Blue_Opossum

Night of December 24, 1966. Saturday. (Christmas Eve.) Original date and other data validated and corrected.



A girl older than me (about nine) is dressed in a cat suit (like Catwoman from “Batman”) with the smaller eye mask. I confront her after she seems to not know someone is out on the roof (Rose Street apartments in La Crosse, Wisconsin). I think it is just before midnight and it is cold and very quiet otherwise and there is a bit of snow on the roof (more-so the recessed areas on either side of the walkway). She is surprised by me prior to going through the window into my sister Marilyn’s apartment and claims to be one of Santa’s elves (though it is not Christmas eve and I inform her of this in a somewhat patronizing yet friendly way). I am not sure what to think. She is carrying a green, lumpy bag which seems to contain a fair amount of unknown items (possibly some soda/pop bottles), but is seemingly not that heavy for her. (In the original, I had noted a possible set of holes with a fork partially protruding near the top.)

There was also a scene of a partial hypnopompic unfolding where paw prints are noted on the roof instead of human ones and I am considered to be “telling a story” regarding the incident later on in a false awakening.

This is a recurring theme of catlike people or beings being on the Rose Street roof late at night, often shadowy or mysterious forms; a likely influence - the animated movie “Gay Purr-ee” from 1962 (which I first saw on the 23rd of December, 1966) and the short-lived TV series “T.H.E. Cat”. In fact, an episode of “T.H.E. Cat” played during the next television airing of “Gay Purr-ee” (also written as “Gay Purree”) on a different channel.

This dream did have precognitive nuances as usual, but not that multilayered. A few years later, I saw the girl who seemed like the one in this dream (with the exact same details in the costume and same manner and movement) in real life. She was a classmate who had dressed up as “Catwoman” (not the exact character, but for some other story) for the school Halloween play.

Several years later, in 1971, the song where they sang “the Candy Man can” was sometimes "automatically" mentally “replaced” by “the Money Cat can” - which has a vaguely similar style and the same number of syllables in parts. I thought as a child that they were perhaps influenced by the “Money Cat” song, which would not be the first time one song influenced another commercially. In fact, I made a note of this to a few classmates, but they ignored the idea completely. This was one of the few times during that period I mentioned anything dream-related.

From the night of December 23, 1966. Friday.

Dream #: 4-01. Reading time (optimized): 1 min 30 sec.



This dream (repeating at different levels of vividness several times on the same night, though chiefly from willing it) occurred three days after my sixth birthday. It started before midnight of December 23 while I slept in the second-floor apartment of 901 Rose Street in La Crosse, Wisconsin.

Its primary causation is simply a different version of the first microdream that I have had virtually every sleep cycle to date (as of October 19, 2020) when I am walking with a vivid awareness of imaginary kinaesthesia and suddenly fall into wakefulness with myoclonus. The main difference, other than its unique content, originates from the predominant degree of sleep atonia resulting in a dream of a longer length than the common microdream I have described here.

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In my dream, it is late at night, and no other person seems to be awake. It is dark. I walk on the back roof of the Rose Street building (accessible from the second floor by way of a door at the end of a hallway), with liminal dream state awareness. I think of using the fire escape at the back of the building to descend to the parking area. When I start to step onto it, it is no longer present. A more realistic version of the Shadow Cat from “Gay Purr-ee” (1962) is suddenly holding onto my hand as I remain in the dream, though in undefined liminal space for a time.

I entered different versions of my dream several times in the same sleep cycle. In one instance, I descended the stairs. In another, I chose not to walk to the edge, though in another, I floated.

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Other than the usual causation, more specific influences in this case mainly come from the musical scenes in the animated movie. It includes the lines “If anyone can save you, the money cat can!” and “In the palm of our paw” from “The Money Cat.” Of lesser influence was “Show me the way to all my dreams” and “and be seen hand-in-hand with Paree” from “Take My Hand, Paree.”

Because of this dreaming experience, I began to develop an advanced understanding of dream control, liminality, and dream content causation in a world where virtually everything I read about dreams is the result of misconception.

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Night of December 16, 1966. Friday.



This was recurring from when I was very young. I believe there were a few versions that occurred in the middle of the night. In one version, in one journal, I had decided that the opossums may actually be small foxes (even though that really was not very reasonable), so I wrote a poem called “Foxes in the Trees” in real life, yet later decided that I should not change things, so I came to have an internal self-fulfilling symbolism of the opossums being the “princes of the trees”. Being watched by mysterious animal eyes is probably a universal theme in children’s dreams regardless of race or culture, but I am only guessing that based on my own early experiences in dream work.

It is late at night and I am in the woods, I assume in an area of Chipmunk Coulee farther from where I had actually lived in that region.

I am near a tree in which there are a few opossums on the branches but all I can see are their eerie glowing eyes (and in later versions, the lighter heart-shaped areas of their faces). It seems these opossums are some sort of guardians that are supposed to follow me and protect me in some unknown way. I pretend not to notice them because I do not want to cause trouble or perhaps draw attention to myself in this unfamiliar landscape.

In the distance is a long, winding path of an unusual (almost a sequence of Z-shaped turns) path where some areas seem to be dead forests. The moon (or sun in a rather “bad” dream rendering?) seems to be a black shadow hanging in the sky rather than the “real” moon or sun. This unusual area seems to be very similar to my “Empty Boots” dream found here: http://blue-opossum.tumblr.com/post/...75/empty-boots

Morning of November 29, 1976. Monday.



My older brother Earl (half-brother on my mother’s side whose father died on September 23, 1950, age 39, in a newspaper van accident) is in the process of completing his work in building a spacecraft which looks like the classic 1950s flying saucer, at first (though the appearance changes). He tests it around town and people often stop to see what is going on. I am with a friend and he also seems interested in this endeavor.

In the last part of my dream it seems my brother intends on leaving Earth and not coming back. The flying saucer takes off ominously into the sky in the afternoon and narrowly misses a clock tower, flying very slowly at first, nearly hovering in one spot at times. There is a very vivid awareness at this point. Regardless of a couple near misses with the tops of buildings, it successfully flies away. At this point it looks a lot like the Flying Sub from the television series “Voyage to the Bottom of the Sea”. Shortly after this, I do not see any sign of where he has gone.

My (unfamiliar supposed classmate) friend and I are discussing his life as we are walking along through an alley, seemingly south. He asks me, “How old was your brother?” and I say “Thirty-six,” waking up slowly to the unusual sadness in my voice.

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I had to do a lot of research on this to make sure it presently stands as correct as possible (regardless of later versions which have proven to be even more ambiguous). My brother died on November 29, 2007 (age 67, way too young in my opinion), so there is indeed a (long-term precognitive) marker here, one clue (unknown at the time) being the clock tower.

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This dream has the typical waking transition of the flight symbol, but it appears as an extraordinary atypical composite (with layered meaning) here, firstly as a flight symbol that metaphorically shows the essence of the dreamer successfully leaving the dream state (in contrast to the far more common directly perceived “falling” event). However, it is a “flying sub” which means it also comes from deep within the unconscious (or even collective conscious or the Source’s) realm. It is also a spaceship, which relates to tentative associations between waking self and full conscious self memory. I should add an additional note here that my brother also owned a Stingray (car), and of which the marine animal called a stingray resembles the Flying Sub. This dream also seems like a subtle “continuation” of my “Rocket Science?” dream, from earlier this year.

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Just because a dream is influenced by, say, television, does not mean it is dismissible. The foundations of non-lucid dreams will borrow anything and everything to metaphorically display the sleeping, dreaming, and waking process. The day before this dream, I had seen a CBS report on UFOS as well as as Nova’s “The Case of the Bermuda Triangle” (featuring the ocean of course and loosely associated with UFOs, perhaps even “flying subs”).

Morning of November 26, 1976. Friday.



In my dream, my last one of this morning (the sun already up in reality) it seems to be late morning, perhaps around ten o'clock or later, as my Cubitis bedroom is bright from daylight streaming in through the windows. I am still aware that it is winter. It does not seem that cold to me, though. Though it is Friday morning, I get a sense that it is Saturday morning.

I am in my bed, having seemingly been sleeping and not yet fully awake. My bed (lengthways east to west) is out from the left side of my bedroom’s door - that is, the east inner door to our living room from my room’s viewpoint (in contrast to the door to our carport from my room, on my north wall). I become aware of several bees slowly coming into my room from under the door. They do not sting me or even come near me, and I am only slightly wary of a potential danger. They seem a bit disorganized and very slow, sort of hovering in the air (close to the floor) at times, maybe even a bit sluggish from the cold. (In real life, there is a big enough gap under this door for larger bees to come through from the living room, though this has never been much of a concern).

Although I notice a few more large bees over time (though not unrealistically large), nothing happens. They mostly remain in the area near my door and not much higher than a foot from the floor.

This dream colored my mood in a curious way, not in a negative sense, just of an unusual indescribable elusive awareness. This may be related to my associations regarding my quitting of school (in the first few weeks of tenth grade), as bees used to fly in and out of empty soda cans within a small fenced-in area for placing recyclables near the roofed outdoor lunch area - and thus were sometimes very annoying. However, a few friends and I later spent more time near the outer north wall in the same general area though where no other students went, even though it was just around the corner. Another influence may have related to having seen “The Savage Bees” the previous Monday, which probably combined into a composite association (relating to those afternoons at high school during lunch).

Morning of November 26, 1976. Friday.



One trivial precognitive dream I had related to an album cover of a band I had not followed or even remembered hearing about prior to my dream (which occurred earlier in the evening on a Saturday night). This dream was in 1976 (a nighttime/early evening dream), and from research (one source reporting February 1978), about two years before the actual cover existed and a friend, Kyle C, took the record to work (well, it was in is car - he had coincidentally bought it earlier that day during lunch break). My dream’s version was visually correct for the most part, with the arrows pointing in two different directions on a yellow sign and the splattering of “ketchup” from a restaurant venue with live bands (in my dream but likely paint in reality). The real-life one turned out to be “Head East” but it was different when foreshadowed and otherwise visually foreseen, as is sometimes the case - as letters often change when I look at them in dreams (unless very lucid).

The writing in my dream did not say “Head East” but “Duck East Wayne” when I tried to focus on the scribbled letters on the album cover - a fictional name if I ever heard one - and I assumed the oppositely pointing arrows were just more dream confusion (although it really is the same as the later album cover in real life other then the scribbled name). I am also at a restaurant late at night and with a lot of lights shining everywhere (this is how the “ketchup gets spilled on the album cover”). I am also aware of an announcement on the radio. A male voice comes on and states very empirically, “Badcock Saturday Night presents…Duck East Wayne…”. This is more dream distortion, as Badcock is the name of a furniture store near where we lived. The band comes on at the venue I am at, singing a (fictional) song, “Too Late to Crumble” apparently about a girl who wants to go back to her boyfriend but he is in a new relationship.

Another dream around the same time period related to a band appearing in the basement of my high school. However, no one could get there in time to see the actual concert. The main song they just started to finish up when people were only then aware of the music is “Talkin’ About a Show”. There is a somewhat uncomfortable series of images of people running up and down stairs while the song is playing, only some finally reaching the basement to see the band live as they are finishing the song. There are later scenes of chaos in public, as well as gunfire and gang wars, and the song “Talkin’ About a Show” is still playing as if the people that are shooting at each other are “talking about a show” - the last line ending “and they’re all…talkin’ about a show” - it seems a bit egotistical for the band to be singing this for so long. This dream came before I saw at least one movie scene where someone holds up a large gun and says “(now) this is what I’m talking about”. Strange, as it seems a rather odd, “displaced” comment (like a lot of new slang terms, really).

Night of November 20/Morning of November 21, 1976. Sunday.



If you are easily disturbed, this is probably a good entry to give a miss. It is one of only a few of the more vivid nightmares I have had in my life - and probably relates to the physical changes during adolescence. (For example, dreams like “Silver Manta” and the first childhood “Haunted House” dream did not seem like an actual nightmare at all regardless of the scenario and emotions involved, but as inspiring adventures which I still have fond memories of.)

A large spaceship lands in my front yard at Cubitis, near the end of the driveway and a few feet from the highway. I do not actually see any aliens in the dream at any point, though. Actually, the ship seems more like some sort of “factory”, with a maze-like assembly-line (except that it is “dis-assembly”, so to speak.) that goes all about the internal perimeter of the squarish “flying saucer”.

What is vividly implied and shown from several angles (including from the side and from above) is with a first scene of a girl being carried (while lying on her side) down a conveyor belt (which is dotted sparsely with human blood and a few small scraps of clothes) within the spaceship. I am not sure who she is or where she came from. It reminds me of a miniature “car wash” to some extent (the part where she falls next may be vaguely related to the opening of “Land of the Lost”). She moves through a yellowish orange ribbon curtain into what looks like a chamber with an implied shallow well and there are robotic arms and such that seem to hurt her. Eventually I am aware she has been turned into “fuel” for the spacecraft, the body being shredded as through a high-tech food processor of sorts.

This happens with several people, mostly adults. Actually, I am not sure how I am seeing this. It is as if I am there in my “orb” form, but also in my bed at the same time (though not fully lucid, only partially questioning the events). The dream seems to reset several times during the night and very early morning. I am on the belt at some points, trying to work out why my bed is moving, but I usually will myself back to where I had been and never go through any “terror” from my own perspective.

As with most dreams throughout my life, even this dream had a layer of long-term precognition (which was actually the reason I started documenting dreams in the first place to try to work out the layers and “rules” if any, as it was so common). Several years later, I worked in a factory in Wisconsin and for the first time, was close in real life to very similar conveyor belts and (identical to the dream) vinyl (or vinyl-like) ribbon curtains at the end of a chemical wash for the metal parts. Around this same date years later, I took the place of a man (whose job was to simply place the metal sheets on a wooden shelf for a pallet as they came out on the belt) who had cut himself very badly on the hand (supposedly losing a finger from what one worker said though I am not one hundred percent sure now) and the blood (and a couple pieces of his white work glove) was still on the conveyor. I guess they did not want to lose any production time (relative to parts for Ford Taurus cars).

Night of November 12, 1966. Saturday.



I am in my older sister Marilyn’s apartment on Rose Street which was similar to my parent’s rented apartment on the second floor and across the hall in the same building. In her broom closet (which is larger in my dream), there appears to be some sort of “portal” into another world. A tall girl made of diamonds is ready to emerge. She is actually like a large living diamond which is shaped mostly like a person but with many seemingly both transparent and reflective facets. It is not a threatening event but is rather eerie. My sister Marilyn does not seem all that surprised or interested. (It almost seems incidental to the location, like someone coming to wait for a bus, perhaps). No clothes are implied. (She does seem to take on a fashion show stance at one point, hands on hips with upper body slightly slanted to her left side.) She may be some sort of being from a different planet as this is the feeling I eventually get. There does not seem to be a floor in the broom closet so I am not sure how she is standing in place. In fact, the broom closet almost seems to lead into outer space. (However, there is also the idea that she may have come up by way of an elevator from the tavern below the apartment.)

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Notes on Tuesday, 8 March 2016: This dreams ends with semi-lucid doorway waking symbolism. This type of dream outcome is sometimes triggered by the reticular activating system when environmental noise is present and based on the implied need to wake up and answer the door (which does not mean that the environmental noise is an actual door knock as the mind is unconscious and does not correctly perceive the real environment). Here, my emergent consciousness is rendered as a goddess-like being, the diamonds possibly analogous to the many facets of whole consciousness upon fully waking. Outer space relates to subliminal consciousness, the stars being neurons (in direct contrast to when awake when stars would represent the opposite, “seeing stars” as becoming unconscious or nearing unconsciousness). But why the female form? This causes me to question the doorway transition in this case as to whether it represented my ideal wife-to-be (even before she was born), Zsuzsanna. “The Biomagnetic Monster” (1965) dream could be seen as implying other people are connected while in the dream state though become “smaller” (less “present”) during the waking transition.

In “The Big Diamond” (1974) dream, it is implied that my emergent consciousness is a huge diamond (also representing whole consciousness - though the diamond is only half above ground - the other half below ground being my dream self). The only other character in “The Big Diamond” dream was the actress Michael Learned. She was apparently born on April 9th, which indicates prescience as that was when Zsuzsanna and I married.

In “Tulpa Triumphant” (2014) with my personal alternate title being “Zsuzsanna Triumphant”, my wife is seen as the “only true female that exists in this world” (or my dream state), which resolves to the reason for my dreams rendering her as the very accurate “mystery girl” long before we met. My dream may imply that all other females I have met or seen are only a facet of the “big diamond” while my wife Zsuzsanna is the diamond itself (symbolic of Corona Australis or Yin Incarnate, Virgo, Hathor, and so on, though not in the superstitious sense).

Diamonds represent the power of whole consciousness and thoughts that mirror (and reflect) various patterns into other areas of existence, as it is the conscious mind and expectation that builds the realm of the unconscious.

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But what if the origin of this dream in this case is the influence of the justifiably infamous “Mystery Date” (board game for girls) television commercial (from 1965)? How is that for irony?

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Morning of November 7, 1976. Sunday.



Water induction autosymbolism commences. Water is dream state autosymbolism for the essence of sleep. The presence of the water in mid-afternoon is more beautiful than ever. It sparkles and radiates in the promise of healing and maximum well-being. Water is life.

I had apparently come out from the water and that which had made me. There are several times when I open my eyes and squint due to the brightness of the sun directly overhead. The backyard of my Cubitis home has changed but I do not take that much notice to this. It seems I had fallen asleep in the backyard. The orange grove is not present. There is a large lake with islands rising in the distance as I gaze northward. Everything is so bright, well-defined, and vivid.

It seems as if I am slipping back and forth between my real bed and this “bed” in semi-lucidity. In my illogical thinking, I am wondering which location is where I really am. Perhaps both are real. Perhaps both are an illusion. The backyard is no longer covered with green grass, but smooth white ovular stones of about the size of my hands. This is not uncomfortable.

Eventually, when I hold my eyes open for a longer time, the head and neck of a very small plesiosaur, about the size of a cat, emerges from the lake about three feet from its shore. It has the grace of a swan. It sways somewhat as it seems to be watching me. Soon, there are a total of six. They all swim closer toward the shore, seeming curious of my presence. I am unsure if they are baby plesiosaurs or a miniature species.

I eventually enter the cool wonderful water. I swim with these creatures in a smooth and enjoyable event. It is a wonderful and peaceful experience. It is as if I am seen as a part of their world and they are welcoming me, though I am still fully aware of my human form. Euphoria. Can you imagine anything better than swimming in cool pure water in the dream state? The brain and heart are both about 73 percent water. It is the unsullied expansion of the self to be within this depth in the dream state. We swim to the depths of the lake, but eventually this segment of my dream fades.

In an offset dream, seemingly without waking fully, I now seem incorporeal. I am aware of a very large flatbed truck carrying our house to Wisconsin over a curved fictional highway beyond where the railroad tracks are in real life, to the east. I hover and watch the event. There is a vague focus on the house falling off this large truck as it makes a turn but I subliminally choose not to will this to happen, even after my dream resets and the scene repeats. It goes around a curve near a high embankment. I feel a sense of amusement as if I can shape the outcome in any way I choose.

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Years later, there was a highway in real life in that same area (though no lake or backyard of smooth white stones was ever a feature to this day). Although there had been talk of widening the highway (which has never happened to this day), that was regarding the original Highway Seventeen beyond our front yard to the west. I found it quite odd that the highway instead was built as in my dream. I never considered that this would actually happen.

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Last reviewed on Friday, 4 May 2018.

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Night of October 29, 1966. Saturday.



I am involved in a seeming prototype (first version of a dream theme that appears in more complex forms later on, especially after moving to a new home) of what appears to be a variation of the (originally) Milton Bradley game “Operation” (which is fairly new at the time). It reminds me just a bit of the “nostalgic” noise and lights of a carnival on a much smaller scale (and according to some sources, actually was based on games in funfairs so maybe that is a typical association). The main distortion is that it has a red telephone (receiver only, but probably only about half the size of a real one) in a recess on the left side, nested on its side though does somehow become full-sized at times. (This may be from a distortion of the actual shapes relative to real game sections, which are somewhat reminiscent of a telephone receiver shape.)

I am not quite sure if the telephone allows you to somehow talk to the character in the game and receive information on his present status, but it seems a bit strange at times as if I am “expecting” an eerie “contact” at one point. No conversations ever ensue, however. My dream remains nonthreatening.

Interestingly enough, I did not live in a home with a telephone until 1978 (we never had a telephone all the years I lived in Florida and only my sister had a telephone in the Rose Street building in Wisconsin).

Late morning of October 17, 1976. Sunday. (There were other versions which played out more like semi-lucid reconstructions, as this dream was more like a very interesting coherent story than is usually the case.)



There apparently is going to be a movie made of a class play regarding issues on pollution and habitat loss. I am to be the main performer in the opening of the film, which will supposedly be distributed to a larger audience. There is a sketchy mascot, a beaver, related to the line, “You too can be an eager beaver and help stop pollution”. The movie is to be made at a city dump which happens to be near a large otherwise clean lake where logging had been done at one time. The mascot drawing is not very good and reminds me somewhat of “Go Go Gophers” and he appears in a concentric oval frame with lines going outward around between the two ovals, with the school logo above that and with the antipollution line under that.

I arrive at the location too early. The season and feeling seem much as in real life regarding the temperature and such. There is an old and worn dingy sofa on a pile of rubbish at the dumping area where I am to sit and converse with the puppet beaver. I wait for awhile in case the camera had already been set up. After a few minutes, the beaver comes up through a hole in the seat of the upholstery, the arm of the controller likely under the cushion or near the back of the couch. I seem to remember most of my lines, most of which are simple questions of which the beaver is supposed to answer. As time passes, I notice how amazingly “real” the beaver puppet appears to be. Not only that, I am aware that the communication from the beaver seems telepathic in nature. I find this a very strange and intriguing “film trick” and wonder how they are doing it - possibly with speakers on each side of my head, but at a distance and in an unnoticeable area, probably hidden.

I look around but I try not to absentmindedly search for the camera that is filming the interaction. Everything is going well and I feel very assertive in my performance. The beaver says its last line and then is gone.

Soon though, I notice a station wagon coming around the curve of the road. A man gets out and sets up a tripod about ten feet from the bank of the lake. There are also at least three of my classmates in the vehicle but I am unsure who. I am now unsure of what is going on. After a time, I feel movement and look down and a very ugly cartoon-like allover orange beaver puppet, which reminds me of the texture and color of my Nerf ball, has emerged from the hole to my right. This beaver puppet has mismatched googly eyes that roll around a bit as it moves and its voice is very annoying; scratchy, squeaky, and slightly muffled. I am not sure what happened to the realistic puppet of minutes before. After the scene is filmed, the puppet “bites” me on the fingers and hand (and I experience realistic discomfort in my fingers) and the unknown male controller is playing around and really annoying me.

I get up and look at the lake and I realize that the first beaver was “real”; that is, an actual living animal that was supposedly “speaking” telepathically, yet no one else had been around at the time. Its head emerges from the lake at a fair distance and nods and I “hear” the phrase “and now you know”.

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I remained intrigued by this dream. The overall plot was very unique and did not reflect anything I had thought of in waking life. At its core, it is doubly-layered autosymbolism for the nature of lucidity, even though I am not viably lucid in this version. A puppet represents both the fictitious nature of the dream self identity (as manipulated by RAS and the preconscious) but also the potential for controlling the dream state as one would a puppet show.

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On a spiritual level, it might also serve as an analogy for everyman, when the general public allows themselves to be controlled by an invalid belief system even when truth has already clearly revealed itself.

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Morning of October 3, 1976. Sunday.



I travel in a car with good friend Johnny C as the driver (same car he had in real life and this scenario being similar to real life to a point), best friend Toby T, and three girls including Tina L (so I guess the car was apparently crowded but did not seem as such). There is a recurring idea that was very common in dreams of this time period. The idea of moving through time or into “alternate worlds” based on a series of directions alone. I am semi-lucid but not “take full control” lucid, as I did not seem to want to be at this stage, just so I could passively enjoy things.

I am in the back seat on the right side. We are going north at one point. There is the idea that we should stop near my Cubitis home to see how it has changed. We decide to make my house the main destination through different “alternate worlds” or “alternate times”.

Upon our first stop, we find the house has changed into a laboratory but it has seemingly been abandoned. I see a beautiful painting on the east wall in my room that shows strange birds. They look like ordinary birds except that they have “sideways beaks” that I realize are exactly like the mandibles of a stag beetle. I feel a very strange awareness upon seeing this, an unusual feeling I cannot quite relate. I also notice a few pinned-up diagrams and scattered papers with various complex equations sitting on a desk. For some reason, I think of them as “byrds” with understanding of the different spelling.

We leave and come back into a different “time”. This time the place does not seem abandoned and one man is there to say that we are allowed to look around but not to touch anything. Going onto the carport, we see cages on the left. There are about three larger cages with strange creatures in them. One is like a peacock with snakelike features and it hisses and “strikes” at us but only succeeds in hitting the bars. I notice that our chicken shed is still there but built up a bit.

Once again, we leave and “come back”. This time, the house is abandoned again. We look around and mostly only find dusty ground and rusty pieces of metal. As there is not much to see, Toby T suggests going “as far as possible”. Johnny C seems hesitant, but we are on our way.

There is a strange sensation of moving very swiftly. We seem to be thousands of years in the future. We look out and see a strange sight. The house is very different (or likely a different building) and there are some strange creatures. It seems a “mother creature” is communicating with her “son”, who is standing near an upper-section-opened Dutch door to what looks somewhat like a barn (upper half open). They are somewhat human in form, but also a bit more like mostly white, living ceramic chickens with a Chinese appearance and with very small but defined simple geometric patterns (in mostly red and black) all over the large heads and smaller thinner bodies. They are making a sort of higher-pitched crunching noise to communicate by moving their “beaks” which is not really a beak but like some sort of small sliding door that varies in sound to how far it is open at any given time. The “mother” is somewhat wary of us, which is why she wants to get her “son” (about half as tall as “her”) and go inside.

We decide to go back. However, we end up taking a wrong turn, it seems (seemingly based on something Toby said), as the car goes flying westerly over an embankment and into Lettuce Lake. We all escape, but Johnny is annoyed at having lost his car. (There is also an idea that the land features may have changed when traveling through different time periods rather than solely misdirection.)

Notes on the bird relevance in this dream: Firstly, the living ceramic chicken (somewhat anthropomorphic) in this dream is perceived as being an incarnation of me (as the dreamer) at the “end of time”. It is curious how it is near the Dutch door. As a door represents the waking point (or shift in awareness), but here has only the top half open, it is a very curious reference to a false awakening (as well as a seeming invitation to be above as opposed to below - possibly suggesting rising from the end of the dream rather than the usual “falling”), which does occur, but still with continuation of seemingly the “same” dream. (Johnny’s car ends up in the water, which, even though water is often induction, is more relative to the “falling” waking transition here.)

Addressing the two other odd bird forms here, the serpentine peacock that hisses from the cage is a form of “captured flight” (restricted emotional, sexual, or spiritual freedom in the dream state). Even though the dream is very vivid, I do not become viably lucid. It may also be an association from when I heard that people thought that a peacock feather was an “evil eye” which may be linked to the fact that the peacock also had snakelike aspects. This of course is an absurd idea that I never considered as having any merit, but dreams utilize anything and everything (including the nonsensical beliefs of humanity) to teach viable focus and discernment. The other odd distortion, a painting of flying birds (which may otherwise be implied to be sparrows) with the sideways “beaks” (mandibles) of stag beetles, is relevant to the greater understanding of dream composites in general. The fact that these flying birds and beetle composites are only in a painting is a giveaway relating to the two other nonflying bird symbols and the failure to become lucid or resolve the concept of freedom. My dream self is not able to resolve why these birds are “wrong” either, only that they are somehow unusual. I even think of them as “byrds” rather than “birds” while in the dream state.

Morning of September 30, 1966. Friday.



In my dream, I somehow find myself back in the forest I used to play in (up in the bluff region) before moving down into town on Rose Street. It seems to be early morning, during sunrise.

In a deeper part of the forest and mainly near a large tree near a cluster of bushes, forming somewhat of an implied semicircular arrangement, I see a pile of life-sized dolls or mannequins which I soon realize are my actual classmates who have been transformed by our teacher Mrs. Yandell. Their arms are freely out and some of them are in pajamas. Somewhat puzzled, I consider whether or not if I am also there somewhere, even though I am fully in-body in my dream self’s perspective. The scene is eerie but no violence is implied. (Our teacher is not present at any point.)

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This dream, like many, is extraordinarily easy to understand. I am seeing my classmates in their static sleeping form, as a doll or mannequin represents being asleep, as well as lesser patterns of active conscious threads within the dream state. This metaphorical meaning also links to dreams representing circadian rhythms in various ways. There are several layers of validation in understanding this but I will keep it simple here. They are in a semicircular pattern deep in the forest. The forest is a deeper level of the dream state or the unconscious realm (as mostly anything away from day to day “civilization” is). I do not recall (or it was not documented) the waking transition of this particular dream. They are “arranged” as such due to (threads of) my conscious self attempting to quantify and “organize” facets of the dream state.

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Night of September 29, 1976. Wednesday.



In my dream, I am fishing at El Jobean in the afternoon. The weather is very nice at first. There are a lot of other people of various ages, some fishing, but not that close to where I am.

Over time, I notice that I get a bite now and then, but every time I reel in, it looks like a tiny piece of tin foil moving just under the water and is not there later on when all the line and hook comes fully out of the water, as if something is following my bait, which may be a minnow or tiny shiny fish. This annoys me somewhat. It seems to be a strange and growing mystery. Other people are not noticing what is happening and a few people are leaving now and then, as it is getting later in the afternoon. The scene is very vivid, yet I cannot work out the reason for the small tinfoil-like “creature” under the water or what sometimes seems like an actual gum wrapper section somehow moving in consistent patterns (or maybe someone is playing a practical joke).

Oddly, there is a utility pole to my left, with a three-digit number painted at an odd diagonal angle about chest-high and an additional mark of some kind. It seems sort of out-of-place near the beach.

It is getting darker and darker and time seems to be compressed a bit. Everyone has left the beach but me and it has grown slightly cooler.

Once again, the silvery, reflective form is under the water, but as the sun has just gone down, things change a bit. A very large and strange silvery manta ray, which is somehow walking like a person, “slimmer” than a real manta ray, and about as tall as a person (or a bit taller) is coming up from the shoreline with its “wings” out. I see it as potentially dangerous. It is very vivid (not quite lucid - but almost). I manage to back up and grab some sort of gig or harpoon with my left hand and am able to send it into the creature and kill it. I feel “heroic” somehow, as if I am part of a legend of some sort. There is a subtle sense of rain and motion of waves as if the scene is being “painted” by those aspects. It is an eerie scene, yet somehow not nightmarish to me.

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There is mostly only moon symbolism here. This includes the silver manta ray, the fact it came from deep levels of the ocean (unconscious mind), the fact that silvery “moonlight” was glimmering from under the water’s surface prior to its emergence, the fact that I was fishing (seeking connection with my unconscious state to resolve my eventual waking transition), and the fact that a telephone pole appeared in an unlikely place near the beach - as a telephone pole represents communication between different levels of consciousness while in the dream state. The nature of this dream firstly going from afternoon to nighttime is also obvious in this meaning as it is analogous to “the moon coming out”. This is validated by the fact that the manta ray is an intriguing flight symbol which represents a very specific level of consciousness. The rain adds to this effect as rain also represents communication from deeper levels of consciousness and flow of thought while in the dream state. To conclude, this is a circadian rhythms dream with adolescent factors.

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What was interesting about this is that the next afternoon, the utility pole near the highway (but still a part of our front yard area) had the exact same white paint markings as from my dream and at the same height. Unfortunately, I do not have a photo on hand and did not sketch out the somewhat oddly painted number (could not fully tell what it was - only that it looked the same as my dream image and had at least one six - or what looked like one). It had definitely not been there earlier (even my father mentioned it and confirmed it was brand new). This is one of those times where I just reflected on how curious that was (especially since there was no seeming connection with any “silver manta” in any way - and that part of my dream was quite “mundane” compared to the “epic battle”). It mostly seemed to me as if they had worked at “marking” the poles for when they were to put in the small green utility boxes relating to underground cables (which I did not hear about until later). It did look a little like a graffiti tag, but we were “in the middle of nowhere” and it had never happened before.

Morning of September 13, 1976. Monday.



I go out to the backyard in my dream and to the area we have regular bonfires and find that my bearded bantam Belgian (a breed of chicken) has gotten loose. I pick her up and she is very tiny. However, I understand that she is a “Hungarian quail” (my father for some inexplicable reason had began calling it Hungarian instead of Belgian with no cue form me) named Gabrielle (instead of Abigail). This was one of thousands of precognitive facets related to my future marriage and life; my wife being from a Hungarian Romani tribe and whose middle name is Gabrielle. My dream was on my wife’s birthday so this is even more validation.

This idea is likely at least partly related to the (archetypical if one cannot accept the reality of precognition) “wife as phoenix” theme (recurring and related to my other life-long dreams). The hint is that I found her in the ashes of the bonfire area and she somewhat resembles some images of the mythical phoenix which I had seen in reality. Abigail also had black “ashy” feathers on her back in real life. This was the day I returned to high school (tenth grade) after my operation, but I did not go to any classes or seek information (and just sat around in the open lunch area).