• Lucid Dreaming - Dream Views




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    1. A train ride

      by , 09-28-2016 at 09:18 PM
      I'm walking through a party full of sleeping people on couches, looking for a free space to lie down. This place belongs to my family, but at the moment I'm a guest like any other. One of my sisters notices me and gets up from her space, leaving it to me; the man she'd been sleeping with gradually curls up around me in her place. It's comfortable. The part of me that's aware this is a dream appreciates how realistic he feels.

      Outside a window, the scenery is moving. I decide this is because we're on a train, but I'm aware of the rationalization. I become semi-lucid and enjoy the scenery for a while. There's a great cloud funnel something like a tornado, but rolling along the ground like a great wheel stretching between heaven and earth. It's very beautiful. But now that I've thought of it as a tornado, it stops behaving like a wheel and behaves like a tornado instead - which is less interesting, but still very beautiful.

      I watch one tornado after another moving in the distance, growing closer, passing in front of the train, until it starts to feel like a danger, and I'm aware this could become a nightmare. I speak a prayer to a goddess until it stops feeling like a nightmare. This causes the man who'd been sleeping to take notice of me; he's aware I don't belong in his dream.

      He starts talking, asking me questions which I don't answer. He's pleasant to listen to, and I'm a little annoyed because I know I'm not going to remember anything he's saying to me once I wake up. I make the effort to focus on his words to try to memorize something, but I only end up hearing the sounds instead of the meaning behind them. Eventually he stops speaking. He's left; his body's still here, but nobody's home, and I believe the dream will get rid of it at the next opportunity. The train passes through a tunnel, going dark, and when the room lights up again his body is gone.
      I leave the train and continue with non-lucid dreams.
      Categories
      lucid
    2. Dark, the emperor, and the queen

      by , 12-13-2015 at 09:33 PM
      I gave an old woman a recipe which includes a poisonous flower. She later turns up dead by the effects of that poison - but I suspect her son took advantage of that situation to kill her himself, knowing that it would be dismissed as an error in dosage. There's an inheritance involved.

      Disembodied, I'm 'standing' at the edge of the ring of a gladiatorial circus, observing a man who's now lying on the ground looking half-dead, but he's nonetheless victorious and a crowd-pleaser. I'm bored. These games have been going on for days now and it's gotten repetitive, I'm impatient for him to move on.

      I shift my perspective, finding the emperor in a large private room attached to the circus. A man in armor is talking to him about the man who's won the games, and the emperor is incredulous - why should the emperor fear or make concessions? That man fears him, the emperor - the proof of that is in the way he travels from place to place and uses the name he does. (His name is a word literally meaning "dark," but associated with low, dirty things.) The man in armor raises the issue of Dark's rumored connection to the queen.

      The queen's present in the room, tall and dark and with green-tinted hair, hair mostly covered by a black veil. She's legendary for her beauty and suggested to be not entirely human; there's a rumor that Dark is one of her kind, and looking for her. It's close to the truth, but not quite it - in actuality, he's a survivor of the court of her previous husband. She's unaware of this. She only survived that massacre because the emperor refused to give her up, treated her as a prize.

      She joins in the conversation, teases the emperor, saying that if she ever sees this Dark, she might recognize one of her own kin and turn on the emperor. Her voice is nasally. She then speculates more seriously about what would happen if she ever really did meet one of her sisters - "Lure her to her death."

      The emperor is irritated with this line of conversation, and tells the two of them that this is enough talk, focus on the tribute instead.

      Later. Dark is standing in front of an open shrine, holding an antique sword in poor physical condition but with great symbolic meaning. He's telling the spirits that if he enters the dream with this weapon, with all that meaning attached, it will become something miraculous. He's lying. But in actuality, it will lead him to a cross buried in the ground - I see the cross glowing dull red - and then to a bow which will infect him with hatred for a time.

      I have a body now. I'm standing in a temple somewhere bright, talking to a woman who's explaining to me that she won't leave this building. She took a demon into herself, made herself its prison. She describes how she'd been fighting someone, and when it was over, a part of herself that should have been restoring was draining instead, and she hasn't been able to stop it - she can feel herself flaking away, and if this continues, there'll be nothing left of her in a mere few thousands of years.
    3. Adam and the desert

      by , 11-26-2015 at 08:55 PM
      Earlier, was just lucid enough to deliberately fly upward with the intent of getting a wider view, instead lost visuals and wound up in a completely different scene, losing lucidity.

      Standing on a ladder outside a suburban home, the wind shifts, hot and dry, a sense of the desert that's going to claim this place and incorporate it into my people's territory. I'm the one who led them to this place, but I feel conflicted now. I excuse myself to the man who'd been holding the ladder, and go inside to take care of some loose ends. There are too many signs of how personal an interest I've taken in this world, learning their language, getting much too attached; I should dispose of that evidence.

      Elsewhere, among the troops, I'm speaking to one of them on behalf of a man in this world, Adam, trying to make sure they take care when they process him. I say I've never seen a dreamer with power like his before. Which is true, but I'm also being careful to phrase it in practical terms, downplaying any personal attachment. I have to stress the importance of him as a resource not to be wasted. The man I'm speaking to agrees that they'll be careful, but I don't think he's really paying attention, just brushing me off. I end the scene flying back to that suburban house, desperately searching for Adam.

      The following scene focuses on a brother figure chiding me for hanging onto a ghost.
    4. Que Sera, Sera

      by , 08-06-2015 at 05:38 PM
      Disembodied, I'm standing on the second floor, looking over a railing down at the main hall of this three-floor antebellum mansion filled with women waltzing to Que Sera, Sera. There's men here too, but they might as well be props, they're not what I'm here to see. A fire breaks out with no apparent cause, and I recognize what moment in time this must be; the fire here is a reflection of what's happening in reality in the place where they're sleeping. One of the women is caught in the fire and starts screaming. And then the fire's gone, and she's fine, and they go back to dancing. Though they're not aware of it, the end of the fire signified the end of their connection with reality; their sleeping bodies have died, and they won't be able to leave this dream world.
      Categories
      non-lucid
    5. An illusion and a dream of a haunting

      by , 06-02-2015 at 07:54 PM
      A place based on the Heian era, a woman's emerging from behind a curtain that partitions off an inner room and moving between two wooden tables where a couple other women, her friends, are eating and talking. She's dusting the tables as she talks with them. I'm standing off to one side and watching her, feeling fond but bemused. I've just noticed the wrinkles she's developed, and I wonder how long it's been since we first met. When she gets to the end of the table, I stop her and ask why she's dusting - she knows this place is an illusion I'm creating for her, she doesn't need to clean it. She says she's probably being silly, laughing, and she hands me the thing she was using to dust. I'm feeling vaguely sad about this.

      (Woke up. Back to sleep.)

      I'm walking across the moors, heading towards a building I think of as haunted - then I mentally correct myself, it's not haunted, it's a dream of a haunted place. This distinction matters to me; something deliberately created to present a certain experience.
    6. Dreamers in a hospital

      by , 05-29-2015 at 07:00 PM
      I'm in a hospital, speaking to a doctor. There was some information I'd wanted to get from him, but he's assumed I'm here about something else, a person who's been checked into the hospital with a specific condition. I hide my surprise and go with his assumption, only expressing my surprise that he'd known about this patient, since the ward they're in isn't his responsibility - has he kept an eye out for this condition since the last time we met? I'm privately thinking that if that person's developed that condition, then this both simplifies my job and complicates it; I no longer need the information I'd come here for originally.

      I'm discussing this development with three other people in an empty hospital room - a man with a shaved head, a teenage girl, and a person whose gender I'm not completely sure of but I'm going to go with 'she'. Black hair, ragged like she cut it herself, short in the back and long in the front; pale with bad skin; and a grey hoodie zipped up, making her look heavier than she is.

      Talking about that patient's condition, the guy with the shaved head had just been saying something about how dreamers have it rough. Talks about how badly things can go wrong just from being interrupted at the wrong moment; talks about people traveling through a dream being dumped back into reality wherever they happen to be at the moment, and hoping you're lucky enough not to be overlapping some physical object at the time; and that's just the passengers, the dreamers themselves get it worse.

      The person in the hoodie shrugs this off, says at least if you can heal people, no one cares what nastiness you've got going on; they're content to leave you be in your swamp.

      The guy with the shaved head is disgusted by this, says yeah, you enjoy making yourself the worst person you can be.

      She says to him that she learned in prison, "There's no such thing as letting go of vanity, Wade."

      Updated 05-29-2015 at 09:05 PM by 64691

      Categories
      non-lucid
    7. The scorpion and the frog

      by , 05-25-2015 at 07:31 PM
      There's a woman who is retrieving a certain object for me, while I watch in third person. The object is in a cave, in the possession of this large, strange creature who she's speaking to now - she's got two or three people with her. He's willing to make a deal. But after discussing terms for a while, the woman ultimately refuses; she isn't willing to agree to his terms. He accepts this, clearly believing she'll be back eventually - she has no other choice, she needs that object.

      She and the others start to leave, but one of the others evidently has their own plan - another woman starts playing a strange kind of music that puts the creature into a kind of trance. She encourages the leader of their group to simply take the object. The leader is conflicted, so the woman with the music does it herself. The creature's trance is deep enough to allow her to get close to the object, but it snaps out of it once it recognizes that they're stealing from it. They run.

      The cave is in the center of a sort of maze of tunnels, but although it looks confusing, the tunnels are all interconnected; as long as they keep running in the same general direction, it doesn't matter which tunnel they choose, they'll get out eventually.

      They come out of the tunnels into a place that I think of as a certain type of dream, a sort of desert-like place, barren brown rock, with various dreamers here and there like landmarks. In one dream, there's a family in a yard where grapevines are growing; two heavyset old men who are brothers, and two grandchildren playing a little distance away. One brother leans in to say something to the other in a language I don't recognize, and the eyes of the one listening turn all black, which I recognize as an outward sign of the usual effect of staying in this particular type of dream too long. He's the dreamer here, these others are illusions. They see the group passing near the edges of the dream and just watch them.

      The group comes across a dreamer they know, a man who the leader of this group is in love with. The others hang back on a ledge overlooking his dream, but she approaches him. He's sitting in front of the ruins of a small house - it's meant to be their house, his and hers, though they've never actually lived together outside of this dream. There's dead bodies lying around outside, things he killed, but too late to save this place from them. When he sees her there, he says, "I tried," with a sort of smile, as if this was inevitable and the only surprising thing was that he tried to save this place at all.

      Then he sees the object she's stolen, and there's a shift - he stops paying attention to the storyline of the dream he's in. He asks her why she went to all the trouble of finding that thing, when there's no guarantee that the man she got it for will be grateful for it. There's an association here with trying to help a scorpion - the story of the scorpion and the frog, doing what's in your nature rather than what's in your best interest. She agrees with him, there's no guarantee that this will have the result she wants, but she wants to help the 'scorpion' anyway. She makes a joke about having a weakness for older men - lifetimes older, in this case. Her man doesn't find this funny.
    8. Avoiding the templars

      by , 03-31-2015 at 01:54 AM
      Based on DA. There's this kid whose father had been an apostate and a friend of mine; I've been his guardian since his parents died, but I'm not around much. There's this old dwarf woman who's been acting as his tutor, and she's been telling me that the kid's started to show signs of inheriting his father's magic. Strange dreams, mostly. She's worried he'll attract a demon, get himself hurt - she wants to send him to the Circle to be trained. I completely refuse. His father worked hard to stay free of the Circle, I can't do that to his son. There must be someone else who can train him. In the meantime, we say nothing to the kid about any of this.

      But we don't find anyone else, and eventually the old woman informs me that she's written to the Circle about him. They'll be sending templars to pick the kid up.

      So I take the kid and we leave town. I don't explain why, and he thinks it's just a short trip. As we're walking on a path through the woods, he's telling me about a fennec he'd found out back, and how he's been trying to befriend it. But as he talks, his voice changes, goes deeper, and he starts saying strange things; I stop and turn around to look at him, and find the features of his face are shifting slightly, starting to resemble a sloth demon. That fades away, his face and voice returns to normal, but he's frightened - and he recognizes that was the beginning of possession.

      He'd watched a friend of his become possessed once; he says he'd rather be killed than go through that. He runs off into the woods. I follow, but I don't find him.

      Updated 03-31-2015 at 02:59 AM by 64691

      Categories
      non-lucid
    9. Unusual moral standards, Thomas the Rhymer

      by , 03-10-2015 at 11:12 PM
      After having to kill an animal and making sure to make it as painless as possible - essentially reaching into its mind and turning it off - I've wound up in an argument, arguing against the raising and slaughtering of pigs for meat. (Dream me and waking me have very different opinions on this.) I find it incomprehensible, especially contrasted to the concept of pets - including pigs kept as pets. I talk about the distribution of souls, how bizarre it seems that this one will be raised to be pampered and the next one raised to be meat, with no obvious difference between them except how they're treated.

      I'm speaking with a woman from some religious order, talking about an orphan boy; with me is a man I'm close with who runs a clinic, which is where I met the boy. I've asked her to guide the kid to some local official or guard or something along those lines, to get him placed in a (word that means both orphanage and workhouse - I'm thinking of it as a place where he'll be cared for, the best place for him). She's telling me she can hardly be expected to keep an eye on some street kid who wants to run, especially when there's so many orphaned refugee kids coming into the city - many of whom would jump on this chance that he's trying to get away from. If he wants to disappear among them, he will. Even if she and the official keep him in line until he gets to the orphanage/workhouse, he doesn't want to be there; he'll just run off and disappear again. The observer side of me thinks she's right, I can't force the kid to stick around someplace he doesn't want to be just because I think I know what's best for him, this is pointless; but the character side of me is thinking, so much for the supposed compassion and charity of her order.

      (Woke up. Back to sleep.)

      I'm watching a man sleep and trying to work out a way around a problem, thinking of ballads like Thomas the Rhymer and Tam Lin, thinking of warnings about people who stumble into something they shouldn't and wind up obsessed. I'm trying to avoid that in this case. This is a man who's abandoned some responsibility - nothing to do with me, this was before I met him, but I need him to take that responsibility up again. I'm trying to think up a dream I can give him to push him in that direction, but I'm concerned that if I interfere too directly, I'll just end up leading him further away from the path I want him to take.

      Updated 03-10-2015 at 11:22 PM by 64691

      Categories
      non-lucid
    10. Fa'Sun

      by , 02-23-2015 at 09:11 PM
      I've been traveling through a dream, but now I've wrapped up my business here. I'd intended to leave the same way I entered, but I happen across a border area, an entrance to a place called Fa'Sun, which translates as the Shifting Dreams. Out of curiosity, I decide to check out that entrance. I'm familiar with Fa'Sun in general, but it's a very, very large place; it's like sticking up an entrance sign that just says "Earth," who knows where on Earth you'll end up.

      It leads me onto a rocky path through a canyon, various rock columns and outcroppings around, a dark sky without stars overhead; a transitional space. A short distance away there's a group of small goblin-like creatures; they usually attack people in dreams but they don't pay any attention to me, and I didn't expect them to. But one of them is off to my right, sitting on a rock ledge and crying. This is very strange, I didn't think they were capable of crying - they shouldn't have the mental capacity for it. I speak with it, and it tells me it's not a (word for the goblin-like things) at all; it's been stuck in this form by the one who runs this region of Fa'Sun. The idea of being stuck in a single form here is horrifying to me.

      I see a memory of the first time I came to Fa'Sun as a child. My sister and I were playing around with the portals in our mother's study while she was out. We didn't go far from the portal entrance, and I see the two of us hiding and watching while our mother comes through looking for us. Like the rest of us, she's dressed in clothes from the early 1900s; she's got a dark blue cape on, and her hair is this frazzled wiry black cloud sticking out in all directions. She looks about as close to frightened as I think of her as capable of.

      Updated 02-23-2015 at 09:15 PM by 64691

      Categories
      non-lucid
    11. Moss-like pelts and an old gate

      by , 02-15-2015 at 09:31 PM
      A woman and I have been tracking some thieves who stole the animals that her people raise - creatures like elephants but smaller, and with a sort of moss-like fur that grows on their backs and the top of their heads. Now the trail I've been leading her through ends at a beach. We're too late. Their ship is gone. But I'm able to pick up a mental impression of it and relay it to her - the tigers that they stole are in cages, but those other creatures have already been killed. The thieves only wanted their pelts. She sits down in the sand and starts to cry.

      As we make our way back the way we came, over a mountain path, I'm attacked by some creature - it happens fairly often in this region and I take care of it easily, hitting it over the head with my staff and expecting it to run off again. She'd been hanging back before, but when she sees this she comes rushing over, though I don't think of that as necessary; she starts beating the creature, far beyond what's necessary. I stand back and watch.

      I'm a demon - the long sharp teeth and writhing cloud of darkness make it hard to miss - but as we make our way down the other side of the mountain, I'm watching her and thinking that the people who tell stories about today will take one look at her and assume that two demons came down from this mountain.

      (Woke up. Back to sleep.)

      I'm traveling through a dream with her, but at the moment we've come across an image of myself in the distant past, before I became a demon. I'd been speaking to a man dressed in armor standing in front of a sacred building, and that past version of me is saying something to the effect of, yes, I'd very much like to learn more about our people. It had been a rare opportunity - it was rare enough to meet another of my kind at all, but this was far beyond that, I'd jumped at the chance. I watch that past version of me follow the man in armor into the building.

      This isn't what I brought her here to show her, it's just one of my memories intruding on the dream. I intend to continue down the road we're on, to take her to our actual goal here - but she wants to see more of this memory. So that's what we do. We follow that past version of me into the building.

      Inside we're in a stone corridor; there's no sign of that past version of me or the man in armor. While the outside of the building had looked the way it had when it was new, the inside is a ruin from much later in my memories. But there's a few objects out of place, things that had been looted by the time it got to this point. I kneel down before one of them, a mirror made of bronze. I say to her, "It's a gate-"
    12. Futures

      by , 02-06-2015 at 10:47 PM
      There's a teenage girl who's come to me to learn her futures. I've spread them out like cards on the table, and as I hold my hand over one depicting a man she could be married to, she says she wouldn't mind that one so much, that wouldn't be so bad. I have the impression that she doesn't feel she has a choice in any of this - she might want to know what the options are, and she might have her own preferences, but someone else will be making the decision, not her.

      With that in mind, I move to one of the futures on the outside edge, the more unlikely options. It's labeled Dreamer. I see her lying on a couch with an arm thrown over her head, looking at the ceiling, wasting away. Her clothes are glowing green like an absinthe advertisement. Since I think of her as wasting away here, I conclude that this is a future she wouldn't want and start to move my hand away, but that vision version of her stops me. She sings, "I listened to my dreams." This is important to her. It's not something she regrets. "They taught me how to feel." Behind her there's a glass window opening onto a balcony, from which I can see a river and the stars. There's a whale swimming through the clouds, adding to the fantastical nature of her possible future.
    13. A ghost story, no life is cheap, a tango

      by , 01-25-2015 at 12:04 AM
      I'm being told a story. There's a man, a shapeshifter who can seem to be anyone, but when he smiles you see the shards of glass filling his mouth, grotesquely. I see the moment he'd died, falling from a horse and landing on a glass bottle full of something he'd been carrying, shattering it.

      The story shifts to the woman he'd loved when he was alive. She was called a witch, and a mob took her and chained her to a tree in the forest, with a circle of some kind of wooden pegs placed in the ground to prevent the body from leaving that spot after death. Her body's left there without her head. I 'hear' the body briefly feel a dim sort of awareness of the presence of something familiar and loved nearby.

      Over time, the body comes loose from the chains as it decomposes, sinks into the ground and is covered by - I hear the word 'loam', but I'm seeing moss growing over the body. The arms separate from the rest and hang from the chains. At one point, a horse that had belonged to her while she was alive comes to the tree and noses at those decaying arms, and they reach out and pat it. At another time, the body rises up from the ground and seems to dance, with those arms dancing along as if they were still attached - slightly altering how my vision works, I can see dark strings which would be invisible, manipulating the body like a puppet. That man with the mouth full of glass shards is pulling the strings.

      Later, a scene in which I'm using Mephisto as a pseudonym.

      (Woke up. Back to sleep.)

      On a ship after some incident in which several of the crew died, the captain came to me privately to ask a question. He's under the mistaken impression that I can see the future. I don't see the future, I just have more memories to draw on to recognize old patterns playing out again. The captain asks, essentially, whether any of those who died were important - he uses the word 'cheap.' I say to him, "No life is cheap." He acknowledges that this was poor phrasing, but "I need to know-"

      As he speaks, I see a go board. The point is made that certain moves will have a drastic impact on the outcome of the game, and others won't. The captain needs to know if any of the people we lost would have been necessary for this journey to succeed, in ways he can't foresee himself.

      (Woke up. Back to sleep.)

      I'm looking at paintings hanging on a wall, a series mostly depicting figures of the zodiac, with one in the center of a man labeled Dream.

      I'm meeting with a man named Snow who'd initially tried to conceal his identity from me. He's disappointed to find I recognized him immediately. The persona he'd put on for me was this sort of affable type; the real Snow is - well, he gives the impression of being intimidating but I'm not personally intimidated, I'm just enjoying watching how complete his transformation is.

      The majority of the scene after that reveal consists of a tango, during which he leads - which is different, but I find I have no difficulty following. Great fun. He's proposing some kind of deal - there's something about him recognizing the way I've been challenging myself, and how working for him would be beneficial for both of us, something about working for a greater cause, a sense of direction - but when the tango's over and he wants an answer, I just start laughing. Man, have you got the wrong guy. I'm thoroughly enjoying every aspect of his presentation - the intimidating attitude, the seriousness of the deal he's proposing, the song and dance, his whole look - it's all incredibly appealing, but I have no intention of taking it seriously.

      Updated 01-25-2015 at 12:08 AM by 64691

      Categories
      non-lucid
    14. Games with Dru, Ravenscar, Lilith's song

      by , 01-14-2015 at 10:08 PM
      From Buffy, I/Spike am meeting Dru for the first time. Found her lying in an alley, looking unfocused. In this version of the story, the William the Bloody nickname doesn't come from poetry. Scene changes to present-day, transitioning with Dru describing that last scene, clearly fond of the memory; she says she liked seeing that sort of initiative in the living. She's putting it in terms that are disturbing the woman she's talking to.

      Nearby, I'm also reminiscing about Dru to someone else. We used to play this game with the people who'd hunt us. Scene changes to show the game - I'm running into a churchyard, holding a cross or something like it in one hand and some weapon in the other, run up to the hunter all wide-eyed. Make like I'm volunteering to join his hunt, country kid all full of admiration, or like the monster's right behind me - either way, the point's just to get in close. Not challenging enough to be called a game maybe, but we still thought it was fun.

      The first run-through of the scene, I 'won' the game easily, but then I'm remembering a second one with this weathered old woman who was suspicious of me right from the start, didn't buy the act. Circling around her, I wound up climbing further into the hills covered in graves, and as I climb I transition partially out of the Spike character. I'm hearing voices up here among the graves, not from the graves themselves but still tied to this place - three men who were here a long time ago and moved on, people I've been looking for traces of for a long time. I can't hold on to what they're saying.

      (Woke up. Back to sleep.)

      From Hellblazer, I/Constantine am walking out a back door into a narrow courtyard and out a large gate, then turn back to look at the building I've just left. Ravenscar. The image is distorted - I'm looking at a long wall with a gate in the center, one tower visible over it, and a few windows opening onto that courtyard, letting you see a little more of the building, and that's all fine enough; except it looks impossibly tall, and at strange slanted angles, and the views through those windows are showing me more than should be possible as I look up and up and up. I catch glimpses of the moon through those windows sometimes. In a stunning lack of lucidity, I think of this as "the place that haunts my dreams."

      Scene changes. I'm still looking up at that extreme angle, but I'm looking at a different place, focusing on this life-sized stone statue of a woman high above me in the moonlight. I have a sense of something religious about it, like she's meant to be praying, though there's nothing about her position to suggest it, or like she's meant to be an angel, though there's no wings. I think something along the lines of, "Of course, it would be her," with a sense of resignation.

      (Woke up. Back to sleep.)

      There's a man begging me for something, and I'm tired of this, bored. I tell him, life, death, pick one, plead your case, make it convincing, you've got one minute, go. It takes him a moment to process this, but then he starts singing.

      I recognize the song from a theatre show I enjoy about Lucifer, but can't place the scene immediately - at first I think it's Lilith's song. I'm amused - you think reminding me of her will make me more sympathetic to you too? I like the inspired emotional manipulation, but that's not going to work - she moved me, he didn't. But then I recognize the actual song. It's from the story of a woman who had to choose between love and advancing her career as a dancer - she chose dance. The song is about her calling herself foolish for causing pain to them both, her and the boy she loves, but ultimately defending her choice as a valid one.
    15. Listening in and a rare dish

      by , 11-17-2014 at 08:28 PM
      I've come to a group of buildings with many rooms, with people sleeping inside. I stick my head inside one, and the woman inside starts talking. I hear her voice distorted, like a phone call with a bad connection; her mouth isn't moving, she still looks asleep. I apologize for waking her up, I hadn't meant to, and when she stops talking I enter the room. I put my hand on her head, and I lose visuals and get an impression of many voices, very quiet. I'm aware this is an opportunity to listen in on her dream.

      It seems to be morning now; for a moment I think I've just skipped over her dream entirely. I'm in her apartment, and her bed is empty; so's the bed where her roommate sleeps. I look out the window, and see her on her bike. She's late for class, and wondering why/how she slept so late. She sees me standing on the sidewalk, and tells me I better hurry too if I want to get to school on time. She thinks I'm one of her students.

      I leave her and walk through a park near her school, watching a squirrel run along a branch. As I'm walking a woman sitting in one of the trees addresses me. She asks how to get close to a human. It's the usual, I tell her - you talk with them, you create shared experiences, you care about them.

      I'm aware that woman's just altered this reality. I'm returning to a home where I live with various people, and that woman from the tree is there; she's a part of this 'family.' She's set things up so that everyone thinks she's this beautiful ideal; someone compares her to Quan Yin. The part of me that still recognizes that this is a scenario she created is amused. Setting yourself up as an ideal isn't a very realistic way to experience being part of a family, but whatever floats your boat. We eat a large dinner of various rare dishes, everyone contributing a different one, and I'm a little irritated because I know I'm not going to remember all these dishes when I wake up, there's too many of them to keep track of, and the dream goes through them too quickly. But when the meal's done, we're all sent out to hunt for some new rare dish to bring back to that woman from the tree. I and one of my 'sisters' wander through an arcade, looking for something rare.
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