” Tasmanian devil (called a “weasel” as I did not know what real Tasmanian devils looked like at the time) traveled in a small tornado, and Brenda (validated stand-in for Zsuzsanna) and I hid from it as it remained beyond a frosted glass door (wall mediation).

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Night of September 21, 1970. Monday.



This is a long repetitive dream relating to a search (by unknown people, mostly) for Lucille Ball from the “Here’s Lucy” television show. This is the episode where she is skydiving and there is ambiguity in my dream of whether she is still in the air somewhere somehow (not logical of course) or had crashed through a roof.

Lucy herself does not even appear at any point in my dream. Instead, there are several scenes where I am on the roofs of buildings, somehow floating over roofs, and one scene where I am hanging from the ceiling after apparently crashing through the roof in a parachute, though this also seems like some sort of odd pretense (solely using some sort of mental power instead of by physical effort to suddenly establish the scene and setup and my placement, though without lucidity) in attempting to show others what might have happened to Lucy.

In a few segments of my dream, I am only seeing the eaves of roofs and there is also something about television antennas that do not seem to be working correctly (and a few people are even using their televisions to help to find Lucy as if a television had built-in “radar” or a way of scanning the sky). Most of the imagery of the roofs becomes a bit convoluted (almost like a flight of steps in a couple areas) but there is eventually mist and oversimplified (unrealistic) buildings as the main form of the setting.

Update Saturday, 26 March 2016: I can now look at this dream and decode it fully, as I see that it has the same basic metaphorical meanings of the dream state itself that is found in hundreds if not thousands of other dreams.

Included in this dream are:

The “failed flight” metaphor (or “something coming down from the sky”) that is not a negative implication at all but which simply represents the end of the dream (since flying itself - or in fact, contemplating or being aware of anything that flies or floats or is in the air - represents the dream state).

The mist has been a common feature in my dreams though mostly when I was younger. A mist or fog relates to the dream state itself which seems metaphorical for a dream being “not as clear as reality”.

The roofs that have somewhat of a staircase appearance in silhouette are a double play on “coming down”, as a staircase also relates to waking from a dream and whether or not you are closer to waking by going up or down depends on the dream self placement and perspective.

Breaking through a roof (or even parts of a roof being blown away as in a few other dreams) is also related to the waking stage as is breaking through a wall (more so a window) or even coming through a door (which usually creates a shift in awareness for me, though not always related to waking - but is sometimes a transition within the dream as it continues, making a dream much more vivid in many cases).

Antennas also relate to the dream state and the communication of dream self from threads of the conscious self, almost implying a dream being built in the manner of a television broadcast from the conscious self. A television is also a downsizing of the dream itself to distance the dreamer from direct involvement in a scene for whatever reason (and focus on a television seems to serve as both induction and waking preparation).