Blue_Opossum

Morning of April 29, 2018. Sunday.



I am in a large featureless distortion of the Loomis Street house’s porch (about twice as big as it is in reality). My brother-in-law Bob is present. Curiously, I am also vaguely aware of my youngest son. (This is a typical distortion of random threads, as my son being present is the only thread relevant to my current conscious self identity.)

Eventually, I see (and subliminally will by way of RAS modulation anticipation) a snake crawling on the wall (in the manner of if it was actually the floor). I cannot be sure if it is venomous but Bob comes in to distract it.

However, three green snakes end up being present, one that Bob is battling near the center of the porch, one near Oliver (though not perceived as a threat) to the right, and one near me. I seem to be standing on the right arm of the armchair yet also standing on the floor. It is an unusual sense of bilocation. I move my legs around in order to deter the snake, still wondering if it might be venomous, but there is no dominating sense of threat or any actual fear (probably because I know it is the RAS modulation factor as the waking alert).

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This dream type is a form of vestibular system correlation, which occurs in countless unique forms but basically always means the same thing, that I am trying to discern the nature of my real physical body in growing closer to conscious self awareness. This is not the first time that snakes have occurred in correlation with this process, which is why they are on the wall rather than the floor at first.

I have not seen Bob since 1994 and have no idea of his present status. My son’s appearance in this case relates to a concern about his health, though it is not a major issue. Snakes sometimes relate to autosymbolism regarding the human intestine, especially in indigestion. Autosymbolism is often based on visual associations (such as a snake being associated with the human intestine), not words (as language skills are not even present in most levels of REM sleep).

As always, a porch is my most common liminal space autosymbolism since childhood, which indicates a specific level of unconsciousness between sleeping and waking and is unrelated to waking life (other than a porch representing liminal space in waking life as well, and you will find much dream autosymbolism is not very difficult to understand when eliminating the “interpretation” fallacy).

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Morning of June 7. 2017. Wednesday.



The first main scene of my dream involves going to a very large unfamiliar post office, though there is the common indoors-outdoors ambiguity. There are a number of rows of post office boxes and drawers, though no interior walls or discernible building features. It seems to be late morning. The sky is overhead; no ceiling implied for the “post office”. It is somewhat like a simple maze in the last part of this scene. I see a group of about six police officers between two rows. In another area, there is an unfamiliar male in black appearing with a gun, though he is not a direct threat to me. Still, I do not want to be near him or the people he aims at from time to time. From an unrealistic distance, I am still able to read a yellow strip of writing below one post office drawer (in about the middle of the feature) that has something to do with needing a special code as well as the key in order to open it. It seems related to a business. I have a curiosity over what might be in the drawers, though I also consider there might not be anything.

Several unknown males join me as I move around the rows of post office boxes to be out of the viewpoint of the man with the gun. He is not after us specifically but I consider that he may not want any witnesses regarding his activity towards others. He does not fire the gun at any point.

Eventually, I leave the area and find myself in an unknown neighborhood. A young version of Zsuzsanna is to my right (though I am seemingly much younger as well, perhaps only about twenty). It is as if we have only been together for a short time. Walking ahead of us and to our left is a thin female with short and curly gray hair. She is unfamiliar and seems at least sixty years of age. She is wearing light-colored slacks and a blouse. She is carrying a large black-and-white cat on her right shoulder (which I assume to be male).

Suddenly, there is some sort of change where Zsuzsanna is now somehow sitting on the lady’s right shoulder and I find myself carrying the large cat near my left shoulder. The old woman somehow caused this because she wants us to have a meal with her at her house and talks to us about this. Her cat was also apparently becoming difficult for her to control, which is why I am now holding it. I am holding it up and out with both hands and it struggles a bit but does not get away.

We reach the area where she lives. She has one neighbor (also an older lady) to our right. The chicken-wire fence is lying on the ground, rolled out to where one must walk on it to get to another gate where there is a small enclosed garden area (which is about the same size in area as our bed and probably a real-time play on “garden bed” as a dream sign). It almost seems like it rolls out automatically (somewhat like an irregular carpet) by the will of the person going to the old woman’s house. I do not really feel like walking on wire mesh, so I hover slightly above it and slowly fly mostly in a vertical position to the enclosed garden area.

Zsuzsanna, being already behind the first gate, is partly lying on her right side on the ground near the right internal corner of the garden fence, holding herself up with her arm. There is soon distorted imagery to where a couple large blades of tall grass partly block my view of her face, but this seems like some sort of “story” related to “Alice in Wonderland”. The old woman talks about a man who tends to her garden, but this becomes like a dream within a dream. The man is also seemingly playing a televised role, dressed as a farmer or a minimal clown as a farmer, but being called a “demon” in describing what he is doing in tending her garden and also having unusual snakes on display to the public. I consider if he feels odd about being called a “demon”, as they do not exist and there is nothing threatening or negative about his persona or activities. He seems to tolerate this in playing a role in a television show. He holds up a couple different snakes that he has cared for. One has a catlike head. The other has a black head on a light brown body but the head of which is like a miniature shark. There are no negative emotions of any kind in seeing this impossible imagery.

Dreams do not really have “interpretations” in the naïve popular usage of the term but they often do have layers of meaning, primarily based on real-time levels of consciousness which may or may not relate more directly to the present conscious self status.

There is a preconscious precursor here. Although he has a gun, it does not create enough of a sense of danger to activate the waking mechanism, which is a major function of dreams (though not the only function as some “experts” claim). The simple maze relates to finding specific threads of my conscious self identity for my temporary fictional dream self to find its way to the waking threshold. The post office probably has two underlying meanings, real-time communication between different levels of the self while not fully awake, and possible links to the collective unconscious (or even collective conscious). It may also relate to precognitive threads with someone the dreamer is not yet in communication with (and may not be for years), something I validated from childhood dreams relating to my “mystery girl” (Zsuzsanna).

The dark cat represents a real-time factor of being asleep (and often represents an aspect of liminal space), as cats are known for sleeping a lot (as well as being active at night when people sleep).

The personified preconscious takes on the form of an older woman carrying her cat. Her giving it to me relates to activating my emergent consciousness precursor. “Beyond the fence” is a metaphor for a shift in consciousness while in the dream state. The first fence is on its side because, in reality, I am lying down (sleeping) instead of being awake and standing up (thus it is a second-level dream sign). I often hover or fly very well and effortlessly in the final stage of a dream and without giving it much thought (which relates to lessening the hypnopompic jerk and waking more softly as it is premonitory of the biological falling sensation). My emergent consciousness (as a projection as the gardener with the snakes in some sort of skewed television role) is illogically called a “demon”, but in a very matter-of-fact sense, with no associations with negativity of any kind. This probably relates to my status of being in a world full of superstitious people who have little or no understanding of the dream state. The imagery, though slightly grotesque (primarily the snake with a black miniature shark head, which is a “less water” factor of which has continuously occurred in my dreams on a day to day basis for over fifty years and is both biological and symbolic on a number of levels) has no effect on my perception or emotions, just as with hypnagogia visuals (though this becomes more of a hypnopompic state). I wake very slowly and softly, with no physical hypnopompic effects.

Morning of April 16, 2017. Sunday.



This dream has various disconnected scenes featuring snakes. Its vividness grows then lessens several times. In this dream, our house seems rotated in orientation as well as with a few other changes. For example, the wooden cupboard in the bathroom directly faces the bathroom door rather than being perpendicular to it. (Despite the fact of having carefully documented and studied tens of thousands of dreams for over fifty years, the same setting, regarding its layout and overall appearance, has never occurred more than once in a dream other than in resets during the same sleeping period though even then there are differences.)

There are a number of snakes that appear over time. It starts by me noticing one in the “living room”. The living room is ambiguous as there is a vague awareness of being indoors and outdoors at the same time (a very common perception in my dreams since early childhood). The floor, for example, is somewhat like dirt, and one snake crawls up out of it. I am aware of how dangerous the snake is.

There is a scene where I catch a snake and its head is close to my face. At this time, I suddenly become incorporeal but the “other me” (who is now a different unfamiliar male) is bitten on the face by the snake. The snake then apologizes (in a human male voice) to the man. I see that it has somehow removed its fangs (perhaps spit them to the floor). It tells the man it is going to remove the venom by sucking it out. Each area where the snake’s teeth were is somewhat like a sucker on an octopus tentacle and this will apparently aid in the sucking out of the poison. The man’s life is saved by the snake that bit him.

After catching a number of large deadly snakes, I put each one, apparently dead, into a small box (which is somewhat like a white gift box of the type that would hold a wristwatch). By this point, the snakes (only the ones in the box) are only the size of small earthworms. It seems I am sending them to a herpetologist for a special study, perhaps for payment. Each snake is different. I catch a white one with purple polka dots. There are layers of tissue in the small white box that separate the snakes. I look to see if any of them are still alive but I do not see movement.

I have a false memory as Zsuzsanna speaks. She “reminds” me of the time when a dangerous eastern brown snake (said to be the world’s second-most venomous land snake) was in our bed. I recall the event clearly (even though it never actually happened, either in my dream or real life).

I go into the bathroom and close the door. A large snake is behind me just outside the bathroom door. I feel that I have no choice but to crawl up onto the top of the wooden cupboard (which as described above in the first paragraph is in the wrong location). I see its head come out from under the door. I start throwing toothbrushes, razors, tubes of toothpaste, combs, bottles of shampoo, and anything I can get my hands on. Each time I throw a bunch of items, the snake backs away, sometimes going back behind the bottom of the door, but I soon see it appear again each time. I throw items at it at least ten times or more and it gets very annoying to see the snake coming back under the door each time. Finally, I decide to climb down and make a run for it. As I am leaving the bathroom, Zsuzsanna calls a different snake a “coral snake”. Apparently, it had also been in the bathroom (perhaps in the bottom part of the cupboard). It is banded red and black and another (unknown male) runs from it (though I do not question where the other male comes from).

I then start picking up all the razors, toothbrushes, and other items that I had thrown so that I can put them back on the top of the cupboard. There are some other scenes with crawling snakes and another scene where I climb up onto the top of a tall bookcase, but my dream fades. The bookcase seems to be in the living room of the Loomis Street house, facing directly out from the doorway of the northeast bedroom and blocking it. As usual, I do not regard the fact that the bathroom is from our present home in Australia (though altered) yet certain other rooms are from the Loomis Street house in America. I have decided this may be a form of sustained doorway waking symbolism. The snake is seen as crawling under the bathroom door (thus there may be a subliminal awareness of needing to wake and use the bathroom), but in the last scene a bookcase is blocking a bedroom door. (Books are associated with an increase in neural energy and emergence of more viable thinking skills.)

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All my life, (regarding non-lucid dreams) I have contemplated why settings are always different and rarely based on any correct memory of a real location. Although the “subconscious” can never get anything right, even the most basic detail, my theory is that the setting is rendered from the concurrent dynamics of the dream based on economics and convenience. For example, if the incorrect layout of the bathroom had been correct, I would not have had the open view of the snake coming under the door and I would not have as easily been able to target it by throwing items directly at it. I would have had to fling them at an unusual angle down close to my left (while having to lean more over the edge). There have been many dreams where the incorrect nature of the setting seemed directly based on the flow of my dream’s situational dynamics. It makes perfect sense, as that is how waking thought works. (For example, when you have a particular new thought, the exact same sentences do not manifest each and every time forever afterward, or there would never be a new thought, thus dream settings are skewed by thought continuity, not based on static memories of real places.)

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Morning of January 22, 2015. Thursday.



I am “locked” for quite some time into a seemingly perpetual vivid lucid state, especially near the last section, which shifts into higher clarity exponentially - a partial repeat of an earlier state where sensuality was enhanced and sustained for an atypical length of time, but my focus begins to wander a bit. I find myself on Loomis Street, though it is a larger version of the house. A sense of danger automatically penetrates my dream’s perspective at first, but because I am lucid it is more like a folly. It is something to do with a play on “kraits” relative to “crates”.

A smaller black krait (venomous snake) appears in the living room. I pick it up and it eventually bites me but I am not remotely concerned (even feeling the pain) and even study the fang marks on my hand, which soon fade. This dream scene repeats at least six times, as if “resetting” but with minor variations, including the species of krait. Members of my family are there including Marilyn (deceased). I am fully aware of the venomous nature of the snakes, but have no concern, as I see them as in-dream “glitches” or “forced drama”, where the mind typically creates an imaginary problem or pointless fear as a challenge (or for deliberate self-limitation) of sorts.

At one point I cut the snake’s head off after it bites me and it slowly dies, but I put the head back on and it comes back to life and bites me again (a scene likely influenced by a similar event from “Castle of Blood” from 1964 - one of the only movies that ever held my interest over time). Not that impressed, I put the head on the tail and the tail on the head. I am still not impressed. The snake still acts normal at that point.

I go into another room and find a large “crate” which is eventually more like a toy box or hope chest. This is apparently where the kraits came from originally (though it turns out that it is the mattress producing them). The large wooden chest is filled with numerous variations of plastic simulated human bones, including skulls, and some model organs. I am somewhat annoyed that I cannot find real bones in the chest and spend a bit of time looking at the somewhat amazingly rendered pieces, especially with regard to the diversity. My dream then goes a bit strange, more vivid, and highly atypical.

I am lying in a bed near the chest (which is at the head) and the bed becomes like viscous liquid, an actual “primordial soup” though I still automatically float atop it. The vivid perception seems almost “impossible”. From lower within the mattress that is seemingly made of murky water somehow kept in shape arises another krait, in a horizontal stretched-out position, which I pick up and twirl around in my hand and then throw it on the floor, unimpressed. This happens numerous times. I look at a certain area of the surface (which seems slightly magnified) and clearly see almost the exact same shape repeat each time in its emergence and I question whether or not this can even be possible. It also frustrates me somewhat. Somehow, it seems too “perfect” to be able to be rendered in-dream in this manner so many times in a row. However, the snake emergences eventually turn out to be short lengths of burnt rope now and then, or weirder, part snake and part rope a couple times (that is, a rope with a snake’s head or a snake with a piece of rope as the “head”).

Eventually, the “snake” that rises up within reach is actually a small branch, which crumbles slightly in my hand like ash, which I also toss to the floor. Still, there had been something about the imagery forming that seemed like tapping into a part of the mind I had never encountered before. I eventually decide that these “snakes” are just “pieces of shadows” and I seem to be right. I “pick up” the next “snake”/shadow and it does not seem to actually be there even though it moves about somewhat snakelike before separating into several smaller cylindrical ash forms that mostly dissolve. It was almost like somehow picking up the crest of a wave and giving form to it by thought alone.

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It can be seen that the snakes here represent the power of creation and manifestation in the context of dream state alchemy. Within the deep induction looking down into infinity, there is ambiguity in weather they are snakes, burnt branches, or solely waveforms and elongated morphing shadows that are only partially phased into my “reality”.

Morning of December 5, 2014. Friday.



This was a very long dream but which was not all that meandering, as the events seemed related to the main theme for the most part.

My older (half) brother Earl (deceased) is around, but not of a main focus. He has not appeared in that many of my dreams - my guess is that because I was looking at a much older dream (from July 2, 1976 - “Rocket Science”), he was in my stream of consciousness in a minor way. This has happened often before with reviewing older dream work and there are usually other similarities that clarify this. This of course would be evidence that dreams do not always have present significance (which I came to learn many years ago anyway - especially long-term precognitive dreams).

My dream’s setting is not fully familiar, although the Cubitis backyard seems to be a facet of the apparent composite location. There seem to be apartments lining a northerly side of a back road, where the perimeter of the orange grove would have been in reality. The road is vaguely reminiscent of the “eternity bridge” (going on to the east), a recurring locational association that took over the location of the real-life large shed, and is coming to establish a particular symbolic link over my lifetime. I find this interesting and may do an entry on it and the transitions.

My family and I are digging near the roadside as some sort of Halloween game or “treasure hunt” based on some sort of contest involving about three families (this being vaguely related to a real-life Halloween party at the library my two youngest sons also were in). I dig up a colorless pumpkin mask (I first think is a real skull) and show it to my youngest son. There are several other times when I reflect on the likelihood of human remains being nearby due to it also having been a graveyard in the past - although this may only be an assumption. Still, we mostly only find broken pieces of old plastic toys and such. (At this point I almost become lucid. However, I still seem to be aware I am making my own dream but from a subliminal level of self-awareness - hard to explain. It often involves trying to mentally force debris into transforming into human remains solely for the dramatic in-dream impact.)

An older female in the northwest apartment comes out for a short time and seems to wonder what we are doing there but does not speak to us. The time is not quite defined and changes a couple times.

A main vivid and very correctly rendered scene is focused on finding an old glass soda pop bottle which I then put clusters of larger nails into that I find in the same general area, most of which are rusty. I may be putting all the nails into the bottle so no one steps on them later, but there seems to be an additional unknown reason in the back of my mind.

I also dig up a brand new plastic-wrapped A4-sized package that turns out to be an ELA (English Language Arts) worksheet set for a learning module for possibly grade two. I decide to unwrap it and look at the various pages (it is about half an inch thick) - there is very clear detail - it seems to be tied in with spelling and vocabulary for the most part (and may be connected to a CD or other recording type), the pages divided into about four separate task panels, such as letter fill-ins and shorter word lists, including with draw-a-line match-up tasks. I decide that this will be given to my youngest son.

One other major scene begins with what seems like a male and female arguing southeast of our location. The arguing is fairly clear and goes on for several minutes (although the voices are not familiar at all - it may be “scripting” from someone actually arguing on the street outside our house while I am sleeping). They then walk northerly to where we are, continuing to yell at each other. The man is saying something about choking - perhaps relevant to a medical condition - he seems about ten years older than I. My brother Earl punches him in the left side of his face several times, knocking him over each time, near a circular wooden picnic table fairly close to the railroad tracks (which was actually the one in Wisconsin in my sister’s backyard, not ever in Florida).

Soon, the unknown male and his female partner become giant snakes, towering over everyone (by about ten feet). This seems to be based on a particular time expectancy, as some sort of seasonal ritual. Their “job” is to move down upon people to “kiss” them to instigate some sort of seasonal transformation (in the person they “kiss”). I hold a large circular couch pillow (the one we have in real life) over my head and am easily able to ward off the snake by doing this. My dream is not that well-rendered at this time and I eventually wake.

What I find interesting about this last part is that I was semi-aware that I was creating this “attack” upon myself (apparently for the dramatic effect) - thus discounting the theory that entities or “God” influences all dreams (although I have had extremely vivid lucid dreams where I sensed another presence). It seems the older I get, the more I become aware that I am making my dreams on another level even though I am not at all lucid at any point. I have had these realizations often in the past (even as an infant not yet able to walk), which are entirely different from in-dream lucidity. It seems to conflict with popular ideas about dreams.

Additional important note: The giant snake scene seems directly borrowed from a “Pinocchio” View-Master pack (not the Disney version but the Carlo-Collodi version I got for Christmas many years ago and which tied in to many personal associations). Additionally, the reels are round and both the cushion I was holding up and the out-of-place picnic table were round. In fact, there seems to be a vague association with the two notches on a View-Master reel and the potential damage to the pillow caused by the snake’s two fangs; rather ambiguous and nebulous, but very curious.

Morning of October 24, 2014. Friday.

Dream #: 17,476-04. Reading time (optimized): 1 min.



I am in a dream-rendered alternate version of Cubitis, likely in 1974. The school bus has stopped at the next-door neighbor’s house. Instead of getting on it, I walk northeast and end up in a jungle. (The area was mostly cow pastures and orange groves in reality.)

I fly to evade black and dark green giant snakes that follow me as I go back around on a meandering semicircular journey, mostly southwest. I get the impression at times as I am nearing a regional barrier between two worlds that the snakes can swim through the air. The scenario resets to repeat at least three times. Each time, I am also eventually able to focus and wave my hand to cause the snakes to fall back and stay in their territory.

There is something about letters being sent to the wrong people, though that is straightened out (not by conventional means but dream state mental processing that resolves it). Zsuzsanna is here in Cubitis, the distant past and present mixed in the typical erroneous composite.

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(There are times when I was able to correlate snakes with stomach discomfort or the state of the digestive system. There are associations with human intestines because of similar shape and their coiling.)

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Eluding the flying snakes while I am in flight could stem from my subliminal anticipation of the back spasm I experience in specific states of sleep. I can control them at times, though not typically. Their cause stems from a distinct awareness of liminal space.

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1 minute 10 seconds to read.

Sunday morning, 13 January 2008. (Reviewed Sunday afternoon, 28 August 2022.)

Hydra Window

Dream # 15,000-13.



This dreaming experience occurred shortly after midnight in the first hour of 13 January 2008 while my family and I lived on Barolin Street in Bundaberg. I had fallen asleep at my computer while sitting in a chair on our large porch. My head was upright.

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I am aware I am gazing into an undefined dark space with three-dimensional depth. Despite the absence of a discernible light source, the surreal imagery has well-defined detail.

I focus on a floating closed sash window. It has nine small panes in a three-by-three arrangement.

Nine snakes seem to have grown from the wooden window frame atop the window, across its width. They sway about oddly (somewhat reminiscent of stop-motion animation) but mainly remain vertically oriented. The snakes seem about half their natural length but remain a part of the window.

Soon, the window moves away at a moderate speed, not as if my viewpoint is zooming out, but as if the isolated floating window is moving evenly away from me as I remain in a peaceful incorporeal space. I do not feel any sense of movement or momentum (as with my vestibular-motor phasing response in REM atonia) or physicality, only vivid sight.

Because I am in the highest self-aware state of dreaming, there is no fear, only curiosity, and puzzlement. There was no myoclonus (“sleep start”) despite the lack of a defined environment.

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The primary influence seems to be from the hydra scene from “Jason and the Argonauts” (1963), especially regarding the unrealistic stop-motion animation essence my dreams sometimes have. (It was one of my favorite movies growing up, and I have seen it numerous times.)

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Morning of September 9, 1985. Monday.



Watch out…for the horrible vampiric monster…the…Jacuzzi!

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I have said before that I have had hardly any serious nightmares in my life. The more vivid one in my young adult years was during an early afternoon nap. This was the first version of a short series of dreams (only the first one being an actual nightmare), where the name was semi-lucidly altered to something like “Chalcosi” (from “chalcosis” - or chronic copper poisoning), relative to their skin having a paler copper-color when dying.

It was of a horrible legendary creature that supposedly only lived seven weeks. They liked to eat people. They were to blame for the majority of missing people cases. I somehow fell in love with a “teenage” (in appearance only) version of the vampiric creature who I spent time with on a couch in the middle of the night as the rest of her family went out to eat people. This creature was born as a dangerous albino snake with boa-constrictor-like potential. It then changed into a killer albino tree-dwelling rabbit that sometimes leaped upon people at night. It then becomes a larger lemur-like creature (still albino) - becoming more monkey-like in some ways, and eventually an albino human-like creature with somewhat shark-like teeth (and growing as such, a lost one always being replaced, but almost immediately). As they neared death, their skin became a slight coppery color. Their hair was always white. I guess sometimes they wore wigs and sunglasses to hide their true identity, as their eyes remained snake-like. They lived in groups of a dozen or so at various ages.

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Of course, again, this horrifying creature was known as…

A Jacuzzi! Watch out for the Jacuzzis, they are coming to eat your neighbors!

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I awoke from the first version of this in a strange hypnopompic state. I felt dizzy and out of place and was hearing applause and disembodied voices, including the impression of a cheerful announcer talking about someone winning a Jacuzzi on “The Price is Right” - this as I saw the faces of the creatures fading in disorienting spirals. It was only then, after I was waking, that I slowly remembered hearing the word “Jacuzzi” on “The Price is Right” (which I only caught parts of now and then at a sister’s house during this time). I looked it up and finally remembered that it was a fancy whirlpool bath and not a dangerous monster.

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Updated on Tuesday, 28 June 2016: I can now look at this and easily recognize an unusual atypical and subliminal form of water induction (since “Jacuzzi” is a hot tub brand and in fact a whirlpool bathtub implies an essence of the Merkaba as a tornado does) and the strong metaphorical references to circadian rhythms (and even evolution). Albinos also symbolically represent moon induction (which is often linked to water induction relative to the symbolic “tidal” shifting of consciousness in dreaming and waking). Even more curiously, “Jacuzzi” rhymes with “Suzi”, the anglicized form of my wife Zsuzsanna’s first name, more relevant here as I have a relationship with this female Jacuzzi. The unlikely rabbit stage is a symbol for something emerging from the unconscious mind as a rabbit lives in a burrow and even this was a Source clue, as Zsuzsanna lived in Maryborough when we first made contact. Not only that, the age of the girl matched Zsuzsanna’s age from this time period - and to add to that even more curiously, she had a period where she drew vampire animals (and certainly not everyone has an interest as such). This is all very interesting and in fact, validates yet again that most dreams have precognitive layers of one form or another.

Morning of September 11, 1969. Thursday.



My dream starts with an atypical unseen narrator who says, without emotion: “New York Harbor 1969. The city is a mess”.

I am flying over Manhattan in the first scene. I am semi-lucid and vividly aware of curious saxophone and xylophone music (never heard in real life); a series of repeated staccato notes. My sheet music image (only available on some websites with this entry) is close to what I heard in my dream. There is a later version where the third set of eighth notes in each motif is removed, giving a sense of anticipation.



On websites where the image is not available, the eighth notes (except for the last C, a quarter note) are: C C C C, C D C D, C D C D, E E E E, E F E F, E F E F, G G G G, G A G A, G A G A, A G G F, F E E D, C. The tempo is about 84 at first, though is accelerando. The music becomes a bit more intense yet with a less audible orchestral sound in the background, as if the volume is turned down though later up again. (This effect has happened in other dreams, usually when the level of dream state awareness changes, as sometimes the closer I am to waking, the less number of instruments are heard.)

Looking directly down as I fly, I watch a giant snake swim through the water, moving along on the water’s surface. (As such, my dream’s foundation is the most common form; water induction, as water symbolizes sleep dynamics in real time.) The snake is so large that it knocks aside boats (mostly tugboats) as it moves. However, there is also a brief awareness that the snake is of normal size and the debris is more like small pieces of bark, leaves, and twigs as I seemingly watch the “same” scene much closer to the water’s surface (as if of a small lake) before the implication changes again. At this point I also get the distinct impression that I am standing or hovering in my orb form (while incorporeal) to the left of the doorway in the southwest bedroom (not where I slept) at the same time I am dreaming this (with a vague association with having looked into our full bathtub and toilet while somehow sleepwalking, though I had not been). This bilocated impression (typical of a lot of my childhood dreams) does not continue. Helicopters fly over the Statue of Liberty and there is more news about the attack on Manhattan as apparently giant snakes came from a crashed flying saucer (as if perhaps manlike aliens, though unseen, and possibly from two different planets, lost control of their spacecraft for an unknown reason). There are two kinds of giant snakes that fight each other. One kind seems friendlier to humans. I watch a lot of the monster-movie-like battles though my dream eventually shifts to my home in Cubitis, and my previous lucid threads fade.

I am chasing a baby giant snake (which is my height in its upright “S” form) in a southerly direction, from the end of our driveway, near Highway Seventeen, and moving past the west side of our large culvert. The snake is the recurring Pepto Bismol pink that was fairly common in my dreams around this time period (after my mother had me drink it in real life). It is somehow quickly slithering upright like a standing (vertical) letter S and moving much like a swan. I am fearlessly chasing it, to make it leave the area so that bigger snakes do not eventually come by to investigate. Suddenly, when I get past the neighbor’s house a short distance, the snake looks “confused” (and I get the impression of an actual question mark floating in the air over its head very briefly, a curious feature of other childhood dreams, likely influenced by comic strips) and it turns around to start chasing me. I raise my arms up and out as I am now running away, but as if the scene is meant to be comedic or playful.

This continues for a short time when suddenly, the snake and I are very good friends. We are now at the end of the driveway, where I first found myself chasing it. I am holding the large snake in my arms like a baby, which is eventually even wearing an old-fashioned pale blue baby bonnet and held within a white baby blanket and is now going to sleep.

I am aware that the War of the Serpents will continue, possibly to the point where a lot more regions will be damaged. My parents do not appear at any point, and in fact, I do not interact with anyone I know in real life. Later, I am calm in the presence of a few giant black snakes (though my dream fades when I start flying again). This likely relates to the fact that black snakes were considered good due to a reputation where I lived of them supposedly chasing off rattlesnakes, which seems the main origin of my dream’s otherwise science-fiction theme.

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This dream has two discernible attempts at subliminal reinduction (a non-lucid attempt to vivify or extend the dream state, though I am semi-lucid when my dream begins). Firstly, my dream begins with typical water induction (my most common form of dream state initiation). A snake is the primary (biological) reticular activating system symbol (RAS mechanism), due to having evolved out of the natural fear that primates have of snakes, and thus RAS renders it as the potential waking trigger (in generating enough emotion as an “alert” for the purpose of waking the dreamer to attend to real physical needs), though a snake will sometimes relate to different factors (sometimes literal) and symbolism depending on the dream type, which only the dreamer could understand the origin and validation of in any case.

My first attempt at reinduction (even though I am still in the water as sleep initiation stage, though already with the snake as a potential RAS factor) is evidenced by the music having a similar essence as snake-charming music, to delay RAS waking dynamics. The second attempt is far more obvious and easier to validate. I succeed in harmoniously putting the snake to sleep (which represents willfully though subliminally decreasing RAS dynamics that might otherwise wake me up) at the end of the driveway, which symbolizes the subliminal awareness of eventually needing to wake up and stand at the end of my driveway to wait for the school bus. Dreams are very easy to understand once ignorant superstition and “interpretation” is cast aside in the acknowledgement of what dreams actually are. It should be emphasized that this dream began with conscious choice of first deliberately “stepping into” (and then flying within) my dream’s water-based environment (as I have done thousands of times since childhood and for over fifty years), which is also why the bilocated essence regarding another bedroom (obvious dream state indicator) in our house came into focus. (It should also be obvious that the baby snake additionally symbolizes a mild stomach ache, and the RAS “taming” of it for a few reasons; one, actually being the color of stomach ache medicine, two, being shaped like a human intestine, and three, stomach pain associated with a snake that squeezes its prey.)

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Edited for clarity and resupplemented on Sunday, 29 October 2017.

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Night of January 1, 1968. Monday.



I am with Brenda W (though she is not directly next to me and is to my right, though sometimes ahead of me). We need to get to the area where others are involved in a picnic, though this is not logical as it is not yet sunrise, though it is light enough to see most detail. There are a number of coiled sleeping snakes around the area that we have to tiptoe past. (I take these snakes to be water moccasins though they do not appear as such - “water moccasins” being a play on typical water induction and a play on not wearing “real” shoes in the dream state, that is, while asleep in bed). Their coiled bodies are about six inches in width or more. Looking closely, some snake heads seem a bit too big for their body and are about twice as big as my hand. For a moment, I hear the snakes snoring. (This is probably my own snoring though there is a bizarre myth amidst a vast sea of dream myths that people “cannot snore and dream at the same time”).

Eventually, I find myself approaching a picnic table, which is longways in my path. An overweight classmate is the only one seated and Brenda has vanished. “What are you doing?” she demands. I realize that I am still walking in an odd stealthy manner. Looking back, I see the “snakes” were “actually” automobile tires in a random arrangement (even though they were originally snakes).

For some reason, I decide that the picnic table’s seat is a good place to lie down on. I also discover that I am not fully dressed though do not feel that out of place. I soon discover that I had been carrying a sheet all that time (even though I actually had not). I hear Peggy puffing in the background as if she is annoyed but I could not care less. It seems to almost be like snoring.

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Snakes have often had associations with the human intestine as I was growing up, though there are a number of completely different associations depending on dream context. I am going to assume the intestine here since it is associated with a picnic and eating - and even more so, a “spare tire” is also a reference to the stomach and being overweight - which may be a perspective on Peggy and her demeanor as I was not overweight at this time. Being fully dressed and then not dressed (with the false memory of never having been dressed up to that point) is a dream sign waking transition that merely reflects that a person does not usually wear clothes when they sleep. Even the sheet and deciding the picnic table is my bed is an obvious dream sign waking transition. In fact, even the snakes being asleep is an obvious dream sign though a large snake is typically also a coalescence precursor which does not activate here. Instead, I “go back to sleep” and wake up on my own without a need for my dream self to be “swallowed” back into my whole self. (There is also a possible link to “being tired” and the snakes being asleep.)

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Night of October 18, 1974. Friday.



This dream was mostly influenced by a movie I had finished watching prior to going to bed. It involved being on a submarine, though my imaginary dream body is implied to be phased out of the dream itself so that nothing threatens me despite the three-dimensional visual quality of the imagery and the realistic varying distance orientation of the different audio sources.

I mostly only see close-up images of snakes. Their heads rise up at times as if they are aware of me, but I am never touched or threatened.

I seem to be lying on a bunk-bed at one point, which is a bit uncomfortable. I can clearly hear the snakes hissing. What is unusual is that the hissing of the snakes eventually seems to be caused by some sort of electricity that is somehow “melting” them. I see liquorice-like sections drip slightly and fall from a horizontal metal grill. (This is not the first time when electricity has seemingly melted features in a dream, which is autosymbolism for the neural energy of the conscious self identity by way of the preconscious in dissolving the illusion of a dream.) I do not see any other people at any time.

Eventually, I become aware that this “electricity” also sounds like Alka-Seltzer fizzing in a glass of water. I watch a few more snakes hang by their heads and melt, reminding me of the human intestine, though a few are also lying on the floor. There is eventually a vague eeriness of the semi-lucid realization of bilocation, though first in thinking of not being in my Cubitis bedroom (the bed longways along the north wall with the head at the west area at the time in reality) but instead, being deep under the ocean, not quite claustrophobic, though this awareness transforms into the ambiguity of liminal space, where I become semi-lucid just prior to waking, deciding not to reenter my dream. Additionally, the point at which I was on a bunk bed was an obvious dream state indicator, the subliminal awareness that I am asleep in bed.

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Firstly, there was primary influence from “Fer-de-Lance”, the 1974 TV movie. Secondly, I typically associate snakes with the human intestine, and taking Alka-Seltzer prior to sleeping augmented this association.

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