lucid

Morning of June 16, 2007. Saturday.



I have had variations of this dream setting most of my life. I first started calling it the “Enchanted Forest” in 1968 (at age seven), after the Harvey comic book location (for example as with “Casper the Friendly Ghost”) which likely influenced it.

There is a place that you can get to by way of a certain older dirt road (sometimes a rut road), and often part of the road is slightly muddy and overgrown so that many people do not know it is there even though it only takes moving a bush or tall grasses aside.

This place that is seemingly only in my dreams is fairly large (I am sometimes able to estimate the distance from how far it goes before coming out near a highway on the other side, though coming out of the area before my dream ends does not often occur). There are some turns; I would say about four main changes before you get to the “best” areas in the apparent middle. I often show two or more people (often friends or former classmates) where it is and feel a great joy at going in to show them around and we usually go in at about a twenty-two degree angle (about half of the standard vertical diagonal of forty-five degrees) and I am not certain, but we always seem to be going in from the west with a particular seemingly familiar area of entry.

There are usually areas that are so “hidden” (from other parts of the nearby path), that such a thing would not be possible in real life, especially near a main road. There is also sometimes an idea of animals around that cannot be found anywhere else; often certain types of bears, wolves, or wild boars, but with no stronger fear factor involved; just the knowledge of what direction to go from that point if becoming aware of one.

Most of the time, the secret forest seems to reflect the same mood as always or fictional “memories”, and it seems that I had been the only one to know about the area for a long time. It is so clear, it is sometimes possible to make a general map of the area (though it would not be exact, as sometimes, it seems to change slightly, often relative to slight flooding or more plant growth in different versions). The area usually also reflects an amazing feeling of appreciation which is hard to explain.

There are only a couple of other places (both fictional) that I have dreamt about (about half as often) many times; an area in an unknown city near a certain set of streets where there are also train tracks, and some sort of eerie area in a bigger city which often has a hint of potential danger of some kind of large rat (which also always has the same mood but more eerie than the others).

This time, near the ending point of my dream, after we are back in town, I am somewhat lucid. At least, lucid enough to think to myself of the phrase “this dream seems so real, I can make out the reflections in water moisture on the bark of the trees” (which I can). I am amazed at the details of the buildings and the plants, and take it all in. Some of the homes on a particular street look amazing, with beautiful ornate details.

After a little while, my dream becomes less vivid as I am waking. I notice that one of the people who had apparently been with me is a young girl, but is not really a girl at all; more like some sort of walking plant with no actual human characteristics. The “arms” and “legs” seem to be made out of corn-silk and there is no actual head (or even “body” so to speak); just a cluster of wheat or corn husk or some such. I find it quite odd, yet the other people I am with seem normal, but I do not say anything. It actually seems like some sort of “familiar” entity and faithful “friend” but I do not recall seeing “her” at any previous time in any dream, at least not in this particular unusual form.

Morning of March 5, 2007. Monday.



This entry has been painstakingly edited back to its original form, date, and full personal detail. The original title was “The Safe House (TV Show?)”.

The first part of my dream relates to some sort of fictional so-called reality show (apparently similar to “Big Brother” which I have never watched) called “The Safe House” - where random arguments are filmed on the streets. The concept involves giving people an opportunity to be “safe” by coming to the house to get away from any sort of trouble. There is one scene (on a television screen) where random things go flying across the camera’s view, including an empty baby stroller - and there is an extraordinarily loud level of screaming and pots and pans rattling and flying across the camera view along with other objects, almost like a cartoon-like cacophony. It is all the result of a young Jamaican woman (she has about three children) having a fight with her American husband near a busy street. Apparently, he keeps doing the opposite of what she wants (when she has to go shopping and such) going in a different direction and so on. I mostly only hear the fight and not actually see much, other than the objects being thrown into the street followed by lots of clattering noises. I keep thinking that one of them will probably come to the safe house (where I seem to be), but this does not occur.

There is a later point near dusk when an Archie Bunker lookalike yells out the window and someone yells back at him.

There is then a gangster looking for someone and he wants to check the safe house, seemingly with the likelihood that the other person or persons will be shot or captured. They do not find anyone, though. (Actually, it seems that they just walk around outside without coming in.)

Other events unfold; nothing significant. I decide to check up on the people who have come into my “safe house” and find no one (though I believe my family is home).

Later, it is nighttime and the “reality show” is seemingly over (or in a different “mode”). I go to my front porch and notice two males seemingly about to visit us. They are standing near the steps but had not yet come to the front door. They appear to be hesitant about the nature of our house as if it does not meet with their approval. I am semi-lucid but not sure how to react. I wait for something to happen for the most part. I notice a few shooting stars in the distance. I am aware that parts of the rain gutter are a bit rusty, with a couple pieces even flaking off. It mostly appears to be the house from Stadcor Street, though with features from more recent places we have lived.

A somewhat wealthy-looking effeminate male (about thirty) and another man (who is a bit taller and on his right) are standing outside near the front windows. The taller man seems hesitant to come in even though he seems to really want to get away from his partner. It seems that he cannot meet or openly talk to anyone else because of this man because of some “automatic criticism” he implements all the time. He wants to get rid of him so that he can go to some sort of party on his own.

I ask a few questions (cannot remember exactly what they were) and the shorter male seems to get more annoyed with each question, although I try rewording them. I do not like his snobby attitude, but I do not want to annoy him either (something to do with the ratings of the show). They remind me somewhat of the landlords we had in Brisbane who were in a relationship and were also counselors for male couples in the region but one signed away the house behind the other’s back. We were told we would have to move, so we packed up, then unpacked later when the other claimed the house had not been sold, but then had to pack up again when we found out it had been sold, so they were not honest with each other about the property.

He starts complaining about hurting his feet because the front stairs have some sort of hard metal supporting them below the bottom step. He looks at me as if he is very annoyed with my general appearance (especially my hair) as well as the house (yet also seems to be commenting on the state of the roof of our house) and in an insulting snobbish manner (yet with a dramatic pause), says “You have fondue rust." The other male says nothing. (For some reason, I have an in-dream faux memory of "fondue” being spelled as “fondage”.)

I can understand “rust” relating to the Echo and the Bunnymen song (which I listened to quite often during this time - it even has a line about the shooting stars), but the phrase itself seems enigmatic. Perhaps he is commenting also on the portable stove on the porch (which is also a bit old and rusty in my dream), which is unsuitable for a get-together or community party. However, it actually seems that this “fondue rust” is a bit of rust on the safe house (on the roof and outside walls) which sticks to people more than regular rust and is hard to get off. He says this to me with strong disbelief - that he cannot understand why anyone would be in a house that has this problem. It still also seems to mean dandruff at one level.

I start making a joke out of some other things he says with an “I cannot believe you are serious” attitude, saying that this is too ridiculous to be of much use to my life, and that it sounds like some sort of bad comedy script, and I start laughing, and at that moment, I hear the laughter of a large number of people who had apparently been standing around watching the “show” (who just seemed to appear out of nowhere when I made the statement). It seemed rather intense, eerie, and yet nice, to hear myself laugh, then all of a sudden, the laughter of many others immediately manifesting. I grow more and more lucid, but there is an unusual sense of time slowing down.

As I wake up, I hear part of the theme song of the show, which sounds like a sort of chorus-like yodel (with an almost dwarfish vocal sound), with the melody as follows (assuming C starts as 1 and continues on the white keys):

2, 2, 2, 7, 6…1, 1, 1, 6, 5

The 2nd note in each phrase is slightly faster, giving it a bouncy feel, and the last note in each phrase slightly longer. (I may update this with sheet music format later.)

Song link: http://www.azlyrics.com/lyrics/echot...ymen/rust.html

Morning of April 9, 2006. Sunday.



How wrong can a partly scripted and incubated lucid dream go of indulging in lovemaking while in a flying chariot (pulled by bronze winged horses) above an endlessly continuing large city? Well…guess. Try it, and you will probably see what I mean.

My wife Zsuzsanna as Vulnavia and I are in a partly undefined area. This area of course starts out as the bed in light sleep paralysis but has motion and movement over time into a cityscape. Regardless of the recent romance in reality (which automatically triggers this form of light sleep paralysis and blissful lucid dreaming in the first place), that only makes my dream’s essence more soothing and “realistic”. Well…make that in some ways.

I look ahead at the “realistic” rendering. At times, other than the regular team, I see a few stray horses at quite a distance ahead, yet somehow I know they are still pulling our chariot (which I seem to know has the Roman numeral for six on the side; VI). (For some reason, this scene of a horse being way ahead of our vehicle yet still guiding it somehow, has occurred a few times though in different context. Added August 11, 2015; for example “A stolen candy bar wrapper and a girl with golden skin” from May 15, 2014, which also ended with a play on “golden calves” and as with that later dream, I am concerned about “how we will make the corner properly” at one point, though relating to the tops of buildings in this case.)

There is a strange physical awareness that the chariot cannot maintain horizontal orientation, though that is more of a benefit in this scenario than a distraction. There are transitions in setting between bed and chariot, a bit like typical in-dream environmental bilocation. Mouths press together sensually and at times, there is a sense of slight vertigo at being so high in the sky. I have to check the horses now and then to make sure they know where they are going. A large flock of birds disrupts our otherwise smooth flight and wild lovemaking at one point. Well, I suppose that was almost a certainty.

After a time, in getting closer to clock towers and whatnot, I accidentally perceive the notion of supposedly linear time and how to “properly” perceive time. Of course, in dreams, that can be an attention-altering mistake.

We are still having fun. “Oh what fun it is to ride in a one-horse open sleigh.”

(Who said that?)

Of course, a chariot and a sleigh are two completely different things (try telling your dream-self that). Unfortunately, the power and speed of self-as-dream-maker thought simply does not care. Thought does not wait to check itself for logic or run self-diagnostics (other than in apex lucidity I suppose, but this is a level down from there).

Thus we are now making love in a bed on a raised platform under a candy cane canopy in a Christmas display (in April, yet) - Gimbels I think (though not extant in reality). I am concerned about visitors though there is only one male who vaguely reminds me of Phil Silvers, but I know many more people are going to be coming in soon. My wife is up and out and in Vulnavia’s white fur outfit.

“Have you seen Santa?” he asks. Oh, how stupid. I have to remain under the sheets, completely undressed, as I cover my head as much as possible. I feel him tugging on the sheet near my feet and lower legs. It is very clear. “Santa? Santa? Come out of there Santa.” I need to teleport back to our “real” bed and I do. (Apparently, Zsuzsanna had been lightly caressing my leg with her foot in reality in her half-sleep.)

Update August 11, 2015. I just realized that “Phil Silvers” is possibly a play on “Feel Shivers”.

Morning of March 1, 2002. Friday.

Dream #: 12,856-02. Reading time (optimized): 1 min.



The usual water induction is eventually stable as an irregular pool in an outdoor area near a forest. One side has a rickety wooden fence, the other a solid wall. A staircase goes up to the wall where there is no door. Naiads, modeled after Zsuzsanna, play in the water.

The scene changes into an automobile assembly line in an unknown factory. Over time, vestibular system correlation takes many unusual forms as different distortions involving cars, trucks, and vans. There is a truck with its left side ambiguously merged into a wall. Over vehicles are overgrown with vines. There is a futuristic car of an aerodynamic but unrealistic design. (The angles seem too extreme.) A firetruck is on what is similar to the base of a statue.

The scene changes into an automobile assembly line in an unknown factory. Over time, vestibular system correlation takes many unusual forms as different distortions involving cars, trucks, and vans. There is a truck with its left side ambiguously merged into a wall. Other vehicles are overgrown with vines. There is a futuristic car of an aerodynamic but unrealistic design. (The angles seem too extreme.) A firetruck is on what is similar to the base of a statue.

Eventually, the preconscious simulacrum shows up in dark glasses with a spy essence. There is a bell he may be ringing soon. I anticipate this but move into the waking transition on my own.

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Vehicles (other than literal tie-ins) often represent the imaginary physical body in dreaming but can correlate with the real body depending on the state. (For example, a broken car door may be prescient of a lame arm, or a melting tire relevant to a burnt or injured foot.)

The dark glasses are a supraliminal awareness of my closed eyes in sleep. The bell is the waking alert factor (potential cortical arousal). The firetruck also represents co-occurrence with cortical arousal, which is why it is on an elevated base in this case.

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Morning of December 25, 1999. Saturday.

Reading time: 1 min 9 sec. Readability score: 55.



In a semi-lucid state, I allow myself to move into a desert landscape, with a focus on Christmas. I allow myself to correlate with my dream self’s illusory physicality. Zsuzsanna walks ahead of me, to my left (our sleeping orientation). A star also shines in the evening sky, representing the essence of my conscious self identity that is still extant in sleep.

I contemplate the story of the three wise men. However, only a couple of camels appear later. The Christmas story is skewed, and we are trekking to the Roman Coliseum instead of the traditional Nativity scene. I do not attempt to fix the reactive representations of my vague thoughts.

Three tortoises are slowly crawling on their journey. I consider this is an interesting story but then decide it does not make much sense. I contemplate how the tortoises may have appeared to represent my slower biological processes as I sleep.

They reach the Roman Coliseum. One of the tortoises lifts their head to study the height of the Roman Coliseum, and a question mark appears above its head. (The curious impossibility of a question mark suddenly floating above a character’s head, as if in a comic strip, has occurred in previous dreams. I call this the contemplation of the liminal space enigma, which is autosymbolism for the dream self questioning its separation from the waking life identity. It occurs in many other forms, such as jigsaw puzzle pieces near a doorway or the presence of spies or detectives as preconscious or emerging consciousness avatars.)

I walk around a wall and vaguely discern the Nativity scene as I wake. (Walking around a wall was a more common factor in the waking process when I was very young.)

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Morning of June 2, 1998. Tuesday.

Reading time: 54 sec. Readability score: 57.



I deliberately step into an interesting street scene, but during a sequence of more quickly changing settings when the human forms have not stabilized. (Dream characters usually transform at the rate of about once per second in the first dreaming stage of the sleep cycle, until I allow them to stabilize, though they also sometimes melt into and out of each other during these stages.)

A group of East Indian men (most from about thirty to forty years of age) approaches, some in traditional clothes, some in suits. They are carrying what I think is a casket. Moving closer, hovering in an incorporeal form while maintaining vestibular system correlation, I see the lid is now off. The “casket” contains long yellow candles (emerging consciousness color) aligned in the box lengthwise end to end. One of them alights, and I hear a male ahead of the group say, “Oh, look at that,” more in wonder and respect than surprise or alarm, and I wake softly, feeling alert and well. There is an essence of magic, though not “real” magic, only the knowledge of the dream state and how to mediate and modulate it.

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The “lighting a candle” process is a thread (both in infra-awareness and lucidity as here) that I have used since early childhood to more clearly define my conscious self’s existence, especially with incidental sleep apnea, though which is quite rare and is not a factor in this case.

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Morning of March 24, 1998. Tuesday.

Dream #: 11,418-02. Reading time (optimized): 1 min.



I experienced a vivid semi-lucid dream. Carol (older half-sister on my mother’s side) was with me in an unknown mostly undefined location, though possibly an ambiguous composite of the Cubitis driveway (Florida, America) and a part of Clayfield (Queensland, Australia). I am flying a large kite in the morning, and there is a peaceful awareness. Eventually, I somehow bring down from the sky, a fancy and valuable bed frame, mostly shiny red parts of the headboard and frame at first. I later bring down two sections for the foot of the bed. As such, it seems there are more treasures in the sky which kites can be used to manually bring down somehow, sometimes in the (temporary) place of the kite that then likely needs to be replaced (though sometimes connected to the kite or within a box kite).

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This dream is humorous on one level as well as beautiful. My less-aware dream self is linking to the potential of active conscious intelligence, and so my waking mind subliminally sends down a bed to give reference to the fact that I am sleeping and dreaming at the time - like an act of playful sarcasm from the waking self to the dream self. At the same time, my dream self subliminally perceives waking life (and conscious intelligence) as a treasure.

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With two other dreams; one was about changing computer programs internally (relative to conditional jumps changed beneficially) and another about sorting out stamps in a collection (my attention to stamp collecting from 1970-1978).

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Morning of May 6, 1997. Tuesday.

I mostly see images of skeletal human figures that are made of ashes. They seem to be gripping white, smooth, flat, oval stones. There are images of angels that seem to be flying into me (which represents coalescence of different patterns and dynamics within the dream state). There are some images based on when Helene (my wife Zsuzsanna’s mother) was thrown off the bus yesterday in real life.

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Morning of March 8, 1997. Saturday.



I had a dream about Nichelle Nichols (Uhura of “Star Trek”). My dream was extraordinarily vivid.

She remains (as her Uhura character) in a small powerful rocket moving above Earth. It seems that Doctor McCoy is the one that put her in the rocket as an experiment, though for an unknown purpose. She bounces around in the interior of the rocket without getting injured. It seems as if I am present, though incorporeal. It does not seem to be part of a movie as in similar dreams, but is implied as a “real” event.

An association relates to her appearance in Star Trek V, which had a surreal moon induction scene and featured a “cat dancer” in another scene. Another connection relates to a vivid dream from 1966 which was influenced by the somewhat anthropomorphic cat dancing as in “Gay Purr-ee”. Additionally, a similar essence was in “Cold Hands, Warm Heart”, an “Outer Limits” episode which starred William Shatner (also of “Star Trek”). See the composite image for how similar the essence of these images are, which my nonconscious correlated over many years (or I would never have consciously made the personally eerie connections).

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In addition to the typical vestibular system correlation, there is also the factor of rolling around in sleep.

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I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.

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Morning of March 7, 1997. Friday.



In my dream, I am apparently part of a science-fiction scenario, though it is not directly evidenced as being a movie in progress. Much of it seems impersonal and inconsequential to me despite the fanciful nature of the events. It is occurring in afternoon. The situation seemingly relates to invisible aliens coming to Earth to invade and conquer. However, the alien activity seems more like magic or perhaps even the work of one entity, though it is possibly just advanced technology that is being utilized. I feel vaguely puzzled about this situation, though I do not feel threatened at any time.

At one point, hot air balloons that first seem normal transform into brontosaurus shapes and eventually come down to land on the ground, becoming more lifelike. (Curiously, I do not make the association with parade balloons even though this was a probable influence.) Some people seem amused, others alarmed. (There is no focus on what may have happened to the people in the hot air balloons.) Some people remain in the area. Others flee. I remain impassive.

Another scene involves finding a business that may have been taken over and which is also corrupt. I burn some curtains by sending white lightning from my fingertips.

Don Knotts, another actor (possibly Andy Griffith), and I ride together in a car. The trip is uneventful.

There is also a scene where an unknown unfamiliar female has several guns in her house in preparation for the supposed increase of alien activity, which may change the nature of society. My dream fades with no dominant RAS mediation and a soft uneventful awakening.

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Looking at very familiar symbolism in this dream, it is recognized that the depth of my sleep changed a few times, which affected my level of lucidity. The hot air balloons are a combined link to real-time vestibular system dynamics and depth of breathing while sleeping. The balloons coming down to land on the ground signifies sustaining the dream state rather than the waking transition being more imminent. Despite natural vestibular system ambiguity while unconscious, my dream held my focus of imagination with living dinosaurs and aliens, factors not related to waking life.

The main liminal space division (other than the basic implication of ground and sky) features in the scene where I direct lightning at the curtains. The curtains are implied to be over either a window or a door. The liminal space divider is that which keeps the dream self identity as uncoalesced with the conscious self identity (which is why opening a door, normally a dream’s implied exit point or otherwise a shift in the present level of unconsciousness, sometimes serves as apex lucidity induction for me). Additionally, lightning symbolizes neural energy. As my dream self has the ability to produce and direct lightning, I am attempting to bring additional threads of awareness into the dream state, but there is a biological factor that mediates my depth of sleep and level of awareness. My lucidity is only at about fifty percent in this scene where it otherwise remains much less.

Still, the natural RAS mediation never fully dominates. In the final scene, the preconscious takes the role of an unfamiliar female who never uses her guns, which means I allow myself to enter the waking transition without a need for prompting.

My understanding and acceptance of the natural stages of the sleep cycle (and the inevitability of waking) and the dream state in this case prevented a more violent scenario. However, there are many times when I challenge RAS (due to wanting to sleep longer or to hold full control over the dream state) which results in shooting all contents of the waking space (inconsequential of course, other than coloring my mood to seeing my final dream of the sleeping period as frustrating for a short time).

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Morning of November 29, 1995. Wednesday.



This had been recorded as being an extremely vivid dream, as well as parts being lucid. I somehow end up where there are (living) wolves made of stone, of ice, of snow, and even of diamond. Mostly the wolves of snow seem to bite at me. In many dreams however, wolves are friendlier than domestic dogs. (In the past, mostly before around the age of fourteen, I often dreamed of dogs coming for me, while during the same periods, I sometimes had pet wolves. Presently, though, as I have recently stated, the “same” German shepherd had been in my dreams a few times as some sort of guardian for me - and it usually has some sort of pennant on its collar). I used to play with a wolf hybrid when very young in the coulees.

I had referenced a very pleasant and vivid sleep paralysis event that seemed to go on and on for some time, referring to “swinging” sensations from head to toe while in bed and pleasant energies that seemed to be rejuvenating my muscles and such. Sleep paralysis has mostly been extremely pleasant for me, though I have heard many people experience negative associations or unpleasant dreams (even nightmares) in such a state (more often than not). Odd. The interesting thing about sleep paralysis is that it is sometimes premonitory (somewhat similar to what I have read on epilepsy - though I do not have epilepsy), sometimes not - I have been in states where I was able to instigate the higher “buzzing” to more fully “separate” into the deeper states but other times it seemed “automatic”.

Sleep paralysis, throughout my life, always had the same features; a higher-pitched oscillation of perfect timing, almost like ring modulation (which sometimes remains in subtle continuity for a short time even after fully awake - more-so when I was younger), and waves of pleasurable sensations moving up and down my body, as well as the “jumping of will”, or that strange vibration or intense “spasm” above the navel. A few times, this had triggered a dream of lying on a beach on my back with my feet towards the ocean and feeling the ocean waves move over me in an even pattern for seemingly half an hour or longer.

At one point, I am “certain” that I am awake (though I am not) and get up, but when I go into the bathroom, I notice, upon looking in the mirror, that my eyes are very strange-looking. There are two sets of irises and pupils, side by side, in each eye. Seeing this, I become fully lucid and start doing pulsing affirmations within the dream (regarding universal love and health and well-being) until I actually do eventually wake - with that familiar “my body is made of mist” feeling that I get with certain affirmations with my special audio. There seems to be a point at which I can directly control the hypnopompic imagery, which is fairly rare (normally I can only “program” hypnagogia to whatever detail I choose - which often is enough to establish a particular dream scenario - but often prefer to leave nuances “open” to be pleasantly surprised if such is the case).

Morning of February 22, 1992. Saturday.



My dream girl (oh…except for one little thing - she is now real) approaches the Tree of Knowledge. There is a resonance whereby, though there is change, the form can still be discerned over time. Remote viewing comes so easily at times. For her, I was born, even before her own birth. Humanity has no answers or even a scrap of knowledge concerning my nature, but that has never been problematic in any serious sense.

I see the universe at the base, the roots alive, almost octopus-like. Above each root is an eye-like structure, the eyes somewhat catlike, though actually each “eye” is more like a portal over time. A spiral. So I draw these facets as spirals. Within these roots are smaller roots. On and on. Of course, everyone doodles spirals and many-eyed octopus trees with hooked roots at some point in their lives. Yes?

When she was much younger, Zsuzsanna drew a rather surreal image in her journal. Years later, when I was writing to her and her family, I drew a similar concept on the outside of an envelope without having any clue of what she had drawn. Once again, the truth unveils (even though she already knew who I was with my very first letter - after all, for whatever reason, she had found me and remote-viewed my life since her birth - endless proof; everywhere).

Being only one of hundreds (make that thousands) of similar occurrences, which is quite beneficial, as it stops ordinary people from wanting to be near one (faces of fear, faces of bafflement, faces of anger) - thus less misleading and misguided rubbish from their limited awareness of the universe casts one’s way - it does not take a genius to know the “cop outs” of humanity are of no value for one seeking truth in their own path. People have tried to influence me since I was very young. I gawk at their audacity and limited understanding. Yet there is still respect for them as living beings.

The first image is scanned from one of my wife’s old journals. The second from the envelope I sent from America to Australia (without knowing of the contents of her journals). This one is a freebie and for mild amusement. For all the ones that are “too close”, I have learned that most people do not have the capacity to either believe or understand. It is a predictable habit people have to run from the Source rather than embrace it and thus many always keep their back to it. I had nothing to fear.

Which does not mean, of course, that the universe is a plant-like octopus reaching out to grab you.

Morning of November 23, 1991. Saturday.



Status: Solved

It was not until sometime around perhaps late 1991 that we (Zsuzsanna and I) began to realize that everything around us seemed encoded for whatever reason as we had already realized our own connections (and though certain other people were aware of this as well, they were quite manipulative). This was one of those really odd dreams I had to look deeper into and, interestingly enough, was more obvious than many others I had.

My dream starts out about as vividly and realistically rendered as a dream can be. I am lucid, but have a vague idea that I “really” am near the ocean in late morning somehow if only in my dream body (though the concern I sometimes have about where my real body is or what it is doing is far less pronounced). I sense the presence of an entity that seems to be nearby in the form of an “invisible” ball of water. After a short time, I ask the being what his name is.

“Isaiah!” he says, loudly and dramatically. I feel the energy of the ocean’s movement and it actually feels like a “superior” being is present (which is quite rare in my dreams relative to any level of uncertainty about how to proceed). I am very glad that this is occurring. I think about asking questions of this being since it seems to be very ancient and wise.

However, after a time, the vividness starts to decay and the presence lessens in perceived power somewhat, eventually becoming rather mundane in feeling and sounding more like an ordinary man speaking, albeit with slight authority. He starts talking about the Lord and various names of the Lord, using the word “holy” several times (and almost all of what he is saying seeming to be passages from the Bible, perhaps as related by a somewhat distracted televangelist), but clarity is beginning to fade and I become annoyed at how generic and impersonal his speaking becomes when compared to the seeming direct contact during the first part of my dream, though that was probably the fault of a consciousness shift.

As he is speaking more and more impersonally, I seem to jump to a different location and see continuous skewed imagery of a cow looking at me. Sometimes the imagery actually moves completely sideways as if I am watching a film that got scrambled (or a dynamic three-dimensional photograph that is rotating), as I am seemingly not moving at all - only the angle of what I am seeing is moving. It seems odd looking at this random cow while listening to someone quote random passages from the Bible - his voice seeming more hesitant and unsure as time passes - and it all begins to puzzle me as well as irritate me somewhat. I eventually wake thinking about how “pointless” the last part of my dream was. I mostly saw it as a warning against religion and in not becoming a cow as such and still stand by that interpretation at some levels.

What I had since learned is how easy it was to interpret. The cow of course, was a representation of Hathor, a variation of my wife’s surname. Also, silly me, I had not realized it came from “Sweet Dreams (Are Made of This)” by the Eurythmics (always wondered about that cow scene). The sledgehammer is the symbol of one of my family lines (”I’d rather be a hammer than a nail”). The Hammer is also the symbol of creation when the One struck the surface of the life pool and each droplet from the splash became an individual human consciousness, no longer “as one”.

Now, granted, I was doing a lot of other decoding and such at this time and did not really pay much attention to this dream. Even in noticing the title had “Dream” (“mirrored” in audio reversal) and “Sweet” (“twos” or “deuce” depending on how you want to hear it and being doubly layered with the heart symbol as such), I was not too interested. Of course, their other song at the time was “I Could Give You A Mirror”. Well, how obvious can you get? “The original recording’s main instrumentation featured a sequenced analog synthesizer riff, which Stewart accidentally discovered in the studio when he played a bass track backwards.” Oh…that obvious. Holy cow.

Morning of February 17, 1991. Sunday.



I consider this dream precognitive due to its vivid and personal nature regarding upcoming contact with my future wife a short time before my first highly unlikely and unexpected communication with her in real life. It had the very similar mood and awareness found in my more personally precognitive dreams and the extra layer of focus.

I have absolutely no doubt that this dream (of many others) somehow “announced” my upcoming contact and partnership with my soulmate (lifelong “mystery girl”). I would have to be extremely shortsighted (as well as wholly ignorant of my own consciousness and previous experiences) to see it differently. I would like to be clear that the opinions of skeptics mean nothing to me.

In my dream, I am back in Cubitis (Florida) on the south side of the front section of the shed. Oddly though, at the same time, I seem to be doing some gardening for sister Marilyn at her house in Wisconsin. Over time, I pull up several larger weeds.

Eventually, I find a stubborn “root” which I believe to be that of a larger plant somewhere in the area, perhaps even a tree or at least a shrub. When I pull on it, it turns out to be an electrical cord and an old antique lamp (similar to one my sister had in real life) emerges from the ground, entangled in actual roots. I feel a vivid sense of wonder and awe that is very hard to describe.

The lamp has two figures on the base, a presumed married couple effigy, but very old-fashioned (possibly 1700s); a dark-haired woman in a wedding dress and her partner. There is a very unusual emotion as if it is an important discovery and that the man may somehow be “me”. It seems very personal and significant. I am thinking about whether or not the lamp will still work after being buried in the ground for so long.

Optimized 2 minute 30 second read.

Saturday morning, 9 February 1991.

Time Gate (fascinating and life-changing outcome)

Dream # 8,818-01.




Exactly three years after this dream, I arrived in Australia to meet with my real-world "dream girl."

The beginning of my dream involves me becoming aware of the "sugar shack"/"old shack" dreams I had as a child that also had several inexplicable outcomes. In this case, the real-world Arcadia post office and the "sugar shack" imply the essence of a single location.

The area is unlike waking life. It is more like an open field as I walk to the west. Despite the incorrect nature of the setting, I am near the Arcadia post office. I come to an area that reminds me of the isolated trellis I had deliberately used to leave the dream state many years previously. A large metal green fence seems to divide a mix of previous times from the present. I experience a vivid sense of timelessness. A mammoth, tyrannosaurus, and deer are all from different eras, but their life energy is intense and present.

Behind the fence, I see a "realistic" growling tyrannosaurus and a grunting woolly mammoth as my dream becomes more vivid. There is a woman in black (a young Barbara Steele or the "mystery girl" or a mix of both), prehistoric deer and goats, emus, ornithomimosaurs, and various small animals.

There are also a few robots in the "Magnus Robot Fighter" comic book's style. ("Magnus" is the name of the main character in "The Bermuda Depths" and the brand name of an electric organ that I often played when younger.)

I have a vivid impression that something inexplicable is impending. I consider that part of the northern end of the "time gate" may be attached to the post office. I find a room resembling part of the King Street house - my L-shaped apartment (before I lived there in waking life).

Susan R, a classmate, seems to be on a safari and exits a jeep with others and squats to study footprints.

I hear a sudden stampede influenced by the Tasmanian Devil cartoons (where the animals run from him). Even so, it is far more realistic as I watch animals rush by the window, leaving a large dust cloud. The noise is incredible. I get a sense of being in Australia (where I had never been at that point) even though the setting is in Florida. The stampede means the "time gate" had been opened. I say, "Oh-oh." An unknown witness responds with "What?" as I again say, "Oh-oh." The post office building shakes.

I go to the front entrance of the post office, wondering if the animals will destroy the building and if I will be safer somewhere else. I walk outside, and it now seems to be a quiet, sunny day. However, I turn around as a giant dove approaches me. It slowly walks from the building. It has a red heart symbol on its chest. I hold a burning sword, but I wake before anything else occurs.

The dove from the post office reminds me of the American postage stamps featuring doves and heart symbols.

As a boy, I was intrigued by coincidental patterns that emerged from different letter arrangements. A next-consonant, next-vowel continuity from JESUS is KITAT, LOVEV. When I tried it with my first and middle name, I got CLAUDECLARENCE, DMEAFIDMESIPDI, FNIEGOFNITOQFO, GPOIHUGPOVURGU, which I decided "might be" GPO I HUG PO VIRGO.

After this dream (in March of the same year), Zsuzsanna and I communicated for the first time in waking life. We started regularly writing letters and talking on the telephone.

Zsuzsanna is a Virgo, but I have zero interest or belief in astrology, tarot, or any other nonsensical system. (As a boy, I learned systems like astrology and tarot were wrong beyond the laws of chance, which I found odd.)

The Postal Service issued its Love stamp booklet on Valentine's Day, February 1994, the year that Zsuzsanna and I married.

I have recently recognized that the front fence of our home (same design with metal vertical bars) is a “miniature version” of the “time gate” of my dream. (The owner added the fence years after we moved here.)

The birthplace of Zsuzsanna's mother is the antipode of the Arcadia post office. It is also antipodal to my place of birth (Punta Gorda).

I was always puzzled (as a child) by how much a rotated Australia resembled North America - as if it was "on purpose."

It is important to understand that our new fence appeared LONG AFTER my original image for this dream report.

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