Blue_Opossum

Morning of January 3, 2020. Friday.

Dream #: 19,373-01. Reading time (optimized): 1 min 30 sec.



Water and its essence remain one of the most beautiful and appealing factors of dreaming. That is because bodies of water signify the state of sleep and its dynamics and sleep is bliss (as the virtually countless commercial recordings utilizing the sound of water to induce sleep verifies). It also expresses the fluidity of the dream state’s imaginary physicality with its abandonment of defined muscularity.

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I instinctually enter a more vivid status of imaginary proprioception without drop anticipation (as a result of my vestibular cortex nuances in sleep-wake mediation). I fly slowly near Niagara Falls. The water is luminescent, and its flow is enrapturing. When I fly directly in front of the waterfall, there is a shadow that has more definition than it would in reality. It is not my body’s shape, but the longways silhouette of a helicopter. It tips to the left at about 45 degrees as I occupy myself with thoughts of diving into the refreshing water. I am not a helicopter in this scene (only my body’s shadow is), but a vehicle signifies the extension of imaginary physicality while in the dream state. A helicopter’s status in contrast to an airplane in a situation like this implies more cognizance in emergence.

The waterfall briefly becomes a curtain of turquoise and cyan silk ribbons, some swaying out as if with a breeze from within, as wall mediation initiates.

Looking to my right again, I see the helicopter silhouette has transformed into a hake (fish) silhouette of the same size and orientation, though briefly, ambiguity dictates that the shadow is both hake and helicopter. To oblige the illusion, I perform butterfly stroke swimming motions as I fly downward. Instead of entering the water, I become incorporeal and remain in abstract space for a time.

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A dream with similar sleep-wake mediation is “Helicopter Digger” from August 23, 1987. In that dream, a helicopter dives to the ground while a friend and I are fishing. Instead of crashing, it becomes a digging machine, the rotary blades churning the soil as if with a purpose as it enters the ground while tipped to the front at about 45 degrees. Typically, going underground indicates anticipation of returning to slow-wave sleep, whereas diving into water implies acknowledgment of REM sleep.

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Afternoon of August 20, 2018. Monday.

Reading time: 35 sec. Readability score: 70.



I am squatting near the edge of a pool and holding onto the tail of a barracuda in a Sea World setting. Only its front half is submerged. I know that if I let it go, it has the potential to swim around and bite me. That is not a certainty, but I am unsure what to do. My view is more as if I am watching myself from above and behind and there is no tangibility in this scene. My dream fades without incident.

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I do not usually sleep (nap) at the time of 4:30 p.m.

The reactive representation stems from a more active mental state (barracuda) being incompatible with the lesser level of melatonin (water). My semi-lucid self is aware of this and what it implies. I do not have the biological need to enter deeper sleep at the time, so I liminally create an impasse scenario.

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Morning of December 17, 2017. Sunday.



In my dream, I am in an unknown house, though my sister Marilyn (deceased) is present. It is not seemingly implied to be the Loomis Street house. She appears as she did in the 1960s. I have no recall of her deceased status.

I have the awareness that a laptop computer does not use 3.5-inch disks (and that they are old technology), and yet I have no viable memory of the last twenty years of my life. (Dreams are strange that way.) Marilyn does mention this game as not being compatible with her computer. There is a set of about seven disks that are needed to install and run the game.

Eventually, we somehow get the game to work. It is holographic, though also seemingly solid at times, and fills nearly half of the unknown room. Two spherical aquariums appear on each side of the playing field, near the center of each side, where other features appear on each end, though I am mostly only focused on the aquariums. The virtual aquariums are about three feet high, though elevated to about five feet from the floor with a stand.

Apparently, the game involves some sort of event when an anthropomorphic fish emerges from at least one of the aquariums, though no actual game play ensues. There are some resets of this dream where parts repeat, though much is not that clearly defined.

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An aquarium represents the mental model of the nature of the dream state (in real time). In this case, the two spherical aquariums symbolize the sleeping minds of Zsuzsanna and me. The anthropomorphic fish would represent the emergent consciousness “coming out of sleep”, sleep of which is symbolized as water.

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RAS quantizes the mental model of the dream state in this way at times, more so when sleep is somewhat restless or with “intrusive” environmental factors, based on the analogy of being in a fishbowl when outside noise is more intrusive into sleep, otherwise vaguely similar in waking transition symbolism to the very common water lowering waking symbolism (which has occurred at least once per normal sleeping period for over fifty years, since earliest memory).

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Morning of December 14, 2017. Thursday.



The first part of my dream is unremembered other than undefined patterns of passive family activity. My dream self (personified subconscious) is already in the waking space when my dream becomes clear and vivid.

The typical waking space is rendered as a porch (my most common real-time liminal space symbol since early childhood, which symbolizes a specific state of unconsciousness between dreaming and waking), although it is the Barolin Street house’s porch. We have not lived there since the beginning of 2008. The personified subconscious has no concept of time or space (or any critical thinking skills). As a result, I do not regard this error of residence and accept it as our “real” and present home. I am uncertain of the implied time, though it seems to be night.

Three unknown visitors are at the porch door, which is open; two males and a female. However, the entrance to the porch is incorrectly rendered on the south end rather than its real location at the front, which is east. In the role of my personified subconscious (which is just a distorted filter, not a “mind” with any semblance of intellect), I do not “know” anything, and accept it as “real”.

I do not see the three visitors as intruders, which means that my dream self (at least at this specific point) is ready to coalesce back into waking consciousness. (This is a subliminal mechanism. I am not lucid.) They start to talk about a dead fish that is on its right side (facing east) on the inner porch ledge. It is to my right when facing the doorway.

The dead fish is a mooneye. (I have not seen a mooneye in real life since 1990.) Although I am not fully aware of this symbolism while still in my dream, there are four distinct levels of meaning. One, it is an artifact of water lowering waking symbolism (though there is no recall of water induction and no apparent WLWS in this particular dream, making it implied by habit without the direct discernment). Two, it means my glymphatic system’s functions are starting to lessen in nearing waking. Three, because it is a mooneye, and is dead, it is an association with nearing daybreak (waking transition; the sun symbolizing the conscious self while the moon symbolizes the dream self). Four, it is a symbol of my physical body being asleep, though its being on the right side is seemingly a subliminal warning that I may be on my right side in reality. (Though I do not recall having turned over during my sleep. I usually sleep on my left side for health reasons, as the stomach naturally hangs to the left and other systems operate better in this orientation.)

I am not sure what to say to them about the dead fish. I do not perceive it as unusual, but I hold no recall of how it came to be there. I mention to the three unknown people who stand just outside the doorway that “some are big enough to eat”, but they start talking about roe (fish eggs). Still, they do not seem that interested in the mooneye for such a source.

Meanwhile, I am closely looking at some Matchbox cars while standing near the center of the porch. Two of them are similar. I gaze at them with full intent. They are flatbed trucks (“flatbed” as being a dream state indicator as a play on being in bed). Each holds a small house. (The basic design is the same as one I had in real life as a boy, though it looks about twice as big, though my view in my dreams often magnifies what I am looking at.) I continue to stare at them, deliberately ignoring the three people just outside the doorway. One is mostly blue (that is, both the truck and the house) and one is mostly pale orange. (In reality, the truck was blue and the house was orange.)

I continue to gaze at the two trucks. I notice a detail of where the house’s window frames (in their vertical appearance and detail) and the vertical borders of the truck’s windows (looking at them from the side as they are facing right) are slightly closer to the front in one than in the other. (This relates to subliminal awareness of nearing my dream’s exit point, and waking symbolism is typically oriented to the right).

From here, I am suddenly aware that the three people are coming onto the porch. I teleport to the end of the porch and slam the door on them (indicative of the subliminal desire to remain asleep for a little longer). However, I notice that someone had left a set of keys on a table to the right of the door (even though there is no recall of the other people having been inside the porch). I open the door manually, apologizing. The female comes in and gets her keys and leaves again, the door remaining open as I wake.

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This dream has the dynamics of the typical waking space scenario, common on a regular basis since early childhood. The other three characters were, in upward hierarchy order, the personified preconscious, the personified interconsciousness, and the emergent consciousness. In this case, the emergent consciousness symbol was an unrecognized (while in the dream state) form of Zsuzsanna. She is the only one (other than our children) allowed to have “keys” to other levels of my unconsciousness. This is typical doorway waking symbolism, a door representing either the dream’s exit point or in some cases, access to apex lucidity and extraordinarily vivid automatic control of the dream state (and “summoning” mode, whereby all dream characters fully serve the dreamer via conscious self will), which for whatever reason, many people apparently cannot do. It may relate to my advanced understanding of the dream state since early childhood (and never falling victim to the fallacy of “interpretation”), whereby the majority of people totally lack the knowledge of what a dream actually is. I should also include here that, the large Barolin Street house was actually moved, via trucks, to a new location after we moved in 2008. Thus, this feature is also a subliminal thread of real-life factors of the past - of which I did not realize while in the dream state, even though it was probably meant to be an interconsciousness clue that I was in the dream state.

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Morning of September 2, 2017. Saturday.

Dream #: 18,520-03. Reading time (optimized): 2 min.



My dream, which originated with the water induction process (melatonin mediation association), eventually clarifies as my dream self’s presence in a parking lot with no discernible lake. (However, the first fossil I find relates to the water lowering waking transition, a common form of waking symbolism since early childhood.)

It is afternoon. I am waiting to get on a bus that is near a shopping mall. My wife Zsuzsanna and youngest son are present with a few unfamiliar people who have not boarded the bus yet. I am sitting about 20 feet from the shopping mall’s entrance. The bus is to my right. (Thus, my dream’s potential exit point is to my right.)

I dig into the parking lot as if it was soil and find a fish skeleton fossilized in rock. I consider our youngest son would like it. I discover another “fossil” that is possibly a child’s craft project made of plaster of Paris. The impression seems to be from a plastic toy. As I talk about the second fossil not being real, I consider that the first one might not be genuine either. An unfamiliar girl standing nearby seems annoyed and walks off to board the bus.

Meanwhile, I find a few other “fossils,” which are craft projects. One has an impression of a miniature baseball bat in it which I hold up as I comment. The pattern is about the length of my finger.

I get up to board the bus. Zsuzsanna is on my left in a seat about halfway back on the left side of the aisle. Our children are also present. My mother is at the front of the bus on the left side, seated closest the aisle. (I do not recall she died in 2002.)

My mother complains about stomach pain and seems in distress. She moves forward and down in her seat for a short time. I notice that other people near the front of the bus seem concerned. She may need to see a doctor. Two unknown people hold her, one on each side, and help her get off the bus. The bus driver exclaims, “Hey, get back here.”

The other people are still near my mother as I look off to my left and see her sit down on a wooden bench. I notice there are other wooden benches in an equidistant pattern. They are seen lengthwise, parallel to the bus but facing away from it.

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Zsuzsanna had stomach pain recently. As the bus represents leaving my dream (the bus driver being the preconscious simulacrum and saying “Hey, get back here” as a subliminal correlation with Zsuzsanna’s physicality), I wish to have her pain left behind (despite my mother rendered as this factor). The bus has an Australian association as the driver is on the right (yet my mother had never been to Australia).

The miniature baseball bat is associated with swinging my arms, gaining the physical energy to fully awake and get out of bed, a form of vestibular system correlation.

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See “- Causes of Dreams - Parking Lot - page 1 -” to understand this dream.

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Morning of April 21, 2017. Friday.



I am watching a movie which is supposedly a sequel to “Finding Nemo”. It may be called “Finding Nemo’s Girlfriend” or at least that seems to be the main plot.

The movie seems to be in an advanced form of CGI. The fish speak and seem very “real”. The search is on for Nemo’s girlfriend (though it does show her in certain scenes where the others are not aware of her location). After a time though, it is revealed that there are people in very unusual costumes with mechanical attachments that create the animated fish in the movie. This includes a smaller robotic fish (or another ocean creature in robotic form) attached to the top of each person’s head, as well as attachments to their arms and some sort of cylindrical form around their body. They seem to be on break and sitting on chairs in a semi-dark studio. There remains a vague (but mostly subliminal) association with being in the Cubitis living room. For a moment, I am confused, as if they do not care about Nemo’s girlfriend or properly ending the movie, but then I realize it is just the making of a movie in progress and the fish characters are not real beings.

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What a curious way to validate fish as symbolizing lower levels of the conscious self, submerged in the dream state, playing a role in real time.

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Morning of April 7, 2016. Thursday.



There is a backstory to my dream of having collected water from a shallow pond. I am not sure of the setting or its location. My sister Marilyn (half-sister on my mother’s side) is nearby and as she appeared before I moved to Florida in 1967. My family as they are now are also present at one point.

I look into the water and below the surface I see many implied one-celled animals (which you can only clearly see with a microscope in real life). Marilyn also looks on.

I see a glowing transparent centipede, swimming downwards (which puzzles me since I know centipedes are not aquatic), forming a moving staircase shape (like a mobile escalator) eventually going out of sight. The one-celled animals (mainly protozoa) swim down out of sight but are visible at other times.

Eventually, a small fish jumps up out of the “aquarium” which surprises Marilyn. I am somewhat surprised as well, because I thought I had gotten the water from a pond that was not deep enough to be suitable for fish. I am not sure where the fish is after the jump, perhaps on the floor. (A fish out of water represents the dreamer coming out of the dream and as a result, my dream shifts to the waking transition.)

Later, I am holding an antlion larva. Over time, I notice blood on the tip of one of my fingers. It seems that it had been biting me (even though they do not bite in my experience). However, it also seems to instead be the result of a hangnail. Still, I ask my sister whether or not antlions eat people.

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Again, a fish is a projection of the dream self in the dream state (and water represents sleep and the flow of thoughts in the dream state). The one-celled animals may be a reference to minor neuron activity or a subliminal association with other dreamers. An aquarium is a downsized focus on the dream state itself, representing the human mind on one level.

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The unlikely “phasing” centipede swimming in the water represents a shift in consciousness. In this case, as it swims deeper, it forms a symbolic staircase to link to the nonlinear events throughout my life and down into the depths of the unconscious. This is evident by the link to a version of the original childhood “Taboo” dream (sparsely recurring, no more than perhaps four times) and upon checking, I found markers and parallels. It has the same basic setup; that is, looking at an aquarium of (visible to the naked eye) one-celled animals, though this was in third grade in 1970, one version found to be on today’s date exactly forty-six years ago (and which appears to have been partially influenced by the movie “Jigsaw”, about a man finding a body submerged in a bathtub). I have not held antlion larva much since third grade. This ending element represents a typical waking transition because an adult antlion resembles a dragonfly, which is a flight symbol. The bloody finger may be an association with our youngest son’s hangnail. The reference to “eating people” is a reference to coalescence and the dream self merging into whole consciousness during the waking transition (especially the association with “lion” as a lion is often a form of the more aggressive emergent consciousness). Also, an antlion is shaped somewhat like a human thumb, where my youngest son’s hangnail was. The antlion’s mandibles may be an association with the hangnail itself.

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Other phasing staircase references (as the “water centipede” in this dream) can be found in dreams such as “Rocket Science?” (July 2, 1976), where a sheet of typing paper mysteriously “rolls” down from the ceiling (which represents the liminal state between sleeping and waking) and forms a staircase pattern or brief “escalator”. This focus greatly intensified that dream. A similar event occurs in “White Noise Staircase” (February 21, 2014). Identifying phasing staircases may be beneficial, since I believe that it may also be relevant to a deeper bond with the Source and wholeness, as a staircase is a link between sleeping, dreaming, and waking).

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A centipede may be a dream’s rendering of the human spinal cord. In water (as in this dream) it serves as both a reminder of the human physical form as such and immersion in the dream state via the staircase or escalator metaphor. On one level it is the energies of my unconscious awareness returning to the Source. In the first version of “Taboo” from 1970, it was more about “sea monkeys” (brine shrimp) on one level. These “sea monkeys” also represent the human spinal cord.

Morning of August 22, 2015. Saturday.



In the first part of my dream, there is a backstory being reviewed with some clarity (though seemingly in a different level of unconsciousness than the rest of my dream). It is an event related to when someone supposedly photographed a shark in a highly unlikely area in a lake, though it is not clear that it is at a lake at first. It seems that at least some people think it was taken in the ocean. The “shark” is shown near some people including two children (male and female), some of them in the foreground and making it hard to identify the animal as a shark. It seems unusual that people would be so close to a shark for the sake of resulting in such a photograph in which it could not be fully identified anyway (as the picture does seem staged). There is only the one photograph.

Eventually, it is revealed that the fish is not a shark but a muskellunge. Somehow, this large fish ends up in our bathtub, where my family and I keep it for a time. It is seemingly at Barolin Street (where we have not lived in years), though the bathroom is a bit different. The big long fish fills much of bathtub, which remains half-full with water until the scene changes later.

Time seems to pass, perhaps a few days. I go in to look at the fish and it is no longer moving. It is much thinner than it was, possibly even dead. It looks somewhat transparent, and the bathtub is now only about a quarter full. I go and get a large bucket of fresh water and pour it in. Eventually, the fish starts moving again.

Later, when I look again, the fish has transformed into an unclothed dark-haired male (of about twenty) of an almost divine essence, though also much like a younger version of me. He gets up, though remains standing in the bathtub. He talks to Zsuzsanna and I for a short time, but I do not recall his words. I do recall asking him how he can understand the human language (and I do use “human language” instead of “English”). I ask him this very close to his ear. He seems cheerful and healthy. From here, my dream fades.

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The muskellunge is a symbol of Wisconsin, where I lived from mid-1978 to the first part of 1994 (as well as when I was very young, from 1963 until 1967). The fish is this dream’s emergent consciousness factor, additionally validated by the fact that it becomes a younger version of me. As I had sustained and vivified my dream deliberately (though subliminally) with water reinduction, this makes my emergent consciousness less like my current conscious self for a time.

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There may also be an association with “The Incredible Mr. Limpet”, a 1964 Don Knotts movie I saw several times in my youth and enjoyed very much, though that in fact involved the opposite plot; a man transforming into a fish.

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1 minute 36 second read.
Tuesday morning, 5 May 2015.
An Ocean Walk near my Middle School (leg mobility)
Dream # 17,669-01.




It is early afternoon. I am with Zsuzsanna near the ocean. However, with common surreal irregularity, the “ocean” replaces the southeast grounds of my middle school in Arcadia, Florida. I appreciate the beauty of the water’s scintillating surface.

Zsuzsanna walks over an area of the ocean’s surface, and I notice a small school of fish underneath. I get the impression that the water is deep. I walk on the ocean’s surface with her, but we do not go more than ten feet from the “shore.” (The “shore” integrates with the sidewalk that encompasses the large building.)

I see a small shark underneath the water, so I am concerned about Zsuzsanna’s safety. The shark passes underneath her a few times, so I tell her to come over to where I am. She walks atop the water’s surface and is eventually on my left (modeling our sleeping orientation).

She moves away when the shark jumps from the water, illogically floating vertically upright near me, but I do not feel threatened as it taps me on my left shoulder and ear a few times and on the left side of my left leg as it “dances” before returning to the water. (It does not go near Zsuzsanna.) During this time, it had transformed into a grouper about three feet long.

Later, I am on the ground. It has sparse grass and sandy soil. I use telekinesis to attempt to change it. The ground’s surface and the grass move with a rippling effect. I do this for a few minutes until most of the blades of grass move to one area.

Although my lucidness is high, I do not consider how my mental influence has this power solely in the dream state.

I make the ocean’s surface move under my will, but there is ambiguity where water and soil seem to have the same properties. However, it is like a mirage (like looking at something through heated air). I have a false recall of how this type of control of the environment works sometimes, but not always.

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Being tapped by the floating, dancing fish is an incentive to become more aware of my body through increased somatosensory phasing (and leaving REM atonia). That scenario is followed by mentally arranging and separating illusory patterns.

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Morning of January 1, 1997. Wednesday.



House Full of Spiderwebs

I am in the Loomis Street house, possibly implied to still be living here. My sister Marilyn (half-sister on my mother’s side) is present at times. There are spiderwebs everywhere. (I have dreamt a number of versions of this situation throughout my life. In this dream there is less of a focus on spiders than is usually the case. There is minor frustration at difficulty in moving from one room to another. My dream’s essence is not threatening or nightmarish in any way.)

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Fish Recycling?

A recycling symbol is rendered as a triangular image of trout or salmon. Its meaning is not fully clear.

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Miniature staircase of gold coins

I am arranging gold coins while sitting at a table in an unknown location. They form an implied miniature staircase. (Both gold coins and going up a staircase have occurred as dream state exit markers in previous dreams back to early childhood. A staircase typically symbolizes the inevitable return to consciousness as well as the implied exit point of the dream state. It is used the same way in guided meditation and hypnosis.)

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Morning of July 27, 1996. Saturday.



In my dream, I own some sort of large unusual aquarium (similar to the one my brother had in real life in La Crosse at one time). My mother and oldest sister Marilyn are present in addition to my wife Zsuzsanna. After a time, an unexplainable event occurs. There is some sort of miniature “storm” or whirlpool-like event in the aquarium that is apparently being caused by some sort of unknown event occurring elsewhere (and from where, is unknown).

There is one fish in the aquarium (I am uncertain of the species) and this fish swims at an angle as far away from the turbulent water as possible. The fish remains uninjured and apparently safe thus far.

After time passes, though, the aquarium falls apart and all the water flows out (waking point). There are no longer any fish, but there are now two multicolored birds that seem to be male and female. They are either lorikeets or resplendent quetzals (or a composite of both). (My present guess in March 2015 is that they were quetzals, or composite of quetzal and hummingbird, as this is a recurring dream element for me).

The more dreams I review over a lifetime, the more the decoding comes out. Assuming these two birds were quetzals (though the entry image is of lorikeets), they would simply represent my wife and I as “ascended” on at least one in-dream level (looking back on my dream from “Soul’s Union of the Quetzal and the Silver Sebright Bantam” from March 30, 1986, where I have enhanced the imagery from that entry to be nearly identical to my dream).

That March 30th Easter dream always seemed like a metaphorical ascension type, and if such is the case, this dream probably relates the solitary fish as an isolated aspect of myself deliberately avoiding the union (or Merkaba) for whatever reason (likely as the fish is on its own), and that this July 27th dream touches this period to where we now have the birds to represent us at one level. It seems fairly straightforward and obvious at this point (August 9, 2015).

Morning of March 10, 1986. Monday.



There is something found in a special small cardboard box covered with fabric, like the type some wristwatches are purchased in. It seems to have been hidden in an additional compartment inside. I seem to be a different character, seemingly a young version of Ray Milland, also having his voice when I speak, this being before or during his death in reality, though I had not seen any of his movies for some time. This seems important, as although my dream does not precisely reflect the plot of any movie he was in, it does have similarities and some of the same mood throughout to the movie “X: The Man with the X-ray Eyes” from 1963.

The box contains a special lens. It allows the person who looks through it to “see forever” and has different ways of displaying and revealing the otherwise unseen, not always consistent.

As the other character, I become addicted to this new way of viewing the world. Over time, my eye begins to bleed. I have similar opportunities as “X” (from the Ray Milland movie) in seeing through things, as well as having the telescopic perspective. At one point, I hear a seemingly ominous line from my character that goes, “when I look through the lens of evil, I can see myself looking back” and this seems to be the case. I look through the lens, and in the supposed far distance, is a scene of me sitting on a bed and looking back at me through the same lens, like some sort of distant mirror-like reflection. This seems to be some sort of extreme point, where the lens is now functioning in a different way.

In reality of course, because the world is a sphere, seeing everything on the planet would not be possible and would be cut off at the horizon (more so, there would be no potential for a distant mirror-like reflection). The lens seems to bend light in a way where you can see all the way around the planet and back in either perspective. (There is also a point earlier where I see myself looking through the lens, but from the back. This was an influence from a scene of the same concept from the original “Land of the Lost” television series.) I can also see into distant space, infinitely.

Eventually, my eyes become larger and bleed more, being very bloodshot, though one eye is much worse, implying some sort of side effect, as I use it more for the lens. Over time, I grow scales on my arms and legs and eventually gills on my neck. In my dream’s last scene, I become a mooneye fish and do one last vertical leap from the water’s surface. The fish’s eye is also bleeding, seen from a distance, followed by a dramatic zooming in as if from a movie.

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Ray Milland died on this tenth of March, after my dream. Additionally, my mother developed a severe eye infection where one eye looked extremely bloodshot (and she had never had such an infection before). Because I wrote this dream out as a short story after I woke, it later seemed very strange for my mother to read it when one of the lines read “the eye looked awful”, followed by other related details. I felt embarrassingly inconsiderate (though I had written it out prior to her condition). Additionally, I had caught a mooneye fish later, which is a type of fish I rarely ever caught.

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Morning of January 8, 1983. Saturday.



I am in a mostly unfamiliar area seemingly in La Crosse. I may be near the place called Bonanza (which is a restaurant, I believe) where people fish. Over time, there is threat of a flash flood. A lot of people are struck and carried away by the rushing water and I end up hanging onto some sort of wooden debris (part of a house, I assume), quickly floating directly north. I suddenly notice a large, healthy, silvery fish next to me as if it was just tossed from the water somehow, or more like riding the waves at the same pace I am, remaining uninjured. It seems somewhat important, like a significant event for me. I am not sure what species it is; it may be a large herring. I feel a sense of vividness at that point, the most vivid part of my dream. It seems almost mystical. I have found that other people have had very similar dreams, one mentioned in a lecture about it relating to the gift of abundance.

Morning of October 1, 1980. Wednesday.



My main dream sequence was somewhat abstract and mostly involved looking around in an unusual store that was a distorted composite, with what was being sold together in the same store as such not making much sense. There are craft items, fishing tackle, and possibly school textbooks on certain shelves, and possibly food. However, the waking transition was very clear as it usually is and can easily be decoded.

I am later fishing while standing on a roofed sidewalk. I am at the front of the store (facing east) but which also mainly looks like the entrance to my middle school in Florida. The parking lot has been replaced by a large body of water which comes up to the level of where the parking lot’s surface would otherwise be. This is where I am fishing.

After a short time, I hook onto something that feels very heavy and large but does not fight that much. Soon however, a huge catfish slowly emerges from the surface of the water, slides on its stomach up onto the sidewalk and swallows an unknown chubby male (of perhaps forty) who had been standing about eight feet to my right. There is a sense of awe but I am also somewhat amused.

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I would rather experience coalescence autosymbolism by watching another (typically unknown and presumed fictional) dream character being swallowed than experience it as my dream self. This is otherwise autosymbolism for the illusory dream state being swallowed up by the conscious self identity and the distorted dream self coalescing back into consciousness. The parking lot is liminal space (autosymbolism for being in a specific level of unconsciousness between dreaming and waking), and water lowering waking symbolism eventually commences here as in many other dreams. An area of land being replaced by becoming the surface of a body of water has happened in a number of my dreams, and other people have reported this as well.

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Morning of October 2, 1965. Saturday.



My dream contains scenes of a red anglerfish of which I mostly perceive as just below the surface of the water each time. I am walking in Pettibone Park with Marilyn (an older half-sister on my mother’s side) and her husband Bob, mostly going southeast, from the Barron Island area. They do not seem to notice the fish or show any concern. I do not feel threatened at any point, only somewhat wary of being near the particular area of water it is in at different times.

I am aware that this ugly fish is possibly a threat to nature in that it is apparently eating all the fish in a smaller pond. There is one point where it appears to be the only fish left. There is also an idea that it may be drinking all the water that it is in, although I also consider that the water is lowering naturally (though in real life, it is mostly only one main body of water in the area, though the water did rise and lower based on another area being used for barge traffic). There are scenes where the fish seems to teleport to different bodies of water ahead of us as we walk through the park, including a rut that I reason was made by a tractor, the rut having been filled with rain a day or two earlier. I also get the impression at one point that it can breathe out of water, at least for a short time.

There is a thought that it has certain human characteristics and perhaps can speak, though it never speaks in my dream. Still, I consider that it may be able to communicate by thought with its “antenna” (esca). There is an expectant awareness when there seems to be a “channel open” in a similar way as a radio being on a station without an audible broadcast (a sparsely recurring dream state awareness caused by being subliminally aware of being in the dream state). This scene occurs while we all stand on a small bridge, which is an altered version of the South Pettibone Drive bridge in that it curves upward towards the middle (the alteration being a result of biological vestibular system dynamics).

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Key factors:

• Water lowering waking symbolism, common autosymbolism for the cessation of the dream state, unrelated to waking life. Water otherwise symbolizes the absence of emotion and the essence of sleep and unconsciousness.
• Bridge, autosymbolism for the imminent return to consciousness, unrelated to waking life.
• Anglerfish as emergent consciousness autosymbolism whereas fish and other water denizens as emergent consciousness autosymbolism is otherwise very common.
• This dream was primarily influenced by “The Outer Limits” episode “Tourist Attraction”, seen just prior to sleep. However, the fish-like creatures in “The Outer Limits” episode had arms and legs.
• Some deep-sea anglerfish emit light from their esca. While this may simply be autosymbolism for the increase of neural energy in the waking transition, it may also hint at transpersonal communication in liminal space and what later in my life became the Blue Flame Event with Zsuzsanna. This is despite the influence of “Tourist Attraction” with the fish-like creatures emitting ultrasonic pulses.
• The color red typically only becomes a factor of dream-self focus when I have slept too long.
• My original childhood dream journal title was “The Devilfish”, not because I had any concern or belief in any “devil” but because it was red and additionally vaguely associated with Hot Stuff, the Harvey Comics character.
• Obviously, there were no anglerfish in the region in real life.
• To see the location of my dream’s last scene, Google “310 south pettibone drive la crosse wi” in quotes and select “Street View”, though the area has changed somewhat since the 1960s.

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