Blue_Opossum

Morning of January 5, 2017. Thursday.



My wife and family and I are living back on Gellibrand Street in Clayfield. When the mail goes, there are several items. I firstly focus on a large package.

The package turns out to contain a book we did not order or expect to get, possibly because of being members of a book-of-the-month club. It is a very large and thick book with shiny gilded pages with the title of “Return of the Fairy Tale”. It seemingly includes fairy tales as well as poems and folk tales. I read one poem as our youngest daughter listens (though I cannot recall its content). I am not sure if we should keep the book as I seem to remember that Zsuzsanna has an older edition of the same book. We look for it and it is found near the bottom of her wardrobe. I ask her if we should keep the new edition we just received and it seems that we will. The older edition has a slightly different cover but is about the same size.

After this, I go onto our porch to look at our other mail. There are two postcards from Margaret. In one, she starts off by talking about seeing her “pale face” looking back at her (from a mirror I assume). She writes that she is sorry to hear about my sister (Marilyn).

Apparently, I had also written to a man in India of whom I had not written to in over twenty years. I had asked him about his address (which makes no sense because if I did not know his address he likely would not have gotten my letter). On his postcard, in somewhat sloppy handwriting, he only writes:

“I do not remember my other address. I would like a comfy.”

I am not sure what he means by “comfy”; if he means a footrest or some sort of apparel. (In real life years ago he had asked me to send him auto repair books and I did not have any.)

I also notice a couple loose letters which are older love letters from Zsuzsanna though I am puzzled as to why they are with the recent mail. One letter includes a couple drawings. I had been sitting on the left end of the couch on the porch (liminal space) during this last segment.

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• The fifteen rupee tiger stamp is a sublimated coalescence prompt (as a tiger can swallow the dream self back into full consciousness) and additionally, mail usually symbolizes communication between the dream self and either the conscious self identity or the collective unconscious. Even so, and even containing the same dreaming and waking metaphors (and overall meaning) since earliest childhood, this dream’s rendering is unique.
• Regardless of the nature of the book, a book usually links to conscious self identity (and critical thinking skills that are not wholly feasible in non-lucid dreams). Gilded pages relate to dawning awareness and sentience (as sunbeams coming in through a bedroom window).
• The other book being in the wardrobe is a dream sign, as Zsuzsanna gets clothes from her wardrobe shortly after waking.
• Most dreams, when waking prompts are not more direct or jolting, are to subliminally inform the dreamer to wake as in this case. This same “call to waking” (waking transition with waking metaphors) can be seen in tens of thousands of my dreams documented and studied over fifty years, and in very specific layered (redundant) ways (and often “no-brainers” that I easily grasped as a child).
• Even “comfy” can be considered a dream sign, as it can refer to pillows and being in bed.
• Even the line about not remembering the other address is a direct reference to the amnesic nature of the personified subconscious (dream self).

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Dream #NYMC53

Morning of January 1, 2017. Sunday.

Reading time: 50 sec. Readability score: 80.



I first focus on a big eagle when I am within a tunnel in a cavern, looking out through the entrance when farther inside. It seems to be an influence from making an image from a 1968 dream that had a giant bird that resembles an eagle. It seems to fly towards the entrance yet the distance does not seem to change.

I see a clear pool of water. Something that looks like a snake is swimming in the water, but it soon seems to be a belt somehow moving on its own. Eventually, there seem to be at least a dozen identical venomous serpents that I have no concern about in my lucidity. They are like small coral snakes. They slither in and out of porous rocks. I am eventually aware of Zsuzsanna.

There is a scene where I see an unknown young girl in a plaid dress (yellows and greens). Down past her knees, she seems to be growing out of another girl, and that girl, in turn, grew out of another, and still another. The fourth girl is lying on the cavern floor. They all seem cheerful. This “human tree” reminds me vaguely of a scene from George Harrison’s “When We Was Fab” music video from 1987.

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Dream #NYMB53.

Morning of January 1, 2017. Sunday.

Reading time: 1 min 28 sec. Readability score: 68.



My dream starts out with a typical water induction state (the most common beginning since early childhood as water symbolizes sleep and its dynamics in real time) and eventually becomes an area near a boat dock. It is in an unknown area near the ocean and seems to be late morning. I walk around as if perhaps looking for a boat to buy. Most are small motorboats. I look more closely at one near the outer wall of a commercial building.

Someone says “seven thousand dollars” loudly and clearly, but I think he might be talking to someone else who is looking around at the boats (though this is not certain).

I am sitting in a tavern. A person is sitting near me, and he or she turns to look at me. They are wearing a baggy cloth cat mask that covers their head. It is a pale yellowish cream color and almost seems like finer burlap in texture. It does not look quite right as if their head may be too small or perhaps slightly misshapen. I do not perceive any threat or sense of danger. I consider making an amusingly rude remark, but I do not. There is a sudden clear sound seemingly about five feet away that may be a bottle falling off a shelf.

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It was part of a sequence of about twenty different scenes, but these are the clearer and stabler parts. It stems from the kind where I watch hundreds of settings rapidly change like a slideshow, eventually slowing down and stabilizing. Sometimes I deliberately step into a setting. Other times I let it expand around me, and I am within my illusory dream body.

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A cat, though not a real cat here, is a witness to the dream state and a factor of circadian rhythms (associated with night). Being only a cat mask implies my dream is losing cohesion, but it is also a coalescence factor of the emerging consciousness that the color yellow also represents. It is also reminiscent of a scarecrow, a dynamic of physicality being inactive as is one when sleeping. It is also like having a pillowcase over one’s head. The bottle falling was the waking prompt.

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Afternoon of December 25, 2016. Sunday. (Last clarified and resupplemented on Sunday, 10 September 2017.)



In my dream, as I am lying in our bed as it is located and oriented now in our present home on W Street, and possibly in late morning, there are concerns expressed by others (seemingly unfamiliar people) of whom I am unsure are present in our bedroom or speaking via telepathy from another location (though I do not perceive them as imposers). I falsely remember that we have a pet donkey that lives inside our mattress. I am unsure if he has eaten recently, perhaps not for weeks. The area he is within is possibly locked, and I hear someone asking if the lock is locked. I do not think the donkey is ill, though I am unsure. I get the impression of a cage being inside our mattress (almost as big as our mattress), and within that cage, the supposedly full-sized donkey. Regardless of how absurd and impossible this situation is, it seems logical and serious to my dream self. (This is vaguely similar to my recurring forgotten pet dreams, where I become aware of a pet in my bedroom, usually on the opposite side from the foot of my bed, that I may not have fed in weeks or longer, yet perceiving it may still be alive. The pet is often a guinea pig or rabbit in a cardboard box that is open at the top.)

In an unrelated scene in a more vivid but less detailed setting, an unknown female approaches me in a white martial arts outfit. She kicks me in my stomach (without any discernible motive other than practicing her martial arts) as I am standing (facing south), seemingly in the room where my computer desk is, and I simultaneously wake with the stomach jolt (which mostly only happens when I am sleeping on my side and is not as intense as my hypnopompic back spasm which can happen in any position). It does not hurt and is not even unpleasant, just a spontaneous movement of the abdominal muscles upon waking.

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The meaning of this dream is very obvious to me. It is completely unrelated to waking life regarding any symbolic significance, being primarily rendered around the waking transition as many dreams are. It is yet another incidental rendering of subliminally anticipating the hypnopompic kick though it was a lesser abdominal jolt in this case. Both the donkey and the female practicing martial arts (of whom probably represents Zsuzsanna being in bed with me, though she really does not kick me with a hypnopompic kick when we are sleeping) represent the same potential waking prompt. Incidental associations relate to our son doing martial arts in real life and possibly the “Little Donkey” Christmas carol (though my dream self does not typically have a viable memory of what year it is let alone the date of December 25th in this case).

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Morning of December 25, 2016. Sunday.



I seem to be in a very large unfamiliar room with a high ceiling that seems to be in a large commercial building. However, it is meant to be the inside of a helicopter (though the fact it looks nothing like the inside of a helicopter in any way does not trigger any level of doubt or any type of realization). I am apparently flying in this “helicopter” as a passenger. There are two unfamiliar male pilots (in black pants and white shirts) who mostly remain seated on the opposite side of the room from me. They face toward a wall looking at a number of monitors. At times, they seem to be typing flight instructions on keyboards as they look at the monitors. There is also some communication now and then with air traffic controllers or at least some people on the ground.

The “helicopter” is supposed to be landing somewhere soon, but it is not safe to land anywhere in the area due to a mist that remains at least six feet above the ground and is covering unseen large rocks everywhere in the landscape. Some parts of some rocks protrude upward from the mist. It seems to be part of a canyon or possibly a series of canyons, all with mist and rocks. This puzzles me somewhat but nothing about the situation seems wrong or threatening to me.

One of the pilots, while standing near the desk-like extension from the wall, seems to relate to the other that he could land without hitting a rock though no attempts at landing occur, at least any of which I become directly aware. There is a sense of movement at one point where the room seems to slowly turn in a circle but there is no disorientation or perceived danger on my part. I seem to be lying on my left side at one point though not directly aware of being on a bed. I start to think about the “helicopter” landing on the flat ground between large jagged rocks. I do not feel concerned about anything. The pilots do not address me at any point.

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This dream’s autosymbolic meaning is based on the biological nature of the dream state itself and obviously has nothing to do with waking life, especially as the autosymbolism’s phrasing in hypnopompic disclosure is known. A helicopter (which has been a recurring emergent consciousness factor in my dreams since early childhood), as with vehicles in general, is an autosymbolic extension of my physical body in REM sleep, though with a more defined subliminal discernment of the vestibular system ambiguity that occurs naturally in unconsciousness, than with similar autosymbolic extensions such as a motorcycle. This dream’s autosymbolism was based on a typical unconscious phrasing, “Although I am now sleeping, I am becoming more aware of my real environment and of my physical body, which is operating smoothly”. The jagged rocks are autosymbolic of a vague anticipation of a waking start (hypnopompic kick or other involuntary muscle event), though of which does not occur, and the mist of course is autosymbolism for the dream state itself. This dream has a curious ambiguity of taking the subliminal awareness of being in our bedroom and sustaining it with the typical return flight waking symbolism, a type of RAS mediation which has occurred in at least one dream per regular sleeping period for over fifty years. As I am already in the more defined liminal space of conscious self recognition in passive waking transition, there is no dominant RAS modulation and the pilots of course are RAS personification and the emergence of thinking skills, which typically do not exist in the dream state.

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Morning of December 23, 2016. Friday.



I seem to be on Loomis Street, with my sister Marilyn still being alive though appearing as she was in the 1960s. However, her house’s layout is more like the Barolin Street house (in Australia), though the (Barolin Street) lounge room is a bedroom in my dream. In the last segment, the veranda implied to be at the front of her house is not familiar other than vaguely like the front porch of our present home.

There is a focus on beds (most obvious dream sign ever) and Marilyn is talking about a special purchase she made in buying beds at a local secondhand store. Her husband is also present but mostly remains in another room. Marilyn seems very happy and seems to think the beds are like a treasure or very valuable antiques.

I lie down to go to sleep on my “new” bed, but I am somewhat confused by its nature. It is actually only a set of elevated golden bed springs. Still, I am not nearly as uncomfortable in my dream as I would be in real life would this be the case. There is a period where I actually seem to be “asleep”, though there is still a level of awareness of my dream’s environment. I do find it somewhat odd that the beds are not complete but I consider that the rest may be delivered later.

At another point, I am looking out from the high (fictional) veranda, though it is more like an outer mezzanine combined with the porch of our present home. I also look through a west window and there is some confusion regarding the neighbors (unknown man, woman, and at least one child) looking out through their window at the same time and seeming annoyed that I am looking out the window (though I have no interest in what they might be doing). They close the curtains of their window.

There is soon an unknown male present (whom I have no association of being imposing in any way) who had found the neighbors’ act of closing their curtains as an amusing event. From the veranda, I watch a number of butterflies moving around, mostly downward. They (or at least some of them) seem oddly squarish (almost reminiscent of a postage stamp, as the wings of at least a couple of them seem perforated like a postage stamp) and almost as if they are made of orange paper. I get the impression that they may not even be alive, but there is ambiguity. Some of them must be alive or they would not be able to fly around. I watch one moving downwards, soon landing on an unrealistically located top of an implied apartment building roof (which would be an impossible perspective based on where I am) and consider that it had not been alive.

The unknown male seems to think they are all alive. I mention to him how they do not seem to be fluttering or moving their wings at all for the most part.

“They are oracular butterflies,” he says, which supposedly explains why they are not moving their wings even though some are flying back upwards at times. I do not understand the correct meaning of the word “oracular” and confuse it with it meaning something that is circular (even though the butterflies are squarish) though I also consider it might be the name of a species. I feel very peaceful and, although I find the scene puzzling, feel quite comfortable and continue to watch more and more of them move about above the street.

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• Most of the butterflies were pale orange although a few were white or cream-colored. Orange establishes medium waking priority (biologically) and is analogous to sunrise associations (the patterns of emergent daylight being linked to bands of emergent consciousness).
• Butterflies are a first-level flight symbol, which makes up at least twenty percent of all dreams I have had in the fifty years I have closely studied them. Return flight factors (including falling or rising), analogous to the consciousness shift of the waking experience, are often within or near liminal space (as here, rendered as the veranda).
• The personified preconscious most often is the most present in liminal space (as well as almost always being the last and most dominant character), which is here, the usual porch-like middle point between sleeping and waking. He tells me that the butterflies are “oracular” which is associated with dreams being potentially precognitive though was not confrontational here as is often the case.
• The butterflies being somewhat reminiscent of postage stamps relates to the communication between synthetic temporary dream self identity and emergent conscious self identity.

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Morning of December 20, 2016. Tuesday.



I am at our present address on W Street near the west side of our house on the public footpath. It seems to be morning. There had been signs of a light rain. I notice that the Wicked Witch of the East must have been in a storm (though not in our area, at least with any perceived backstory) and blown our way in that the NBN cabinet near our house had fallen upon her (which is not logical, as the NBN cabinet is set upon concrete and shows no signs of having been removed or damaged). I know this is true because her ruby slippers have been sticking out from under the cabinet for probably a day or two. They stick out from the right side of the NBN cabinet.

It may be important to inform people of this. I look more closely and bravely feel the supposed ruby slippers, which are actually more like red fishing boots. They are of a floppy rubbery material. Perhaps the remains are not actually present.

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This dream presents failed flight waking symbolism, one of my most common forms of waking symbolism since early childhood, which is unrelated to waking life, and as such, does not imply any negative connotations. It establishes a form of “return flight” as related to the hypnopompic stage (which is rendered as such in over twenty percent of my dreams or 1 in 5 in tens of thousands), which sometimes induces a falling sensation (which is biological and unrelated to waking life). It is unreasonable to assume real life associations with such precursory symbolism relative to hypnopompia.

In this case, the position of the implied body (though the body itself is not seen or touched) is in a sleeping position, a real-time dream state indicator. Once again, the waking symbolism is oriented on the right.

The detail of the red fishing boots establishes three well-known dream state indicators simultaneously, red as a known presence of waking priority (especially in dreams which become completely red, which means I have been sleeping too long), boots that are not being worn (as one does not wear shoes when in bed), and residual water induction remnant (in being fishing boots or waders).

Additionally, there is the implication of the NBN cabinet representing technology, communication, and intelligence as symbolizing the conscious self over the fictional dream self or the remnants of the ephemeral dream self at the waking point.

Additionally, it is unreasonable in this case to assume the “witch” is related to waking life by specifics, for three main reasons. One, the “witch” herself does not even appear in this dream. Two, the “witch” is a fictional character from the “Wizard of Oz”, and my association validates this entire dream as primarily a real-time dream state indicator. Remember that “The Wizard of Oz” is about someone being knocked unconscious and having a dream. Three, it is fantasy, and fantasy symbolism is based on creativity, not life-relevant symbolism.

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Morning of December 20, 2016. Tuesday.



Zsuzsanna and I are “sleeping” in a tent (in the same orientation as in reality; her on my left) in what is apparently an unfamiliar urban park (though with a vague association with the field that used to be across the street from our present home) early in the morning around sunrise. I become wary of the gaps at the bottoms of the sides of the tent (mostly to my right, near my head) in their offering of less privacy. It is also windy at times. In the final scene, the tent is actually hovering above the ground and directly above us, the bottoms of the sides probably about four feet above the ground. I think a few ropes are still holding it in place. My clueless non-lucid dream self is not standing at any point.

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This is typical RAS (reticular activating system) intrusive waking symbolism, though sustained and with no hypnopompic physical event.

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Key concepts: Zsuzsanna and I sleeping in correct orientation as first level dream state indicator, dream state indicator of indirect association with floating or flying as dictated by natural inner ear dynamics, outdoor area previously a field and now a parking lot in real life as liminal space transition, sustained RAS factor, no personified preconscious, no direct preconscious factor, non-lucid and sustained non-cooperative emergent consciousness, interpretable as waking symbolism only.

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Morning of December 3, 2016. Saturday.



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

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

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

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

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

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

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

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

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These are the layered causes of this dream:

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

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

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

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

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

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

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Morning of November 27, 2016. Sunday.



I become aware of exploring isolated areas in my pretense as a biologist who works for the government. (This pretense is based on non-lucid dream control, as there is no lucidity, only the knowledge of making and controlling my world and my experiences.) I find myself on this journey with growing curiosity. I intend to remain friendly, enjoying new depths of exploration.

In late morning, I wander into a dense cypress swamp of which has the appearance of the beautiful area I lived in in Florida when very young. There is an old wooden building on the bank of a river. An old unfamiliar black male lives here. I explain to him that I am getting samples of the water as well as samples of the flora and soil. He is cheerfully friendly, unsuspicious of me. Before I leave, I explain to him that our world is badly polluted, which surprises and concerns him. I pretend to conspiratorially catch myself in this “accidental” revelation and “stop myself from saying more”. (Non-lucid dream control is like simultaneously being an actor and director of a movie, with staunch pretense in scenarios, yet with no in-dream recall of what a dream is.)

I soon find myself in Australia, without contemplating that one cannot quickly walk from Florida to inland Australia (and I do not recall teleporting). There is an unknown female who runs a refuge for wild animals in an isolated area. I explain the nature of my work to her as I conduct tests on several kangaroos that had been standing in a circle.

I next find myself in an unknown man’s house. He has at least one son and daughter, both young. I apologize for my intrusion and explain that I am continuing to another location that can only be reached by way of a hidden door in his house. He trusts me and he and his children follow me into the area. It is a large bunker that had been built by the government. There is a laboratory and supposedly (at first) enough food to last for weeks. I look at the contents of a box of cereal. The multicolored cereal is unusual in appearance but tastes sweet. It resembles twigs of various colors with blue honeycomb-like football-shaped pieces.

I look outside through large windows and see what I first think is Sydney Harbour. However, what I first perceive as the Sydney Opera House changes ambiguously into a lighthouse and then a hotel. I see several children, mostly boys, climbing over rocks on the shore, in front of the windows of the bunker. Even though the area appears to be open at this point (without an outer wall on this side of the bunker), I reason that it is a holographic projection that looks and feels like rocks but only from the outside (similar to the scene from “Star Trek: Insurrection”). As I am leaving, I look back and see the unknown man and his kids looking in cabinets under the laboratory counter. I now see that they are empty (even though they seemed full previously). I see that the man and his son are amused that the government apparently does not have the resources to stock this supposedly important bunker with weapons, laboratory equipment, or additional food and supplies. I do not feel embarrassment or concerned as I am on my way elsewhere.

I next find myself in an unknown region near the ocean. I am with an unfamiliar male in our task force. We supposedly have a large motor yacht with a lot of special equipment. We are going to conduct tests on ocean life, including plankton. However, as I illogically set about to push what first seems like a large motor yacht into the water, it becomes a small skiff with no outboard. It quickly starts to sink. This annoys me and I try again by non-lucidly resetting my dream. I make at least three attempts, but I become frustrated. My pretense is no longer viable to non-lucidly continue my dream.

The ocean begins to lower and starts to become the tiled floor of my Cubitis bedroom (where I have not been since 1978). My task force partner points out that they are making a movie of us, but our roles are being played by Bill Murray (as he appeared in “Ghostbusters”) and Alan Hale Jr. (as he appeared on “Gilligan’s Island”). They are fighting and rolling around under a bed and biting each other on the ear. This is supposed to be comedic and relevant to the movie’s plot. I wake as I am looking under the bed watching them bang their heads together. (There is a sense of bilocation; of being outside on a beach and within my Cubitis bedroom at the same time. As such, the area under my bed also has a vague essence of being under a low-set boardwalk.)

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Features and events of this long intriguing dream explained here:

Dreaming process autosymbolism defined by:

Unconsciousness personified as black male living by the river.

Glymphatic system and immune system integratingly personified as my subconscious self (validated by the references to the river, government, pollution, and biology).

Subliminal thread of my wife Zsuzsanna as unknown female at the animal refuge.

Subliminal thread of my conscious self identity as man with children.

Non-lucid dream control personified as Alan Hale Jr.

Liminal space divider rendered as enigmatic window of bunker and shoreline simultaneously. (This is autosymbolism for my dream self’s subliminal recognition of the outside world of which is not aware of the existence of my dream self.)

Waking process autosymbolism defined by:

Preconscious personified as Bill Murray.

Water lowering waking symbolism (very common).

RAS modulation rendered as Alan Hale Jr. vs. Bill Murray. (Non-lucid dream control and otherwise sustained dream continuity modulated by consciousness reinitiation. Bill Murray is a regulatory “ghostbuster” modulating the illusion of the dream state by way of biological necessity to wake from the dream state.)

Correlation of physicality as shrinking and sinking boat. (All primary singular vehicles; boats, cars, airplanes, etc. often represent correlation of physicality, in this case representing the potential “sinking” of my body into deeper sleep and thus of which is immediately followed by autosymbolic RAS modulation as the preconscious waking process.)

Correlation of cortex activity as shoreline (liminal space divider) transmuting to “return” to bedroom (subliminal to liminal awareness of being asleep). I have always typified this element as a dream state indicator, as it is a literal factor, not autosymbolic.

Liminal vestibular system correlation as ear biting.

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Abridgement and simplification for the casual reader on Thursday, 7 June 2018. Feel free to let me know when there is a dream thread or detail in an entry of mine of which you cannot correlate the autosymbolism’s cause or meaning. Thank you for reading. I wish you well.

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Morning of November 19, 2016. Saturday.



The roads are lightly flooded, though not to an extent that makes Toby’s driving problematic. Toby cheerfully talks of continuing to drive straight on the present road to where we may be arriving at a shopping mall, though he turns left instead after giving information to a traffic cam that he will not be turning. This puzzles me and I am not sure of his motive. I consider that he may not like the idea of being tracked by GPS and may believe that what he said will somehow fool the cam despite the GPS.

We go up a gradient after turning left and of which is somehow more flooded than the main road and turn off, which of course is not possible as the water would flow downward. The sense of motion in going through the shallow water is very relaxing and peaceful.

Soon, Toby is suddenly near a building in the distance, as if he had teleported from his car. There are a few times after this scene when the car seems to be driving itself. It is my task each time to bring the car to Toby. The very lightly flooded streets bring a sense of calmness to the location, though there is a slight annoyance at times over Toby teleporting from the car while driving and then us having to find him to take his car to him. At one point, he even seems slightly annoyed when he teleports to the end of a street and has to wait for us to bring his car to him.

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Understanding the real reasons for dream features and events:

My dream state initiation autosymbolism for this dream is water induction, my most common form, at least one dream per sleep cycle for over fifty years, as water is autosymbolism (as well as an auto-scripting factor from an understanding of the dream state) for the essence of sleep, muscular release, and the absence of emotion in unconsciousness.

Toby is the driver and in this case is my personified unconscious (which is not as common as the personified preconscious for biological reasons, as most people naturally fall asleep but in contrast require RAS mediation or RAS modulation to wake), and as we are moving through water, it is autosymbolism for my physical body requiring more sleep, as it is not fully a boat. Toby being the driver has no waking life significance in this case and is rendered as a deeper induction thread, as I have not seen him in real life since we were teenagers. (In fact, Toby is rendered as such because he does not represent a factor of waking life, to prevent flawed neural gating and false memory association.)

Is turning left and going up a gradient significant? Yes, as typically autosymbolism being oriented to the left is reinduction (when I sleep on my left side). However, going up implies an emergent consciousness factor. As a result, the traffic cam can only represent RAS mediation itself, and the water being illogically deeper higher up is based on a subliminal attempt to suppress the emergent consciousness factor. My dream plays out a skewed reinduction loop, somewhat like the opposite of a false awakening. My body wants to sleep more deeply, but there are subliminal environmental or biological distractions. That is basically all this dream signifies. Thank you for reading. Anything that you feel needs additional explaining, feel free to ask.

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Morning of November 18, 2016. Friday.



I non-lucidly become aware of being in the northeast bedroom of the Loomis Street house in La Crosse. (This means that my synaptic gating has held my memory of having fallen asleep, but not held my memory of my current location, thus my dream self accepts this erroneous location as current. In my dream, I have no focus on any relatives who lived here. I had not lived here since February 1994.)

No east window is present, an error my dream self does not regard as incorrect. (This is due to synaptic liminal space gating being closed at this point and also why Zsuzsanna appears in my dream with me but as a younger incorrect rendering. Thus far, there are two literal threads, memory of having fallen asleep and partial recall of Zsuzsanna.)

Over time, I slowly become aware of the evidence of an unthreatening haunting, which firstly only relates to marks appearing on the east wall, though it eventually seems like writing. This supposed ghost seems more like the real Zsuzsanna, though I am not directly aware of this fact in my dream. (This means that factors of my emergent consciousness are becoming active by way of RAS mediation. Threads of recall of who Zsuzsanna really is are becoming more dominant as I grow closer to waking. Well-known lifelong autosymbolism is rendered; “a wall as a liminal space divider”; that is, the precursory synaptic gating between dream self identity and conscious self identity. “Ghost writing” is utilized by way of RAS to augment language and reading skills, which typically do not viably exist in the non-lucid dream state.)

Eventually, I go outside via the Loomis Street house’s back door, though I am then in the backyard of the Stadcor Street house in Brisbane. My dream self does not consider this impossible location change as erroneous or worthy of attention. (Synaptic gating has brought about a focus on a more recent location I had lived, but not my current address or viable conscious self identity.)

There is a shed in the backyard which is similar to the Loomis Street house’s shed although it is also associated with the shed at our present address but mirrored. (A shed is typically autosymbolism for a specific type of memory recall and storage.)

It seems to be early morning at this time. The haunting continues, in two-dimensional dynamics, on the outer wall of the shed that faces the back of the house (west, relative to the Stadcor Street house). The ghost seems to remain contained within the wall, but she communicates with writing and eventually speech. (This means that my emergent consciousness is becoming more active than before to where more viable threads of my physical status of being in bed with Zsuzsanna are extant.)

A few random unknown people are eventually present near the shed. I notice that the ghost now has the power to direct lightning into the television antenna. I say “look at that” and point. Long thin bolts of lightning intriguingly jump about on the antenna. This causes me to feel somewhat wary. I think that the ghost may now become three-dimensional and perhaps even emerge from the television by going through the antenna and into the house. (This is autosymbolism for the waking transition in my dream’s final stage. It indicates subliminal awareness of Zsuzsanna’s neural energy as metaphorically coalescing with mine - I use “metaphorically” for people who cannot accept the existence of telepathy. The antenna is autosymbolism for serotonin receptors as well as synaptic efficacy. This is very similar autosymbolism as in dreams such as “Not my Fault”, a childhood dream from May 1971.)

This type of haunting dream stems from the biological factor of being unconscious, though perception of vestibular system ambiguity is minimal here (as there is no association with flying, falling, or other implied movement). The reason for this dream, along with its meaning, has been validated in its correlation with thousands of occurrences of identical autosymbolism in RAS mediation in dreams since early childhood.

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Morning of November 17, 2016. Thursday.



I am wandering around in La Crosse as I have the vague realization that I am tired and should probably go home. My dream self seems about twenty years of age. I fly to the back of a building, to the first-floor’s extended roof of the building which has at least two storeys. This feature provides access to two apartments on the higher floor. (The feature is similar to the Rose Street building I lived in as a young child, except it only had one hallway door to the first-floor roof. The location itself seems more like the area where Dennis lived years ago which also had only one door to the first floor roof.) From the outside, I have a false memory that my apartment is to the left and the one on the right is where my brother Dennis lives. He appears as he did in the 1970s.

The setting is very distorted. Even though I remember living and sleeping in the apartment, it is far too small for a human being to either go through the doorway or actually live inside the building. The height of the living area is no more than two feet. This puzzles me but neither triggers any realization that the situation is impossible nor results in stronger emotions. I consider that the building is mostly made of a stack of bricks that shift a bit at times, which somehow makes the apartments smaller or larger at different times.

There is a conversation between Dennis and our (fictitious) landlady, which eventually relates to something about feeding homeless people in the area. I cannot get into my apartment so I decide to sleep on the roof while thinking of how the homeless people will be fed as it seems like a worthwhile task. Dennis has some carrots, lettuce, and potatoes to start a stew or soup. Eventually, just as I begin to wake, there are vague thoughts about geese flying over the building and returning to the area.

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Wandering around feeling tired is a dream state indicator created by subliminal awareness of being asleep as well as having been tired in reality prior to my dream. This is additionally evidenced by wanting to sleep on the roof, which is a liminal space divider related to depth of sleep and how much of the conscious self identity is present. It is also why my dream’s setting is rendered as too small to access. The geese returning to the area is typical vestibular system correlation, autosymbolism for waking process thoughts in “returning” (waking back into) the physical body while leaving the illusory dream body. There are also mild thoughts of hunger. The “feeding” reference is to me, as “homeless” is based on liminal awareness of not being awake in the physical body.

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Morning of November 13, 2016. Sunday.



I find myself in an unknown and unfamiliar area but which is near a public venue. An older male of about sixty is standing near the curb and preaching. He talks about the nature of God as if he is some sort of messenger. However, he seems very mundane and yet also very artificial-sounding, uneducated, and bland in his claims.

Over time, he mostly goes on and on about how he sweats for God. He makes the claim that only people who are chosen by God can sweat large amounts of sugar. At different points, sugar falls from his arms as he performs his sermons. After a time, I get very annoyed and tell him how a person cannot sweat large amounts of sugar crystals from their body. This makes him even more confident about his apparent mission.

For a time, he walks around on his hands. As he does, very large sugar crystals seem to fall from his arms and legs. However, I am aware that, when looking closer, they are just coming from the creases in his clothes. He does not seem to be sweating at all. Still, the sense of the continuous falling of the sugar and the motions of the cloth is very vivid.

My wife Zsuzsanna comes up to me and, since I have had enough of the “preacher”, we walk from the curb to some sort of commercial building. The hand of an unknown unseen female comes out from a dark doorway of a business and hands me a business card. They seem sincere in their approach and seem to understand that I know the preacher is just an irritating fake. However, I am aware the business promotes New Age concepts relating to finding out what one’s past life or alien contact is and thus is also nonsense. Even though I do not need the service of this business, I accept the card without being rude.

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There is possibly an association with “sugar-coated lies”, though there was an obvious influence from a song I like, “Climb the Hill” by the Fixx, with “To me you’re inside out and upside-down” and “Bible thump posturing won’t turn me ‘round”. It is also unfortunately based on a mentally ill male who used to write mindless lies about me (and other posters) on a dream journal site and his own website. I would not even know where to begin with his nonsense. He writes compilations of his “beautiful art” related to his abuse, falsehoods, and stalking of other dream journalists under the “guidance of God”, while pretending to be a man from the future praising himself, and that is only a small part of it.

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Morning of November 12, 2016. Saturday.



I find myself in what seems to be our old apartment on Gellibrand Street in Clayfield, yet which also has the feeling of the northeast bedroom of the Loomis Street house (yet another new composite I have never experienced before). The Loomis Street living room is mixed into the Gellibrand Street hall. However, even though it looks more like the Gellibrand Street apartment I feel younger and as if it is mainly the small Loomis Street bedroom.

At one point, I hear an unknown male talking outside my door. Eventually, it seems he is mocking me, yet somehow without being directly sarcastic in his vocal tone. I am annoyed and go out to the front yard but do not yet see him. I notice that instead of the front steps there is a round boulder to have to walk up onto, which is difficult. The unknown male is now standing at the open hall entrance. He reminds me vaguely of Don K (who I had not seen since around 1982) and seems about twenty-five years old. He makes a couple comments about my difficulty in walking up and over the bolder and I feel a bit annoyed as my legs do not seem to work correctly.

He mocks me with a few more comments, a couple relating to phrases my mother used to use (such as “my old bones” and “this nutty old world”). I agree with a couple comments he makes relating to my apparently lame legs.

Still, I become more annoyed by his presence. He makes comments about details in my dream journals that I had written way back when I was only eight or nine years old (the original phrasing and writing style). I am surprised he knows all this. I get the impression he had somehow been reading my dream journals way back to 1966. I wonder if he stole any of them or any of the pages.

Eventually, I punch him out. He ends up lying on his side in an unknown area, as the setting now transforms into an unfamiliar location. When he moves, I decide to chop him up so that he cannot be an annoyance anymore. Another male appears (likely the emergent consciousness personification as it seems more passive and “closer” than a personified basic conscious self identity) and we seem to be working in a mission together. There is an advanced computer that speaks as I am trying to work out where to send the body parts.

I give the computer vocal instructions and it answers me in a loud clear voice. I give it various longitude and latitude directions though at first, what I say is distorted and meaningless. The computer keeps correcting what I say so I can repeat certain details.

“Thirty-six degrees latitude north,” I eventually say. “One hundred fifteen degrees latitude west…”

“You mean longitude,” says the computer loudly. I agree with all the corrections the computer makes, but I have no idea where I am sending the body parts as it feels I am just saying random values. I get the impression that a team will come in, take them away, and place them wherever.

“The Deuce-Berry Hoover Dam,” announces the computer. I am somewhat surprised and am not certain it is a good idea to put the remains there (as I consider the remains sitting atop the wall near a spillway, right out in the open), but I do not say anything. The other male looks on passively as I visualize the espionage team getting ready.

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A dam is a potential waking prompt as water symbolizes sleep and a dam stops water from flowing; deuce is sometimes a term for the preconscious (secondary to a more defined emergent consciousness in the final scene of a dream), berry being a play on “bury” and “Hoover” also being associated with vacuum cleaners (both a mortality symbol and dreaming conduit and waking transition symbol that has been recurring more over the last ten years); the talking computer is the personified whole conscious self (not that common a feature as here) due to only the whole conscious self having viable thinking skills.

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