non-lucid

Morning of March 8, 1969. Saturday.



Sgt Carter (played by Frank Sutton on “Gomer Pyle”, the television series) is aboard a small airplane (though unrealistically implied to be a jumbo jet) which looks more like the inside of a school bus (which is very typical of my dreams, even years later after I have actually been on airplanes). He is on the right side of my perspective (from the front of the “airplane” as I am “standing” and looking toward the back of the “airplane”) and perhaps on the second row back form the front. I seem to be disembodied or at least not interacting with the situation in any way, though it is not really like watching television because I am “there”.

Frank is suspicious and nervous of a person behind him on the row to my left, probably the very last row. Apparently, the people on the airplane have just escaped the devastation caused by the blob (though the town was not really devastated in the real movie from 1958) and down below are big shadows and small fires, though the other people seem cheerful including an unknown businessman in glasses on the first row to my left. The blob has the ability to change into different things (also unlike the movie where it remained a gelatinous mass). What is first seen as a person reading a newspaper is possibly the blob…that is, the “newspaper” ready to devour that person. For a time he sits in his seat covered by the “newspaper” (which now seems more like a cloth blanket with a newspaper design printed on it), seeming somewhat like a “ghost” wearing a “sheet”, unmoving. Frank does not directly look at any point yet somehow seems aware of what is going on behind him.

The scene is not resolved. Frank (as Sgt Carter) disappears but no explanation is given. The blanket/blob/newspaper, assuming it is “real”, may still be hungry, though it is quite small. For a time, it seems more like seats in a movie theater (though somehow ridiculously a “flying” movie theater - that is, the building with no implied wings) rather than on an airplane - then the “movie theater”/“airplane”/“school bus” is empty. Everything is quiet, though the newspaper is on the floor, fluttering, sticking out slightly to the right of the seat of the original “blanket man” (from my perspective). (From here, things go “frozen” for a time, then abstract hypnopompia.)



Probable influences:

“Peanuts” comic strips where Linus’s blanket is “alive” and attacks Lucy (cutout from 1965 and taped in a notepaper binder collected and owned by my mother)

plus

“Newspaper Blanket” by the Cowsills (I owned the 45 of; flip side of “Indian Lake”)

plus

the episode of “Gomer Pyle” where Sgt Carter acts this way on an airplane (heading towards a nervous breakdown, supposedly)

plus

the movie “The Blob” (1958 version)

equals true weirdness via pop culture overkill perhaps. Being cruelly and surreptitiously dominated by entertainment has never really been my goal; just endless meticulous self-examination. It is good to discover the synthetic sources of your own imagination, or make that, the dream self’s “mind”, which does not even know an airplane from a bus.

Morning of February 9, 1979. Friday.



This is a recurring dream event of getting off a bus (likely a metaphor for a shift in consciousness). Here, I am with my “mystery girl” (wife Zsuzsanna prior to knowing she was a real person) who is vaguely associated with being a Mouseketeer, though I am not sure of our destination (possibly a television studio?). Though I am living in Wisconsin in reality, my dream’s location may be near Disney World in Florida. As we get off the bus, my mystery girl (I am not certain if it was absentmindedly or on purpose for some reason) drops a snow globe so that it hits the sidewalk near the curb and cracks open.

At the same time, the entire universe is destroyed with a brief soft cracking sound; the fabric of space “cracks” and the stars seemingly float in a liquid (in a similar way as fake “snowflakes” float in the liquid in a snow globe). Oddly, it does not seem that threatening even though it is “the end”.

On another level of course, this dream merely represents the waking mechanism - the “destruction” of my dream.

The snowflake (which also represents the Star of David and as such, also a two-dimensional view of the Merkaba) relates directly to my wife Zsuzsanna (and was also precognitive of the “I am fragile, I am avalanche” B.C. strip becoming one of my favorites), but seems to be shown here as a chaotic “flurry of stars”, linking the concept of a blizzard with stars randomly “falling” and moving, something I had not (prior to this) made any connection to before regardless of the obvious imagery. (However, when I was five years of age, I did made a cutout picture of a winter scene which actually confused snowflakes with stars.)

Additionally, I get the impression that a crack, which otherwise expresses fragility, also looks like a lightning bolt, implying the opposite (as well as representing the potential to grow severed nerves and tendons back again as I did from July 1962 on). This in turn is likely an association with my accident as a toddler, which caused my brain to be “rewired” through the retraining of my “dead” hand, allowing the usage of parts of the mind that people otherwise would never know about.

Update Monday, 28 December 2015. I should probably include a couple more details relating to how I know this dream was precognitive. Not only did it include my lifelong “mystery girl” (of consistent appearance and of Zsuzsanna’s unlikely mixed heritage), there is the connection to the snow globe and the song “Suzi Snowflake” (“Suzi” is the anglicized shortened form of my wife’s first name). Additionally, my brother Earl recorded “Hey Hey Hey Snowflake” directly after his marriage.

Morning of January 18, 1969. Saturday.



I am apparently in Africa and it is mostly early in the morning in the several scenes. The landscape does not have many features; mostly tall grasses in sparse areas and slightly muddy both brown and gray ground areas and a small pond or two. There is a dirt road (rut road, mostly) that winds through some areas. A few rusty old abandoned jeeps are sitting around in random locations, one on its side. There seems to be at least two villages in the region, although a bit more like ghost towns and with only a few people. At one point, there is a slight concern about, when driving a jeep, how would you know about a lion coming out from one side of the tall grasses? But that is not really a strong focus for any part. There is also a point at which one road suddenly cuts off just prior to an embankment with a drop of several feet (as such, how could a rut road have developed there - or perhaps that explains some of the wrecked jeeps).

There is something about Erin Moran (seemingly older in my dream) having “two lives” or two separate identities in a sort of “Dr. Jekyll and Mr. Hyde” fashion; one as the young daughter of the veterinarian (“Daktari”), the other as a “frog queen” or even “were-frog” of sorts. I think I see her as such at one point (in silhouette only). No one else knows her secret but me. The frogs are many but not that threatening and mostly seem to cause problems relative to the maintenance of the road somehow (that is, leaving extra “potholes” from their movement over the soft ground). I ride in a jeep and a greenish gray Land Rover (which I never saw one of in real life until coming to Australia in 1994). There is evidence and concern regarding rain causing jeep engine problems and “more frogs coming out” which apparently like to live in the engines when leaving their pond. (It is as if it is “normal” for a few frogs to be in a jeep engine, but a lot more will cause problems. Since frogs hop, this is likely an odd distortion of a hamster wheel upsized to imply running an engine.) Eventually it seems like the towns are completely deserted.

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Key points:

An anagram (though I am not implying that anagrams always mean something) of “Erin Moran” is “Inner Roma”. (My “mystery girl”, who was an exact copy down to the smallest detail, from heritage to appearance to unusual mixed accent, of my real-life wife Zsuzsanna long before I met her, was and is Roma.)

Additionally, to augment the above point, Erin Moran, though a very rare character in my dreams, seemed to be a “stand-in” for Brenda W, who, in turn, was a precognitive “stand-in” for my wife-to-be. Brenda was the only sincere friend (and only mutually intimate one) who remained as such from early childhood on until my move back to Wisconsin (as even my best friend Toby and I had falling-outs at times). Zsuzsanna in fact, wrote a story in her childhood called W’s Dream (using Brenda’s actual last name without knowing of her - in addition to the identical drawing of Susan R’s).

I have already explained the frog theme in another entry to a greater extent but will simply repeat here that it seems some sort of reversal of (certain versions of) “The Frog Prince” story. However, because most features in dreams symbolically or metaphorically represent the concurrent level of consciousness, frogs are also a waking precursor and symbol of the preconscious (unlike fish, which would be the deeper unconscious unless near the surface) because they start out as tadpoles but then emerge onto land, consequentially symbolizing the dreamer leaving the dream state. “Frogs in the engine” validate this, as an engine represents dawning consciousness and the power of critical thinking.

After consideration over a number of years, I have decided that the position of a vehicle in a dream may be a subtle play on physical position in bed though not necessarily concurrent, a jeep on its side being an interesting possible play on spooning (and was validated as such regarding at least a few of my own dreams). Also, I have noted that a car accident in a dream sometimes is a metaphor for a person rolling over in their sleep (which has occurred and been validated in several of my own dreams).

Rust is one of those dream features that is quite rare. Presently I assume it refers to the passage of time or even the decay of the dream state in its last segment as it was as such in metaphor in at least one dream (that being “Wool Into Rusty Iron“, which represented waking from the dream state as most final segments do with multiplicity-based scenarios).

A lion, which there was only a very vague concern about here (and no imagery of one), represents coalescence (as does anything that can either cover up or swallow the dreamer, including sand but mostly excluding water in my case) and the return to whole consciousness. However, the mechanism here did not manifest and my dream became a bit more vivid at that point as a result (that is, higher up into preconsciousness, also represented by the presence of more and more frogs, which has occurred in several other dreams in the same way, one of them becoming fully lucid).

The “Dr. Jekyll and Mr. Hyde” theme is an obvious play on unconscious vs. conscious or dream “reality” vs. waking reality.

A town becoming less populated or deserted over time is an obvious play on the waking transition.

Morning of December 31, 1978. Wednesday.



This dream from age eighteen (after moving back to Wisconsin during the last days of June 1978) is very similar in some ways to an early childhood dream of the same date (so therefore seems like some sort of “anniversary” layer - Return of the “cat girl”), though the implied submarine is not actually part of any real building’s lower level that I know of (or reminiscent of any). There have not been any other dreams of this particular mood and nature (that is, with a basement or lower level of a building as a faux submarine) that I know of other than this and the 1966 one.

In my dream, I am supposedly in a feasible “submarine” and carry the idea that I may be being filmed as part of some sort of big-budget movie. This makes me feel as if my privacy is being violated even though I do not fully feel at home in this setting or even know much about it (or any back story). That is mostly because I want to find a girl to interact with although I seem to be the only one “on board the submarine”. This faux submarine, even though I seem to see it from the outside at times (possibly via some sort of view screen or short-term in-dream disembodiment) and even stationary in the waters of the ocean (though seemingly not that far below the surface), I am also aware of its “real” location. Its “real” location is on the east side of Highway Seventeen, oriented north to south, underground by about ten feet (so that apparently a flight of steps leads up and out on at least the two ends), and on the perimeter of our neighbor Harold’s orange grove (though the orange grove does not exist any more and thus is not in the image with this entry). The inside of the “submarine” is more like a large but narrow underground warehouse or appliance storage area made up of two separate halls and at least two sections, somewhat suggestive of the letter “H”, each lined with a number of ovens and probably washing machines, refrigerators, and other larger furnishings and such including large antique wooden tables and not-so-fancy table lamps.

Even though I seem to be a part of this scene as in a movie, nothing happens at all except for me wandering about and looking for a girl to be with - most seemingly, the “mystery girl” (wife-to-be character). Other than that, I have no strong focus or awareness of the real world - only where I am in placement and orientation of the fictional setting. This could be an extreme variation of my much older school bus dreams, when I used to “see” my bus as a “submarine”. The underground location is the general area near where the bus stopped regularly during one semester. It does not dawn on me at any point that we do not live right near the ocean, and I do not come to recognize that a submarine cannot travel through solid ground, especially while remaining motionless (such is the “logic” of dreams) - the same failed comprehension from age six.

Relative to the unusual fictional setting, see also the following dreams:

Hall Kitchens?

Short dream of a house of mystery

Morning of December 9, 1978. Saturday.



This was a strange dream that I was not really a direct part of, though I do see everything from a seemingly local three-dimensional perspective (but as if I am invisible to all the characters of my dream and there is never any perceived threat to me).

There is a woman living on an island. I believe her name is Diane or Diana. Over time, she somehow lures various men to her island, in some cases taking them to her home from social venues. Each man is then turned into a different farm animal and kept locked up in a large barn some distance from her house.

One night, about six or seven animals, including a horse, a donkey, a goat, and a chicken - and I think maybe a duck and a cat, plan to escape together. However, I am not sure if they will be turned back into their original form or if the spell will wear off once they leave the island, though they do plan on confronting her, I think. Also, all of the creatures seem to have an unusual sort of shaggy or stringy hair (even the chicken) with a sort of light brownish orange or darker golden tint. Each one of them has a certain task. It is the donkey’s job to kick the barn door out as I watch the scene late at night. The rooster is apparently supposed to distract the woman while another possibly gets keys to her boat (and it seems their plan is to trap her in a room, though I do not really see the story play out). I am not sure what happens next but it seems like some sort of actual well-known story or fable or even an older movie. I do not hear them talk at any point - their apparent conversations and planning seems to work on another level, perhaps telepathy or some sort of universal “animal language”, as I do hear combinations of some odd and loud farm animal sounds a couple times.

At the point where they are escaping from the barn, it seems to be a bilocated setting where they are in the “junk room” (my sister’s name for it) of the Loomis Street house, with the barn door simultaneously leading to the Loomis Street kitchen (rather than outside). This odd unresolved sense of bilocation has occurred in many of my dreams throughout my life.

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Night of November 29, 1968. Friday.



This (in quotes) is the original title and has remained so. I had entitled this as such due to there already being a story I was familiar with called “The Grasshopper and the Ants” (However, the Wikipedia entry is entitled “The Ant and the Grasshopper” - a variation I had never heard of before). This dream was one of many at a very early age that was very vivid and unforgettable in scenery and “momentum”. I am not even “in” this one. It is more like I am floating and viewing things in another world.

In my dream, there is a young female ant named Susanna (a variation of my wife Zsuzsanna’s name interestingly enough but pronounced without the “zhu” and “zha” sound although I did originally call her Susanna at times), possibly influenced by the Stephen Foster song “Oh! Susanna“. In that song, there is the line “The sun so hot I froze to death” and the grasshopper in the original story will supposedly starve in the winter or possibly freeze to death.

I have accepted the precognitive implications for four reasons; the bride’s name being Susanna, my wife being petite (thus much smaller than I), and the nature of our mixed marriage. She also has more than three younger brothers. Also, the building in this dream was similar to the one I first stayed at with my wife - even called Clarence (my middle name) House. There is also the association with “clodhopper” and “grasshopper” as detailed below. Though I was not certain of the grasshopper’s name, there was a vague association with Marco Polo.

This was a long dream, but I only summarized the main scenes originally. It involves the female ant being “courted” romantically and secretly in a “jungle” - or rather, an area with more grass and stones and such, a fair distance from her home. The female ant’s younger brothers were like composites of three Hot Stuffs and Huey, Dewey, and Louie - but with ant-like features. The scenes were not that cartoon-like at times, but rather like an animated painting. The ants seem to live in a scaled-down condominium rather than an anthill though, so it is kind of funny. There was also some sort of implied practical joke routine related to “condominium pandemonium”. I was not even quite sure what the words meant. I do not think I heard this exact term in real life, or maybe it had been a newspaper headline or some such.

Her rather mean-looking brothers do not want her involved with the grasshopper or any chance for a “mixed marriage” (which is rather a self-fulfilling prophecy, I suppose, as I have been technically in a mixed marriage all these years - even though one man, a Jehovah’s Witness, thought we were brother and sister).

The main, most vivid scene has an interesting meeting between the female ant and the male grasshopper (and note the play on my first name of Claude - I was actually called “Clodhopper” in real life for a short time by at least two classmates as well as “Kadiddlehopper” - from Red Skelton’s fictional comedic character Clem Kadiddlehopper).

I can sense or hear romantic music playing. The grasshopper offers his love a rose. She accepts it but says “Thank you, but I like dandelions much better” in the voice of a (unknown) human female. There is not much drama after this. I am not certain what happens, but I do know the three brothers will be bothersome to both their ant sister and their grasshopper brother-in-law.

The real-life joke has a couple variations, but only one relevant to the reversal of the romantic scene from my dream. A teacher asks a child what her favorite flower is and she says “dandelion” (or “chrysanthemum”). The teacher asks “Can you spell that?” and the child says, “Actually, I like roses much better”.

Night of November 25, 1978. Saturday.



I am back in the living room in Cubitis, seemingly very late at night, at a table near the northeast corner near where the chimney my father had built was in real life. There is an older cigar box with about twenty or more stamps at the bottom, near one corner. The cover of the cigar box actually looks more like the back of an American one dollar bill, with the eye above the pyramid part, except that it has a sort of sepia and orange tint instead of being greenish.

Marilyn and Carol (two of my half-sisters on my mother’s side) are in the room. There seems to be an unusual energy, almost like a “dark force” or suggested evil presence. The stamps rise in the air and hover above the bottom of the cigar box and there is a slightly uncomfortable sense of our home now being haunted (although I was no longer living there in real life).

Looking at this dream record now on Monday, 18 January 2016, it seems very straightforward and easy to interpret. A box or container in a dream symbolically represents the non-lucid dream self’s attempt to quantize the dream (or dream state) - in other words, to “contain” and define the level of awareness or “world” the dream self finds itself in. In this case the box contains haunted stamps as stamps represent communications “between two selves” (yet within the same container). Each stamp is a (incomplete) two-dimensional form of conscious thought potential (or the essence of the waking self as different from both the fully conscious self and the dream self incarnation). This - the flat stamps and static imagery of each stamp - is with regard to the “other-dimensional” nature of dreams. Many of the stamps feature human head profiles, giving more evidence to this concept. The eye above the pyramid symbol represents the full conscious self (or perhaps even the Source). In fact, most “haunting” dreams seem to be subtle links between the conscious self and the dream self while in the dream state. This is a little similar to my lifelong recurring dream scenario (since around age twelve) of being worried about someone finding a human skull hidden in a box of books under my bed or buried.

Morning of November 17, 1968. Sunday.



In my dream, I am mostly wandering around in a composite location that combines features of West Elementary school in Florida and the Rose Street apartments in Wisconsin.

My school’s hallways have areas that are much like the doorways with the transoms from Rose Street (which did have wooden doors into the next room). These “doorways” are oriented mostly east and west and only go from the same general area of the hall into the next area of the hall but there are no actual doors - just the transom area and the implied “doorway” a short distance out from each implied division of the hallway. There is a slowly dawning realization that hidden treasures are on the ledge of each transom, mostly out of sight when viewed while walking (though realistically, some would be visible when farther away). These treasures include small jewelry boxes full of valuable gems and such, smaller books which include older science-fiction digest magazines from the 1950s and possibly even the newest comic books, as well as American and Canadian coins.

Later, the idea and realization changes, even though I had apparently kept some of these treasures (and had hidden them from others). The items which I had not gotten to yet somehow turn out later to be cleaning items that the janitor had put there, such as a bottle of window cleaner and just a cleaning cloth or rag and such. There is also a distorted scene where I actually seem to be back in sister Marilyn’s apartment on Rose Street, yet also a very large “closet” or school maintenance room at the same time. I am not sure if this is some sort of temporary series of events regarding the cleaning supplies, or if the transom “treasures” themselves were only temporary. This is similar in mood to other dreams of finding treasures in square column-like areas under floor tiles in my Cubitis home, finding secret areas under roof shingles, and finding buttons or small levers that open previously hidden doors into secret rooms.

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The composite settings specific to my Rose Street apartment (as well as my sister’s) and West Elementary was mostly limited to dreams from around 1967 to 1968 when I guess I was still adjusting to the move from Wisconsin to Florida.)

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Night of November 7, 1968. Thursday.



Another dream I had in early childhood is one about the “prehistoric elephant”. It is possible that I originally got the idea from something I had read in a newspaper (of a larger city) or heard somewhere (although, upon newer research, it is probably more likely another case of postcognition or some sort of remote viewing - as I did not really have access to such things at that time), but it still was somewhat precognitive in that I got a book later on relating to part of the theme: “Lassie: Adventures in Alaska” by George S. Elrick (Link here).

My dream featured a shaking side-to-side scene (implied “earthquake”, but extremely common in my childhood perception, from day to day, as well as with the side-to-side “earthquakes” of hypnagogic vision, which I always found interesting, almost comforting). A large, tall, broken-off iceberg floats to a New York harbor near Manhattan (I see the Statue of Liberty in one scene), somehow from Alaska (which would be impossible in real life of course, as they are on opposite sides of the continent - but since when are dreams always geographically realistic?). The iceberg slowly melts…and a living mammoth emerges and goes around New York, knocking into buildings and alarming people (this was also before I was scared, the second time at least, by a trained elephant at a store’s parking lot in real life). I go higher in one skyscraper and look down. Far below, I see the mammoth charging at the building I am in and there are mild vibrations. Nothing that frightening unfolds; it is almost like a sort of movie or already-completed documentary I am seemingly viewing at times in a sort of “second-hand” way.

Curiously, of all the Big Little Books that were published, a different copy of this is now in our present home (an interesting coincidence) - the only Big Little Book we had found anywhere at that time. When I was little, this title was one of a very large number given to me for Christmas by an older sister who worked at a store and got them cheaper (in fact, almost every Big Little Book that was published at that time - it came in a very large package).

By pure chance, years later, my older sister’s third husband’s name happened to be Corey (the same as in this book).

Morning of October 29, 1978. Sunday.



I am seemingly in outer space as if I live on an asteroid yet it also seems somewhat movie-like in an impersonal sense. I note that there is at least one very large green octopus-like creature living on the biggest asteroid (and there are possibly many more). I am uncertain of how much of a threat this creature is. I try to recall how long I had been living on the asteroid. I know there may be other people living here but am not sure how many. I get the impression that the octopus is jellylike. It lives in a sponge-like cluster of caves - each with several entrances. I feel slightly ungrounded with only a vague sense of weightlessness.

Some of this seems to have been partly influenced by an issue of “Casper Space Ship” from 1972.

As a dream setting, living or being on an asteroid or space station has been fairly uncommon throughout my life. Two things come to mind relative to interpretation, especially relative to timing. I believe on one level that this dream may represent my perspective of moving from my childhood home from Florida to Wisconsin, where I still felt a bit “ungrounded” at this time and also was not yet living on my own. It seems almost “normal” (in the dream universe that is) that an octopus, which I have finally resolved to represent the human neuron in many cases, is on an asteroid in outer space, which adds up to conscious focus on the outer limits of conscious awareness. In fact, an asteroid (relative to how one appears in this dream) visually represents the human brain (as in the same manner as my dream “The Sacred Rock of Thought” where the sponge-like boulder represented my full brain-shaped conscious essence granting wishes in the dream). As such, each asteroid is likely meant as another consciousness (separate from my own) - other dreamers in orbit of Earth, the Blue Pearl, the Source. This even correlates with my “Meteor Shower” dream (1971) where each equidistant (like the arrangement of desks in a classroom) glowing meteorite on the ground represented the brain or essence of a classmate - a fairly obvious “stand-in” symbol which visually replaces what you would otherwise see in real life in a particular location at a particular time.

Morning of October 11, 1968. Friday.



Summary of meaning: In subliminal anticipation of the need to get up for school, my mind renders my mother (as parallel symbolism with my own inevitable emergent consciousness precursor) as a prehistoric amphibious creature and, with the aid of four older males, to be held on an island by building a shed (liminal space) around her. When she wakes, the shed explodes outwardly, as I am leaving the island (dream exit symbolism).

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A team of four unknown men, dressed as if on a safari (recurring dream character mode), probably in their thirties, seemingly with my help (even though I am only seven years old), trap an Eryops that had fallen asleep on a deserted isolated island (possibly near Florida or within the state of Florida in a very large lake as I do notice some palmettos) by somehow building a wooden shed around it while it is sleeping, yet the hammering apparently does not disturb its sleep at any point which is of course illogical. There is a very vague consideration that it may dig its way out as it is somewhat toad-like and toads do dig. However, when it eventually wakes up as we are preparing to leave the island, it is easily able to smash through with only a couple movements of its body and tail. I see boards flying out from the outer walls of the small building and feel a sense of awe and imminent danger. I watch the men leaving quickly in a rowboat (though I am not yet in it, though I seemingly soon teleport to it) as the creature is escaping but is not a direct threat as it remains where it is. It is facing the shore but facing to the right in my viewpoint. There is a sense of awe and unpleasant surprise but I have never classified this as a nightmare as I seem to only be observing this last scene without being directly present, becoming incorporeal at the waking point. (It was fairly common in my childhood dreams to become incorporeal in the final moments in eluding a possible threat, and as such, actual nightmares have been extremely rare throughout my life.)

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• This event of the prehistoric creature waking up as I am waking up (and it was my last dream of the morning prior to getting up) primarily renders the event as a very obvious waking metaphor, about as obvious as a basic dream meaning can be. Subliminally trying to prevent myself from waking (by preventing the creature from waking and escaping) did not work in this case, as biology is stronger than subliminal conscious will.
• Last update on Sunday, 30 October 2016. I had not considered that the shed in this dream might be associated with a doghouse. I learned that I had read a Marmaduke panel on October 6, 1968 which featured the dog “digging a storm cellar” under his doghouse. Additionally, building a shed around the sleeping creature seems a possible analogy to building a doghouse in hopes to tame a beast. A year previously, when I lived at 611 North Monroe Street, I had been yelled at by an unknown man who told me to stay away from his puppy (who was always resting in his doghouse when I visited him near my own open yard). This upset me (especially as I had never seen him before even though he lived in the apartments on the other side of our yard).

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Morning of September 17, 1978. Sunday.

Dream #: 4,290-02. Reading time: 55 sec.



It seems to be late at night or very early in the morning before sunrise. I see the front of my Cubitis home (though I am living in La Crosse at the time in real life) from near the highway. My father is near the southwest corner of the house. After a short time, I see a navy jet (possibly an A-5 Vigilante, though only about half the size or smaller) has somehow stopped in midair so it appears “frozen” at about a forty-five degree (diagonal) angle about eight feet from the ground, close to where my father is standing, though to his left by a few feet. The unfamiliar male pilot starts talking to my father, and they cheerfully converse. The jet hanging in midair does not cause incredulity, but there is a vague, indirect thought of whether there is something wrong about the scene. There is a vague wariness about the jet dropping a bomb, but not in our immediate vicinity. Overall, the scene maintains a positive essence. I get the impression the pilot is asking my father for directions (as people sometimes do from a car) so he may continue his mission. I do not consider how it is going to move from its compromising position near the ground. (I wake while it is still motionless though I get the impression it will return to its usual flight path.)

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Morning of September 2, 1968. Monday.



In my dream, in readying myself for starting school on Tuesday September 3, 1968, my transportation will apparently be a banana boat. It will seemingly be as such for about two weeks regarding the somewhat unclear back story, as apparently the school buses are all broken down and will not be fixed until a couple weeks from now.

At one point, it mostly seems as if the cargo boat is somehow going over land rather than any body of water. There is the sighting of a mischievous monkey near the top of a crane that looks somewhat like a sketchy charcoal drawing at one point. At times, the many bananas lying around do not seem exactly like bananas, though many have likely been mangled or flattened somehow.

At one point, there are a number of small columns, about waist high, each topped with at least two or three bunches of bananas. (It reminds me vaguely of the layout of a drive-in theater.)

Students are wandering around, but soon, I do not see anyone but a few adults and they seem to be shopping (buying bananas only). I wonder if I am in the right place.

It is only a guess that this dream was most influenced by “Day-O (The Banana Boat Song)” by Harry Belafonte (especially the association with the line “I wanna go home” in anticipation of an unknown new semester), as my sister Marilyn had the record, though I mostly heard it in 1966.

Another influence might have been associations with my new lunch box for second grade (of the same kind as shown), as it was yellowish (but then so are school buses) and vaguely reminiscent of a banana (the handle was yellowish and curved).



It is probably far more revealing to say “It reminds me vaguely of the layout of the desks of a classroom” than suggesting a drive-in theater here, though it was outside and it was a genuine reflection at the time - perhaps contemplating being in a classroom again yet still with the additional potential of outside freedom - though inside/outside ambiguity is fairly common in my dreams - though exotic and highly unlikely outside settings sometimes seem bilocated in an inside familiar location; for example, at one point (though not throughout that particular dream) the “large desert” in “Beyond the Martian Time Barrier / The Martian Casket” was seemingly somehow “of” and “in” the living room of my Cubitis home while still seeming like a “real” desert setting including even the larger expanse of land and the sky overhead - it was only as my dream was ending that I became more aware of where I “really” seemed to be mentally as walls and floor began to partially come into focus.

Morning of July 9, 1978. Sunday.



My original dream journal title from this time (age seventeen) was simply “Jerry-Built”, later transcripts being “The House on the Moon that Jerry Built” (titular misplaced modifier and all; after all, Jerry built the house, not the moon), and similar, with the “final” title of that time being “The House That Jerry Built”. This dream was impersonal even though the setting was my backyard in Cubitis (and I seem to be safely standing and watching everything as if I am there) and there is only a vague sense of wonder. The main character is named Jerry of whom only vaguely reminds me of a young Jerry Lewis. Through new research, I seem to have found some of the layered associations. However, this dream is also somewhat inexplicable in those associations. Often such dreams seem to have been created over a very long time with several plays on words and such working at once (including with both postcognitive and precognitive layers) in an almost circular fashion - something I have never seen the conscious mind remotely able to do or even come close to producing. Still, unlocking multilayered mysteries even after years have passed is quite enlightening and enjoyable and is evidence of even more attributes of The Source.

The main plot involves Jerry, who is somewhat mentally slow (or perhaps just how I see everyman), being sent to the moon on his own - a highly unlikely scenario, of course. Interestingly, as with a much older childhood dream, the moon turns out to be my backyard in Cubitis. The technicians and scientists seem to be there on the “moon” and speaking from the open jalousie windows of the east side of my house (from our living room). It also seems directly associated with a play I did in fifth grade called “Space Trouble Girl Trouble” which I, Susan R (the only other person I ever “saw” at a higher level other than my wife Zsuzsanna), and a few others wrote and put together fairly quickly, with me ending up taking the cardboard set home (a large faux rocket complete with faux controls) and keeping for a year or so in my room.

I do not imply true precognition here, but the term “jerrybuilt” (sometimes written as jerry-built) appeared several times in newspapers directly after this dream (when I had not given that much thought or notice to it before - assuming it had been in some sort of incidental publishing cluster previously). There is also a clear connection between “jury-rigged” and “jerry-built” which implies similar associations and plays. As usual, I had not paid much attention to this associative play until after my dream.

Something does go wrong in my dream, and it seems Jerry may have to live on the moon for an extended period of time. At one point I see him driving a “moon buggy” which the technicians also instruct him to repair through the windows of my house. Eventually, I am not sure if my house itself is a holographic projection or, perhaps more likely, somehow already there on the “moon” and the scientists inside being the holographic projection (the real-life school play was similar in that regard in that we talked directly out of the rocket set to our other classmates who were acting as technicians and scientists sitting at a table across the classroom). However, over time, Jerry does have to build a shelter out of parts of the lunar lander and “moon buggy” and several other pieces. He does not seem worried in any way at all. I only note concern in the scientist’s manner and speech. There is no resolution - he is simply to stay there for the length of my dream at least, but I do get the sense he may die there. (I believe there is an association in my moving to Wisconsin from Florida around this time - to get away from both the oppressive isolation and extremely negative events that had transpired - though I had only been in Wisconsin for a short time at the time of this dream.)

The associations with Jerry Lewis were more related to an article after my dream regarding Sammy Davis Jr. (with only minor mention of Lewis) and reference to the following:

His musical “Stop the World. I Want to Get Off” (also vaguely associated in-dream).

The (partial) line “…McCormick Place’s impossibly vast and dismayingly institutional Aire Crown Theater”. The name is like my prior neighbor’s and “Aire Crown” seems to relate to the astronaut in some ways (as being “king” on the moon). (Jerry seems quite confident and at ease and willing to serve, it seems - with no sense of potential danger.)

Morning of June 9, 1968. Sunday.



It is early morning with full daylight, perhaps a couple hours after sunrise. Brenda and Tina are standing atop the roof of a car. The car is parked near a small unknown rural home and it seems to be in the backyard, although there is some ambiguity that implies it might be the main entrance. The car is parked sideways near the back door about ten feet away and facing towards an unknown perpendicular unpaved back road. Brenda and Tina are holding each other closely and quivering in fear, being afraid to come down from atop the car, but also afraid of several buzzards flying and circling above. (I also get a brief vague impression of Carol Burnett and Lucille Ball in the same scenario as children.)

There is an outside area adjacent to the back of the house (left of the door when outside) where chopped logs are kept and I also see a wooden shelf (also left of the back door) with small piles of straw. I think the car may belong to my sister Carol (half-sister on my mother’s side) and Verdell. The house seems to be a unique composite (with front yard and backyard ambiguity) of the back of my family’s previous home in Mohawk Valley in Wisconsin and the front of our house at North Monroe Street in Florida. I boldly manage to calmly talk the two girls down from the roof of the car and get them to come with me into the house through the back door so that they are out of danger. Looking back as we are entering the house, I see buzzards now atop the car but they do not acknowledge us in any way.

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Notes compiled from previous lifelong records on June 19, 2017:

Roles: Brenda, close friend, neighbor, and schoolmate, is my emergent consciousness factor. Tina, schoolmate (Brenda’s friend in real life, though somewhat snobbish towards me), is my personified preconscious, atypically passive here. The buzzards are this dream’s liminal space waking symbolism and are the more dominant preconscious factor.

Coalescence waking readiness: Coalescence, here modeled by Brenda and Tina hugging (prior to their return to my own dream body) is very common waking symbolism that represents the personified preconscious and emergent consciousness uniting and returning to whole consciousness (and the current conscious self identity). (Coalescence usually results in a much softer awakening than with dreams such as “The Buzzard’s Beak”, which had an extreme hypnopompic back spasm waking event.) This common dream component has been validated as such in thousands of my dreams to date.

The parked car represents my physical body’s sleep cycle and the potential change in circadian rhythms in early morning. Getting Brenda and Tina to come down from the top of the car (a potential falling factor, biologically premonitory of a hypnopompic jerk and redundant to the additional flight symbol of the circling buzzards above) is a deliberate but subliminal dream cessation precursor.

The presence of the sawn logs may be a second-level dream sign based on having heard my brother-in-law Bob talk about “sawing logs” as a sleeping metaphor (in reference to snoring). The straw may also be a second-level dream sign, relevant to the phrase “hitting the hay”, especially as it is on a shelf (potentially analogous to a bed and “on the shelf” as inactive or asleep). Dream signs do not usually have additional meanings but are just residual threads of being unconsciously aware of being asleep (though not implying any active awareness of being in the dream state, though non-lucid dream control is common for me).

No setting (other than primarily featureless liminal space) has ever appeared more than once in a dream with the same detail. In this case, the composite is ambiguous. It is also common for presently known females to appear in homes from my past where they had never been in reality, especially my wife Zsuzsanna, who often appears in my dreams of past houses I have lived in where she has never been in reality (and in fact, she has never even been to America). Why I dream primarily of females in this way is likely a biological factor. Additionally, with certain dream types, there are no males (other than myself). The ambiguity of the vague memory of the actresses in the same scenario is not an actual dream character change (as sometimes occurs) though may still be a result of an unremembered reset, possibly due to my unconscious transmuting the original scenario to be more personal, though this is certainly not a consistent factor.

Validated personal dream meanings: Features in my dreams related either to flight or non-flight (in the sense of a flightless bird or failed flight scenario) are linked, in a biologically premonitory sense, to subliminal anticipation of the hypnopompic jerk. This waking symbolism has been validated as such thousands of times throughout my fifty years of devoted dream study. Regarding such waking symbolism, there may or may not be additional meanings relevant to my current conscious self’s identity, although mostly only inclusive of precognitive threads, literal or based on precise imagery with too much detail or layered factors such as could not occur by chance. First-level flight symbols have occurred in over twenty percent of my tens of thousands of documented dreams to date, making it one of my most common forms of waking symbolism.

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