non-lucid

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.

---

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.

---

Morning of May 23, 1968. Thursday.

Dream #: 521-2. Reading time: 35 sec.



My dream renders a scene from “Peter Pan.” A schoolmate, Tina, is walking the plank on a pirate ship. I think the pirate captain making her do this is a teacher from our school, though he is unknown to me. He stays mostly in the background. However, when she falls (after being pushed by the tip of a sword), she does not land in the water. She had been caught and carried off to safety by a magical force, creating a mysterious mood, with me being responsible, though my direct corporeal presence is not in the scenario.

Later, I fly around above my town on my own, mostly in the dark, over various boats and buildings, including my school.

---

Rescuing Tina from falling into the water is a typical vestibular system adaptation process. As a result, rather than experiencing the falling start, I begin flying around.

---

Morning of March 12, 1978. Sunday.



Perhaps one of the strangest dreams relating to our chicken farm in Cubitis related to my father getting a very old rooster (I believe from the Hearns farm, possibly by Tony N due to fear of it) that was so old, he was different to other chickens in that his comb - four rows wide - went all the way down and along his back from his head (and actually seemed to be growing from his back like a sort of avian stegosaurus). There were also lizard-like attributes relative to his eyes and feet, his feet being of a more diverse scaly structure, more like a lizard’s than a chicken’s. Over time, though, his comb gets smaller (and of two rows instead of four), and he appears to somehow grow younger over time. We notice that our other chickens seem to be getting older (or aging too quickly) and becoming ill at times, a few dying. My dream continues until the rooster’s comb is only a single one on his head. We later see him as a chick, and finally…he turns into an egg, absorbing too much energy from the other chickens with his “special ability” that he had somehow attained from growing so old. He does not seem to be able to affect humans or other animals in this way, though. My father hides the egg somewhere, away from the other chickens. Nothing happens after that. I wonder if the process will begin again when he hatches, but I also wonder if there will still be people later on (when he becomes very old again). At one point, a private detective from another state (Kentucky, I think) investigates.

I think any “meaning” in this dream, if any, may relate to the approaching event of moving back to Wisconsin (though I was still in Florida at this time) and sort of wishing I had more control over time (as I was beginning to see much less of my friends, as more people were moving from the area and I had also left school).

As with much of my online dream journal, this is the original dream journal title from this time period even concerning the misnomer - as the word “psychic” is not the correct description, perhaps more along the lines of “psychic vampire” at best. I think I mainly used it for a tentative comedic mood or association even though the dream itself was very eerie and not really relevant to the typical usage of the word “psychic”.

Morning of March 10, 1978. Friday.



My dream features a fictitious Lloyd Bridges movie that is about a man driving on unusual bridges and overpasses. The title is “Bridges”. It features a surreal psychological theme. The main setting seems to be Port Charlotte, Florida.

The movie explores a man’s obsession with his need to drive over every bridge and overpass in America at least once, regardless of its condition or if construction has completed. He spends most of his time in his goal. He has stress from not getting enough sleep and spending so much time driving. He uses dangerous methods that stem from his desire to create more of a challenge, getting his car airborne at times.

My dream includes divided screens of different sizes with inset videos of his activities. I do not seem to be an active character in my dream at any point, though I do seem present during many of the events, including the last scene.

In the movie’s last scene, he drives fast onto an unrealistic steep overpass which seems dangerous and apparently incomplete. I hear one man say loudly to another (speaking above the noise of traffic), “I just hope he comes down all right”. These unfamiliar men are standing near the side of the road below the overpass. I seem to be looking at the overpass from above just prior to waking, though I had also seemed incorporeal while flying and viewing Lloyd from the side of his car as he was driving it. There is no indication of harm coming to him. I see the movie’s credits rolling as I wake, though the movie’s ending is not resolved.

---

Dream influences and other notes:

The main influence was a dream state indicator, though it did not bring about lucidity. This was a liminal and nostalgic focus on “The Deadly Dream”; a TV Movie that first aired on September 25, 1971 and starred Lloyd Bridges. Concerning Lloyd Bridges (January 15, 1913-March 10, 1998), note the curious date correlation of twenty years after my dream.

---

“I just hope he comes down all right” is a reference to the process of vestibular system correlation as part of the natural waking process.

---

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

---

Night of January 1, 1968. Monday.



I am with Brenda W (though she is not directly next to me and is to my right, though sometimes ahead of me). We need to get to the area where others are involved in a picnic, though this is not logical as it is not yet sunrise, though it is light enough to see most detail. There are a number of coiled sleeping snakes around the area that we have to tiptoe past. (I take these snakes to be water moccasins though they do not appear as such - “water moccasins” being a play on typical water induction and a play on not wearing “real” shoes in the dream state, that is, while asleep in bed). Their coiled bodies are about six inches in width or more. Looking closely, some snake heads seem a bit too big for their body and are about twice as big as my hand. For a moment, I hear the snakes snoring. (This is probably my own snoring though there is a bizarre myth amidst a vast sea of dream myths that people “cannot snore and dream at the same time”).

Eventually, I find myself approaching a picnic table, which is longways in my path. An overweight classmate is the only one seated and Brenda has vanished. “What are you doing?” she demands. I realize that I am still walking in an odd stealthy manner. Looking back, I see the “snakes” were “actually” automobile tires in a random arrangement (even though they were originally snakes).

For some reason, I decide that the picnic table’s seat is a good place to lie down on. I also discover that I am not fully dressed though do not feel that out of place. I soon discover that I had been carrying a sheet all that time (even though I actually had not). I hear Peggy puffing in the background as if she is annoyed but I could not care less. It seems to almost be like snoring.

---

Snakes have often had associations with the human intestine as I was growing up, though there are a number of completely different associations depending on dream context. I am going to assume the intestine here since it is associated with a picnic and eating - and even more so, a “spare tire” is also a reference to the stomach and being overweight - which may be a perspective on Peggy and her demeanor as I was not overweight at this time. Being fully dressed and then not dressed (with the false memory of never having been dressed up to that point) is a dream sign waking transition that merely reflects that a person does not usually wear clothes when they sleep. Even the sheet and deciding the picnic table is my bed is an obvious dream sign waking transition. In fact, even the snakes being asleep is an obvious dream sign though a large snake is typically also a coalescence precursor which does not activate here. Instead, I “go back to sleep” and wake up on my own without a need for my dream self to be “swallowed” back into my whole self. (There is also a possible link to “being tired” and the snakes being asleep.)

---

Morning of December 2, 1967. Saturday.



A green cat is seemingly “haunting” an unfamiliar area of an unknown neighborhood in my dream (though possibly implied to be near my sister Carol’s house in Wisconsin). It glows brightly, mostly while walking atop an older brick fence near a residence where there are a lot of shrubs and flowers in the front yard. The green cat does not seem to be a lost pet, but perhaps the ghost of a stray. It does not frighten me in any way. Although I see it walking towards me at times, I also seem mostly incorporeal and perhaps unseen by this “ghost”.

---

A cat is linked to the idea of sleep yet being active at night, and therefore is a good representation of the dream state itself. Here, the cat mostly only appears in liminal space - the top of a wall. Although the color blue usually serves as induction, green sometimes does as well (in contrast to red, which mainly seems like a waking priority prompt).

---

This was possibly influenced by a very small plastic figure of a green cat (which may have come from some vendor novelties my brother Earl had in his apartment near ours at North Monroe Street) that I had in a large box of various small items, which included a soft orange rubber cockroach, a black brontosaurus with its head turned around over its body, and a plastic flying lizard among many other items.

---

Morning of November 12, 1967. Sunday.



My parents and I are living in what seems like a large, long, abandoned brick building, seemingly off a lesser-used back road (narrower end to the road), that could have served as a school at one time, such as a large Kindergarten venue. I am not sure what state it is in, probably Wisconsin and in a rural area of La Crosse. There is also the idea that my sister Marilyn (unmarried in my dream?) and brother Jim may also be living there. There are no other buildings around and I do not see any cars anywhere. It is mostly like an open field outside of our home. I do not actually see my parents or relatives.

There are a lot of outer (oriented inward) corners where outside walls join. A large bee is in one of these inward-oriented corners. There are sparse (pale violet) wildflowers here and there around the building, but mostly sparse grass, both green and dry, as high as seven inches or so in some spots. I walk around outside and am somewhat concerned about the bee following me or possibly even stinging me. This does not happen, though. I try not to do anything that will draw the bee’s attention even when it is on the other side of the building. Also, at a couple points, I can carefully look around a wall to an inward-corner to tell if the bee is in that particular area or not.

---

This was related to a real life event and a comment by my brother Jim regarding bees; “If you leave them alone, they will leave you alone”. I try to hold onto that idea in my dream, the idea of which probably created my dream to test that theory in the first place, thus this dream has been “explained” as a “testing ground”. Evidence: Isolated field and school-like building. The inward-corners almost like a “two-sided box” to check progress now and then.

---

“The flower doesn’t dream of the bee. It blossoms and the bee comes.” - Mark Nepo

Morning of November 8, 1977. Tuesday.



I am not quite sure what my motive was for making the original title to this “Rocks In Your Head” back in the late seventies, but I think it might have related to the level of intelligence of the two main (but unknown) characters as well as implying a fictional in-dream movie title. It is possible that my dream was slightly influenced by “The Zanti Misfits” (from “The Outer Limits” television series) although the ants in my dream do not really resemble the “aliens” from the show and are more cartoon-like. In real life, someone had stolen one of my father’s “inventions” from the carport or rather, a bicycle with a steering wheel instead of handlebars and a few other unique features in design. It turned out to be a younger relative (Roger D) of a neighbor (Larry D) - and he used the expression “rocks in your head” at least a couple of times.

In my dream, my father is some sort of well-known inventor. He remains in the background for the most part, though. Much of my dream is uneventful and focuses on vague ideas of possible improvements of products of the time - including “a better mousetrap”. He is working on this “better mouse trap” at one point, but also other devices; one to do with an electric device, looking somewhat like a tall teapot, that puts a person’s shoes on for him, some sort of “better shoe horn” I take it. (In real life, I did have the “Mouse Trap” game.)

In summary, the house layout is mostly as it is in reality, but somewhat bigger. My father did make a lot of intriguing things in real life, such as various unusual and naturally anthropomorphic cypress knee lamps as well as unique types of bicycles and such, but in my dream, he is more like some sort of lab technician at one point.

The main part of my dream is based on two escaped criminals who want to steal my father’s inventions. They are not threatening - it is more like some sort of documentary I am viewing in real time. Their behavior reminds me vaguely of Abbot and Costello. They end up trying to move a larger device in my father’s music room and thereby set off some sort of burglar alarm which transforms them into red ants with some sort of ray. One ant even has a mustache. They do not even know they are ants until much later. When the leader of the two (the one with the mustache) sees how huge the room is from their perspective, he moans “It’s gonna be a long way” (apparently implying how far it will be to leave the room and escape from our house). This is my dream’s last scene.

---

Morning of October 22, 1977. Saturday.



Steve J, Steve W, and possibly Tina L, and others and I are visiting what is supposedly Chick Corea’s house. There is something very special about the house and it has some sort of “magic” as well as being haunted. This has something to do with the jazz fusion group Return to Forever. We go up a flight up steps which seem to be fairly narrow and along the wall (and with no railing). Later, the area looks much like my boarding house on King Street before I lived there or saw any of the inside and there was a very clear precognitive sense.

There is some minor ambiguity at one point which is related to a book or movie called “Korea’s House”.

There is a point where we are all leaning back against the wall slightly to stop ourselves from going over the other side of the staircase and it also appears I am watching the scene (including seeing myself) from another perspective. We look as if we are slightly distorted from fun-house mirrors. There is also something about lightning (or a bolt of lightning) moving around inside the house as if it was a “pet” of some kind.

There is the idea that someone hanged themselves on a chandelier in one room (which turned out to be related to something the pinhead Leonard S told me later on when I lived on King Street and thus also precognitive, though the story was only his fantasy).

---

Last updated in 1980 with regard to the precognitive validation.

---

Morning of October 15, 1977. Saturday.



I go out to the chicken shed and notice that our turkens (who naturally have no feathers on their necks as a main feature of the breed), also called Transylvanian naked necks and wrongly (rather stupidly) believed to be a cross between a chicken and a turkey by some as well as of the widely mistaken belief that they do not crow (they actually crow louder and more often than other roosters, just with a lower pitch due to their bigger size). They are also not “rare” in North America as claimed by Wikipedia. They were actually more common than a lot of other exotic breeds in the region we lived in, in Florida in the 1970s. Thus, even a breed of a chicken generates several myths and invalid ideas; tells me all I need to know about people regarding any potential for general credibility.

At any rate, in my dream, the necks of our turkens are very long and serpentine and giving me an eerie feeling that they might become dangerous, even venomous. In another part of the same dream, a pet young black-and-white Polish rooster named “Sluggo”, very similar in appearance to a French mottled Houdan (of which I had a rooster of one called “Fonzie” and his hen “Pinkie”) is not moving as he is facing towards me. After a time, I understand that he is completely flat (front to back, while standing), and perhaps not alive (I am not sure - but being alive in such a form seems worse than not) and feel even more eerie and “out-of-place”. Time passes, and a group of miniature (not bantam, just “shrunken”) various hens are doing the can-can and for some reason, giving me a nightmarish feeling. Some of the small quail we have in a larger cage on the ground in the shed seem to explode, but they are still there afterwards somehow, in sort of blurred patterns with very ruffled feathers. I awake feeling nervous and ill, but am not actually ill a few minutes later.

Morning of October 14, 1977. Friday.

Dream #: 3,952-02. Reading time: 40 sec.



The Fonz from “Happy Days” (the television series) has found the Jekyll and Hyde formula.

It seems to be morning. The Fonz is visible to me through a fictitious window on the east side of our Cubitis home, more to the north end where the chimney area otherwise is in real life. I am watching him from the backyard, from about ten feet away from the back of the house.

He growls, waves his arms, and snaps his fingers angrily, trying to get attention. All the girls outside near the carport run and scream, and soon, none remain. He eventually returns to normal and has a cheerful expression.

I cheerfully say to him, “Hey Fonzie, you snapped your fingers, and all the girls disappeared.“

He giggles childishly, replying “Ain’t that a switch?” (He is implying that girls usually come to him when he snaps his fingers.) The sound of his voice is vivid.

---

The key process here is wall mediation. (See "wall mediation explained” in my online dream journal.)

---

Morning of October 2, 1977. Sunday.



Pearl Bailey (who shared my mother’s middle name of Mae) lives a few houses north of me in Cubitis on the same side (east) of Highway Seventeen. She seems to almost be like my mother, or perhaps a “replacement” for my deceased mother, though my mother did not die until 2002 in real life (yet on this same date). She tells me about a pterodactyl seen in the area and from there my dream has Hollywood-movie-like aspects. (In the background, there is some sort of association with “won’t you come home, Pearl Bailey”; and there may also be an association with Beetle Bailey.)

I eventually have a long, dramatic battle with the pterodactyl while flying a helicopter. It also seems it is part of a movie we are filming with a real pterodactyl and a possible real risk to me. I am not defeated and actually enjoy this adventurous dream. (In real life, I had a larger plastic model pterodactyl that I used in a trick outside photograph of my father where it looked “life-sized”. It had an interchangeable wing, one of which was implied to be injured/torn.)

---

I have tagged this as precognitive due to the interesting coincidence of a different “Bailey” being listed directly before my mother’s obituary in 2002.

A helicopter (as well as a pterodactyl or pteranodon) is a flight symbol, and as such, signifies a real-time subliminal awareness of being in the dream state (and may or may not have an additional meaning), this being a natural association with the consciousness displacement of falling asleep or waking up. In fact, an astounding twenty percent of the tens of thousands of dreams I have documented and studied over fifty years contain flight symbols as such, often being directly linked to the waking prompt for obvious reasons (almost as obvious as the biological-based falling event, which rarely has an “interpretation” and is often solely the incidental precursor to waking).

Morning of September 30, 1967. Saturday.



Regardless of my dream’s setting seeming like a street intersection, there is indoor outdoor ambiguity. (I am unsure if I am inside a large building or outside on an actual street). It seems to be early morning before sunrise. It is dark, but I can discern certain details.

I become aware of what seems to be a Raggedy Ann doll hanging from a noose, though there is some degree of ambiguity where both hanging by the neck and hanging by the waist are considered. I mostly only see the silhouette of the doll itself and the shadow it casts. (My decision that it is hanging by the neck is based on influence from television Westerns such as “Gunsmoke”.)

I eventually get the impression that it is hanging from an overhead traffic light and might be meant to be a street sign. I see its shadow cast upon a wall (which, due to indoor outdoor ambiguity, may be either an external or internal wall). I am also aware of a stop sign in the same general area, but only in octagonal silhouette.

While pondering on why the doll is hanging from a traffic light and who might have put it up there, I slowly wake.

---

Appearance of an intersection in a dream is autosymbolism for the neural gating of which occurs during RAS mediation. The indoor outdoor ambiguity validates this as being in the higher region of liminal space (when factors of the real indoor environment including the subliminal perception of really being asleep indoors, not necessarily rendered with bedroom implications, are modulated into the illusory outdoor setting of the dream state).

A doll in a dream is typically autosymbolism for being physically inactive in unconsciousness. Therefore, I can reason that the hanging doll is an emergent consciousness precursor without preconscious personification in this case.

It is the weekend in reality. I have concluded that, since my mother will not be coming in to wake me up earlier for school, the doll represents the emergent conscious factor as remaining passive, which means I can sleep longer or wake (as the intersection symbolizes the choice of), as there is no dominant waking alert factor.

Assuming the doll is hanging by the neck, it would additionally be a possible biological warning relating to incidental sleep apnea (which did not occur in this case), though this condition is extremely rare for me. If by the waist, possibly a warning relating to intestinal stressors (which had not been validated in this case).

---

This online dream journal entry was reformatted from the source material, abridged, and clarified on Thursday, 22 February 2018.

---

Personal trivia: “The Hanging Doll” was retitled “The Omen” in early 1969. I later changed it back to “The Hanging Doll” in late 1972 to be more descriptive.

---