Blue_Opossum

Morning of August 25, 2017. Friday.



In the first part of my dream, I am mostly in the background (as a secondary character) watching high school students being questioned about drug usage and something to do with playing sports at times when sports are apparently not allowed (or at least relating to how the games are played), though this factor may be distorted as I am not focused on every detail. Apparently, every student in the school is being punished based on the actions and beliefs of only about four students. The events and interview scenes (which sometimes include two or three students) are not that vivid. The most vivid part is in the last segment of my dream, which in actuality is an offset dream that initiates the waking symbolism and also has the perspective of semi-lucidity.

I am in a mostly featureless room. It begins to have the essence of higher liminal space (closer to waking consciousness). An unusual version of Johnny Whitaker, the actor from “Family Affair”, walks into the room. It seems he is going to be either in an interview or some sort of publicity, perhaps even an acting role. (This is not certain.)

I recognize him as a celebrity. I call out “Jody!” He smiles and nods but does not move from his location near the doorway.

I am puzzled by his lack of initiation from my side, due to very vivid memories seemingly being present, but not quite within reach. “Jody!” I yell again.

His expression changes as if he suddenly gets it. “Buffy!” he yells and runs up to me as we hug. He then steps aside and speaks three phrases that sound like gibberish with a “sudsy” essence (as if gargling and speaking at the same time). However, he then clearly says “How are you?” and nods happily as I wake.

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Although this dream was typical coalescence waking symbolism (fairly common for me since childhood), there are some very eerie underlying layers, especially when looking at recent trends in my dreaming patterns.

Consider that I have not seen the episode of “Family Affair” that this dream is directly associated with since I was very young. Also, I have not actively thought of Johnny Whitaker or Anissa Jones as in “Family Affair” in many years. Anissa Jones died on August 28, 1976, three days from today’s date. Johnny Whitaker was born December 13, 1959, so is close to my age (though I was born on December 20, 1960).

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As a supplement, I will add details from three recent dreams that utilized coalescence waking symbolism:

“Socket Repair and my Mother and Classmates” of August 19, 2017. (Preconscious as former schoolmate Sam M and recognized as such).

“Fixing a Bridge (featuring Dean Norris)” of August 24, 2017. (Preconscious as actor Dean Norris, unrecognized as a celebrity.)

“Meeting Johnny Whitaker (coalescence waking symbolism)”, this dream entry’s dream, of August 25, 2017 (Preconscious as actor Johnny Whitaker, recognized as such.)

What is interesting is the one with Sam M, where I absentmindedly (and accidentally) punched him in the face, thinking he was a different former classmate. He then gives medical attention to my other arm (which in real life was cramping up as I slept.) The vividness of this dream was equal to the other two. It also turned out to have prescient threads (as most of my dreams do, but I do not always update them as such). In this case, with no way of me expecting it, he had posted a joke on Facebook within about a day after my dream. It was about a professor asking God directly for “proof of God” and ended with a soldier getting up and punching him, saying that God was busy protecting soldiers so he was sent. There is much more, but this entry is long enough.

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Morning of December 3, 2016. Saturday.



In the hour before dawn, I find myself in an unfamiliar setting. It is a parking lot of which may be that of a restaurant. A 1969 bronze green Land Rover Series IIA Station Wagon is the only vehicle present in the semi-darkness. Areas beyond the parking lot and building remain indiscernible.

Two unknown Caucasian males of about forty, wearing sage safari jackets, are attempting to coax two male lions into the back of their Land Rover. My dream self does not consider how foolhardy or unlikely this is, including the probable lack of space for the lions inside their vehicle. I do not feel threatened by the presence of the lions.

Over time, one of the men somehow manages to get one of the lions into the Land Rover and onto the back seat. A short time passes and I no longer see the man. The other lion is eventually behind the Land Rover. I begin to get the impression that a lion will swallow the remaining man, which may have been the fate of the other man. I begin to feel somewhat wary but not in immediate danger. The other man is standing near the back of the Land Rover and I am viewing the scene from the front of the Land Rover, to its right side.

Just as the lion that is still outside the Land Rover seems to consider perhaps killing or swallowing the man, non-lucid dream control begins…

The male lion transforms into my wife Zsuzsanna. She is wearing a long white flowing gown. The man seems to disappear as Zsuzsanna approaches me to give me a hug. Joyful coalescence is the waking factor.

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My dream is clearly explained here in a more detailed resupplementation (rewritten on Friday, 22 June 2018):

The outcome of this dream is that the reticular activating system modulation factor (the lion) transforms into the emergent consciousness factor (my wife Zsuzsanna) because of non-lucid dream control (because of my advanced understanding of the dream state since early childhood). A lion’s essence in the dream state is an autosymbolic composite of two factors. The main factor is coalescence. (This means that I see a lion as having the potential to swallow my illusory dream self back into whole consciousness). The lesser factor, as with a domestic cat, is being “witness” to the dream state and the nature of liminal space. You will see the same autosymbolic processing factors in hundreds of my online entries, but always unique.

The parking lot setting is a common form of autosymbolism for a specific level of consciousness during the waking transition as a result of subliminal association with the physical body being inactive while asleep. (In contrast, moving vehicles represent a liminal awareness of vestibular system correlation concerning the physical body while asleep.) The Land Rover is an autosymbolic association with my physical body, as most singular vehicles are in dreams. Ultimately, the parking lot’s autosymbolic nature lacks the more defined anticipatory factor of the waking process and suggests a subliminal desire for returning to deeper sleep (and as such, serves as ultradian rhythm autosymbolism).

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These are the layered causes of this dream:

The television series “Daktari”, which originally aired from 1966 to 1969.

Clarence, the Cross-Eyed Lion, from the aforementioned “Daktari” series. (I was sometimes called “Clarence, the Cross-Eyed Lion” in elementary school. This was solely because my middle name is Clarence.)

Early childhood dreams of my dream girl in a flowing white gown, originally influenced by “Isle of the Dead”, a 1945 Boris Karloff horror film, certain scenes of which fascinated me in a romantic sense, rather than frightening me, at age four.

Erin Moran, as in the aforementioned “Daktari” series, resembled my real-life schoolmate, friend, and neighbor, Brenda. My first known euphoric waking transition, also the result of a hug, featured Brenda in the final scene. This astounded me and, because I was only eight at the time, I did not know what it was biologically until a few years later. Brenda was also validated as the prescient stand-in for my wife Zsuzsanna when my dream girl was not more efficiently rendered (that is, looking and sounding exactly like Zsuzsanna before we knew of each other in waking life).

“The Sleeping Gypsy”, an 1897 oil painting by French Naïve artist Henri Rousseau. Rousseau described his painting as follows: “A wandering Negress, a mandolin player, lies with her jar beside her (a vase with drinking water), overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic.”

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In decoding my dream, the autosymbolic dreaming and waking processes reveal the following sequence: Brief contemplation of “Daktari”, my childhood dream of hugging Brenda, subliminal awareness of being asleep, emerging awareness of my conscious self identity and that I am sleeping with Zsuzsanna, liminal recall of “The Sleeping Gypsy” mixed with romantic non-lucid dream modulation related to “Isle of the Dead” (and its analogy to being in the dream state), liminal perception of my wife as a “sleeping gypsy” (as she is Hungarian Romani), and finally, transmutation of the lion of coalescence (being “swallowed” into waking consciousness) to euphoric coalescence (being hugged, which is a more positive analogy of being “swallowed”), which is otherwise of the same autosymbolic foundation.

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Morning of October 13, 2014. Monday.



There were (among other dreams on this date) three dreams that slightly ran into each other. The last one was extraordinarily lucid, of the type of apex lucidity I do not usually post online, though there is a humorous side here. I enter the state somewhat slowly, being aware of the various environmental features which come into focus and which I know are solely in-dream (which is typical of this state since earliest memory). Finally, when I am in the full-body state, having arrived, so to speak, I notice it is a version of my sister Marilyn’s house, being similar to her living room. This was probably residue from the previous longer dream (which was non-lucid). Within a short time, with no need to mentally will a scenario, a goddess-like girl appears, seemingly a younger version of my wife but dressed somewhat atypically. (The Loomis Street house is where I was staying when she first wrote to me in 1991.) I am fascinated with the realism and reach out for a full embrace. She seemed to have walked from around a corner, although technically there was no corner and it was more like walking from behind an invisible prism of human height. I am amazed by the clarity and the beauty of the imagery. However, I am also aware of environmental noises at times (in the real environment as I am sleeping).

I decide to leave the dream state to make sure my real body is in a comfortable position. However, when I “wake”, I do not notice right off that I have had a false awakening into another dream (though I am not lucid now) and in much the same environment. Eventually, I do come to realize that I went into a less vivid dream rather than really waking up, which seriously annoys me, so then I do wake up.

Previously, my earlier dream was a typical “search” type where I just look for old documents and such. I had wanted my mother’s old letters to my sister to do more research on my life that I had not documented myself, as she wrote quite often to Marilyn from mid-1967 to mid-1978. However, after my sister died in real life it was the typical fiasco where one person (not even a relative, but a supposed “friend” of hers) decides to throw everything out with no consideration for anyone else in the family or even attempting to communicate with anyone. In my dream, though, I actually see a younger version of my sister walking to one of her dressers and she seems slightly confused by how everything has been put into bundles, with almost everything in her house in stacks (including clothes, books, personal documents, and so on). I do manage to find some letters, which I believe are the ones I want. There is also a scene where a box has been put aside with certain things wrapped for my oldest daughter. There are many manila envelopes in the front room that seem sealed, some apparently related to comic books I had made for her (far more than in reality).

In another dream, I am seeing most of humanity as a different “species” than myself, which is no surprise. People, that is human beings, start out as some sort of chimpanzee-like being and as they grow older, they turn into a creature that resembles a baby elephant. This is possibly a play on how “apocalyptic” elephants came from representing my childhood fear (pachydermophobia developed out of real-life events) to representing people falsely promoting soon-upcoming worst-case scenarios (doomsday or judgement “trumpeting”).