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Morning of November 29, 2015. Sunday.



In the first part of my dream, I am in an unfamiliar city setting. I walk out from an alley with an unknown male. I somehow (based on an implied back story) had previously lifted three sections of sidewalk, boulevard, and parking lot, complete with trees and vines that hang down. We walk under the hovering features, each about the size of one and a half lots. They are hovering about fifteen feet up. In the back of my mind, I am thinking that it is safe to walk under them since a part of me is likely still focused on them.

The main segment of my dream involves a style of dreaming that began when I was very young. In fact, it seems like some sort of continuation (at least on one level) from “Frankenstein Closes the World” from when I was only four years of age (April 9, 1965). It involves part of the setting being “blocked” like a continuous wall preventing access to a certain direction (in this case possibly north). Over time in my dreams, the number and type of “station keepers” changed. One of my first “station keepers” (as I refer to them) was probably the Frankenstein Monster (Boris Karloff version). That is the one that appears here. There are other elements that were more common when I was very young, including even the first part above with the hovering sections of the city (also beginning around age four). However, I actually “feel” about ten or eleven years of age in my dream.

Part of the situation seems borrowed from the original “Dark Shadows” board game I had when very young. It had a set of miniature plastic skeletons and a cardboard coffin. A recurring situation occurs here where “ancient papers” are found and I realize they had, instead, been very recently printed (this may be a play on a dream freshly rendering something implied to otherwise be “ancient”). In this case, there seems to be some sort of challenge to get into a mock mausoleum (though integrated into the high and long wall) but which at first seems like a “door to Satan”. Even this part stems from when I was very young. The other male, who seems to be interested in some sort of “contest” seems very wary about going up to the “door to Satan”, though in front of the door, there is something related to the contest or a rare potential discovery. I seem to remember that Satan does not exist and decide it is probably an archetype of the subconscious that we will be facing. I then remember that the subconscious does not exist as popularly defined (only different levels of awareness, both internal and external, including the supraconscious and the Source) and feel oblivious to any concerns the other male may have (even though I am not lucid).

As such, I go up to the wall with the recess (or short hallway) and a section of the wall comes out like a drawer, at ground level (this may be a play on post office associations, or a PO drawer since “I hug PO Virgo” is directly encoded in my full name and also the date of the original dream version was on my wedding anniversary years before it became as such). It has a coffin which is about one-quarter the size of an adult coffin. I open it, expecting to find macabre remains of some kind, and there are miniature “real” skeletons, one of a girl in fetal position with long white hair and only about five inches high. There are also a couple cartoon-like (unrealistic) skulls as well as some random debris and cobweb. It still seems somewhat “ancient”, but as mentioned earlier, the “ancient parchments” look freshly printed. This and another dream of this date had precognitive facets related to a false pregnancy (pseudocyesis) - which explains the miniature skeletal girl in the fetal position. Frankenstein, on the other hand (on one level), has become a symbol for normal people in mainstream society in relationship to pop culture, the media, and authority; lumbering and unintelligent.

Finally, I open the “door to Satan” and behind it is an extension of the hallway recess of the wall. Boris Karloff’s Frankenstein monster appears, walking mummy-like. He goes after the other male, but it is rather amusing. Both of them move slowly, somewhat like a slowed-down “Keystone Cops” event (also often written as “Keystone Kops”). I decide to see what is farther down the hallway, but the other male comes back around, moving in an arc around the left side of the wall and coming back from the other direction, with the horror movie monster in pursuit but not threatening me, just in the way. I avoid colliding with the stumbling creature and watch the “chase” passively.

So I should have probably written this down as soon as I woke up, can't remember too many details at this point, but the most memorable part was this:

My teenage daughter has been kidnapped (I don't have any children IRL). Searching for her, finally find her in different room, in pieces in different containers. Little bits of her body all over the place. I have to assemble them and sew her back together. She comes back to life. Bandage her up. Later after lifting a bandage, I see she is healing extremely fast. At some point I shift from being her mother to her sister.



IDFK. Some weird shit.

I'm walking in the garden, mentally composing a letter. When I'm ready to start putting it down, I go to where I've left my portable writing desk. There are a few bees hovering around it, interested in the vine I left it under. I'm thinking about moving it somewhere I won't disturb the bees, but then I see an envelope that's been left on top of it.

The letter inside is written in classical Chinese. I have no difficulty understanding it, but rather than actually reading the letter, I'm thinking about the woman who sent it - even without seeing her name, there's only one person who writes to me in this language. I'm seeing a mental image of the two of us walking through a rough stone tunnel next to water, with light reflecting off the water, rippling patterns reflected on our faces.

That was a memory, but the next image I see is the present, through her eyes, something that can sometimes happen when I'm thinking about her. She's looking at a painting of a woman I think of as a saint, with an image of a dragon behind her; then her vision moves up to the ceiling, as if she's falling back. I see an image of a pile of roses turning to ash, and my connection to her is gone - not just this vision, but the connection of our blood is gone. She's dead.

(Woke up. Back to sleep.)

There's a man who's been sent back in time, and now several other people who've gone back to rescue him. He'd been involved with the woman leading the rescue team. They've just met up now, and very nearly attacked each other - both of them sneaking around a fortress, trying to avoid being seen. Having sorted it out, it seems he's working together on a mission with a woman from this era, and fallen in love, and has no interest in going back to his original time period. He's just broken her out of a cell in this fortress. The woman who came back to rescue him is thinking it was foolish to chase his spirit into the past when she had his (something) in the present.

The scene transitions to a modern-day park; that man was brought back to the present against his wishes, but so was that woman from the past. They're spending time in the park with their infant son, distracted and unhappy.

My attention shifts to other people in the park, a group discussing magic, specifically one man mentioning a "listen and learn" spell with leaves, as a second step for those just starting to work with trees. He describes trees in general as "a bit froggy, though."

(Woke up. Back to sleep.)

A private performance of a show based on Frankenstein. The 'bride' character speaks beautifully; the 'creation' character is silent, and his hands are bent backwards at the wrist as if they've been broken. When he'd been alive, he'd been the doctor's student or lover or something close.