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Night of August 6, 1982. Friday.



This was one of those extremely common precognitive and remote viewing hybrids of a rather amusing and peculiar nature and the usual seemingly “pointless” regard that I have come to know so well since earliest memory - although another user on another dream journal site has clarified why this type of dreaming likely happens. Oddly, it is a similar process as to what eventually creates animals with amazing attributes regarding mimicry and camouflage. In other words, the dream state produces unusual mixed (and sometimes fantastically altered) composites of remote viewing, postcognition, and precognition until the consciousness is more defined via exercising the process of elimination (thereby leaving you more and more on your “correct” path by default).

It is seemingly based on the science-fiction short story “Arena” (by Fredric Brown), though I actually never read it even though I had it in a collection at one time. I am wandering around in the dream into an area of French Island that I had never been, which is a cluster of trees and high grasses which eventually leads into a more open area where boathouses can be seen on the other side of the Black River channel.

I hear an electronic (yet still discernible as male) voice that accuses me of “trespassing” and I recognize that it is not in my immediate surroundings. Off to the side, I notice what looks like a part of a “spaceship”. However, even though it looks a lot like a spaceship at first, it turns out to be some sort of set of bleachers for aliens from various planets to come to Earth and watch fights - some sort of gambling or “trade” arrangement.

After a short time, I find myself surrounded by these weird orange “bleachers” on three sides, with a sparse audience of odd-looking characters or the “aliens” aforementioned. I am then confronted by a robotic octopus (though more like a squid) of sorts. It has long tentacles (more like segmented cables) that are somewhat like the hose of a vacuum cleaner but about half the size and shiny and metallic. It spreads them out horizontally and southerly in my direction. I am able to avoid its attempted attacks by deliberately falling backwards and moving to different areas of the “arena”.

I am dressed differently as well, almost caveman-like (or in rags), partially covered in machine oil, and seem to be about ten years older. I seem to win somehow (or perhaps the robot malfunctions) but the dream becomes vague and meandering.

A day later, in real life, I decide to visit the area implied by the dream for the first time. I manage to walk off into a weedy area near the main road and eventually find my way walking through a more open area. Most of the weeds are higher than my head, but there is a clearing where there is less grass. I eventually notice large orange objects (and another structure) sticking out from one weedy area which appear to be man-made. Obviously, the dream comes back to me and for some inexplicable reason, I feel completely terrified and out-of-place. I even get the rather vague impression it could be a “craft” of some kind (even though I do not believe in alien visitations in spaceships).

However, it soon dawns on me, as I “bravely” investigate, that they are some sort of odd unfamiliar construction materials and utility items that I had not seen before (some of it being orange demolition stands/fencing, I think, but in odd uneven piles), and I had not heard anything about building being done in the area. There are about three or four piles of the materials, and farther on, stacks of odd-looking squarish lumber. There was also a broken piece that resembled the “tentacle” from the dream - possibly from an adjustable lamp, as there was a bit of other junk in one area (though it was not meant to be a dump). I still feel extremely strange for a short time (things of this nature had happened before, but this area actually seemed “off” to me for a short time). Realizing that I may be trespassing, I decide to keep going in a direction and area I had also never been in before and end up having to go back the way I came (due to the river disallowing farther travel and too many hazards). This was, in afterthought, a rather hilarious, though slightly unnerving experience.

This was a memorable experience, which shows that remote viewing in-dream sometimes alters an environment you have not been in - in a similar way that words you are not sure of the meaning of are given completely different meanings in-dream (the best example being my “Jacuzzi” dream).

Night of April 9, 1982. Friday. (Original dream date, into very early morning of April 10, 1982, having previously seen “Cat People” the night of the 9th.)



I am in La Crosse, Wisconsin very late at night. No other people are around. I am mostly going north down 7th Street North. To my right is Burns Park. (This is about a half-block-sized park with a diagonal sidewalk from southeast to northwest. I used to walk through there on a regular basis during this time.) The area just north of Burns Park is not a cluster of houses as in reality (which continues on to more of the urban area), but all open field instead.

My dream seems fairly long but mostly involves just walking around and looking at the environment. I get a strange, vivid perception of mistaking the rear bumper of a car for a form of water (possibly relative to incorrectly perceiving it as a part of a cascade).

In my dream, I become aware, quite vividly, as well as lucidly, that I am a black panther. The feelings and perceptions seem very accurate somehow. Eventually, I decide to pounce upon and eat a rabbit that is trying to escape by running somewhat northeast after getting to the fictional open field. The experience is quite odd, I would not say off-putting, but a bit unusual in awareness, especially regarding the vivid nature of it and having to “eat” the fur as well. This scene seems to have been directly borrowed from “Cat People” (1982).

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This seems to be solely an exercise in having freedom from human responsibilities and restrictions. It is interesting that my dream’s environment originates around the park (which has the least man-made structures of the immediate region in reality) and that the adjoining urban area was changed to a field. It was common for me to become very annoyed at man-made structures in dreams - and open outside areas often replaced what were clusters of buildings in real life.

Other associations (updated March 2014):

The flag of theEastern Shawnee Tribe of Oklahoma features a black panther above a white swan, both very important personal symbols for a number of reasons.

A panther is associated with a supposed ancestor or at least a relative (via the Ruland line - this is documented in at least one book on Tecumseh).

My parents and I lived in a cypress swamp at one point in my earlier years where I saw Florida panthers in the wild - including one that once looked through the window of our trailer late at night. They are now apparently a threatened species.

After my wife and I first made contact in real life (via mail and telephone) she got to “meet” Tarbu - a black panther in some sort of traveling show, and she also got a related poster.

The movie “Cat People” (1982) featured publicity art of the lead actress (Nastassja Kinski) with dark hair and supposed “green panther eyes”, a similar appearance to my wife which someone even commented on on one of our early dates. Coincidentally, one of the main characters is named Oliver, the name of our youngest son (not by related intent). LINK

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Morning of April 3, 1982. Saturday.



I am in La Crosse, Wisconsin on the south side of town and west of the main library. There are a number of other people around, mostly unknown. There is a tornado coming in our direction (from the southwest), or so it seems for several minutes. I can hear the train-like rumbling sounds (like with a real tornado but which may be caused by real environmental noise such as louder traffic while sleeping). I am with some friends and we and the other people are eventually running everywhere, though mostly north.

All of a sudden, there is a strange screeching sound (again, possibly caused by real-life environmental sounds intruding into my dream without waking me, such as a vehicle’s brakes squealing). We look back and it turns out to have been an enormous caterpillar spinning a cocoon and was not a tornado. Everything is quiet now that the caterpillar has entered this stage and is vertically oriented within the giant cocoon, apparently sleeping and not threatening in any way. Additionally, I get the impression that it was not actually chasing us. We just happened to originally be in the area it was coincidentally moving towards during the faux chase. Eventually, I become semi-lucid and personally indulge in sensual pleasures in an offset scenario until I choose to wake.

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Resupplemented for a clearer and more detailed explanation on Saturday, 2 December 2017.

There are really two levels to this dream, a natural (biological) ordinary meaning and a spiritual meaning if one is so inclined. On the natural level, a tornado is a factor of RAS and inner ear dynamics as precursory waking symbolism, an extreme augmentation analogous to potential dizziness in real life. In this case, that aspect is validated by a second inner ear dynamic, the potential butterfly flight symbol, which is “frozen” and thus as a result, triggering lucidity against the subdued RAS factor (similar to the “frozen” bird silhouettes in more recent apex lucidity dreams). On one level of course, this dream was at least partly influenced by “Mothra” (a 1961 movie).

Spiritually, tornadoes represent the powerful bottom half of the Merkaba (even in my earliest childhood dreams) and, due to the “raw force” of a tornado, relate to personal dream state alchemy. (In certain trance states of deep meditation, I vividly experience the Merkaba by touching my wife Zsuzsanna on the shoulder, the Merkaba of which appears as two blue tornadoes uniting, rotating in opposite directions, with extraordinarily vivid impressions which I can only describe as seeing hundreds of different wedding ceremonies of different cultures and eras.) The transition from tornado to caterpillar-in-cocoon implies a waiting stage prior to changing into a butterfly (a type of personal ascension or implying the state of readiness for meeting my “dream girl” in real life).

Susan R (the only person other than Zsuzsanna of whom I could ever sense as existing on other levels) and Zsuzsanna (before I knew she was a real person) drew identical vertically-oriented anthropomorphic caterpillars in a top hat (as if one had been traced over the other with even the same stray line) as a part of an otherwise dissimilar story. (One of my relatives was scared and angered by seeing this as most ordinary people do not like the unexplained, though over time, changed their way of thinking and was eventually glad I had found my “dream girl” after so many precise clues over so many years.)

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“The caterpillar makes an appearance in a few other places outside ‘Alice’s Adventures in Wonderland’, such as 'American McGee’s Alice’ and the novel 'The Looking-Glass Wars’; in both of these spin-offs he plays the role of an oracle.”

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Morning of March 31, 1983. Thursday.



It seems to be early morning in my dream, just before sunrise. I am in an unusual composite setting of a “compressed” and seemingly isolated cornfield and the backyard of the Loomis Street house at the same time. (A “compressed” setting is where an implied larger environment somehow fits into a much smaller one, which can only be perceived as such in the dream state and is unresolvable in conscious afterthought. This is an incidental distortion of the dream state itself, as the subconscious self does not have a viable perception of either time or space, so it is unwise to pretend it has a meaning.)

Soon, there seems to be the presence of a nuclear explosion from the eastern horizon. It is in the distance and the sky grows red, though I do not directly discern the mushroom cloud. There is eventually a strong wind. All I remain aware of is the wind blowing against the scarecrow as if it was the last construct of the human race. The wind makes an almost human-like sound, but like a soft though eerie chorus, though there is a female chorus in the final moments, which leaves the impression of a movie soundtrack. (I become aware of the meaning of my dream in hypnopompic disclosure, which I will clarify from here.)

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As I learn that my dream is autosymbolic of the dream state and waking process itself and not to be mistaken as relating to waking life (as my non-lucid subconscious self has no viable access to either my unconscious mind or conscious self identity), what are some obvious clues that reveal this?

“Soon, there seems to be the presence of a nuclear explosion from the eastern horizon.” The sun rises in the east, which means in this case, the autosymbolism represents the dramatic cessation of the dream state and nothing more. (Additionally, red only dominates my dream when I have slept a little longer than usual. I have otherwise found no evidence of it having any waking life relevance when it occurs as such.) This is additionally evidenced by the “movie soundtrack” in the last moments, a common dream feature, as a dream becomes more vivid by way of the preconscious, not the unconscious (as dreams occur in REM sleep, when closer to consciousness).

Another clue is the scarecrow. What movie seemingly revealed to be a dream features a scarecrow? Hint: “I think I’ll miss you most of all.” The personified subconscious (dream self) does not “have a brain”. It also does not have a real physical body. Ultimately, this dream is an expression of saying goodbye to Oz (the dream state). (There may also be a subtle association with vestibular system correlation, one of the most common dream causes, as a scarecrow is associated with scaring away birds as flight associations in dreams usually occur with biologically resolving genuine vestibular system dynamics with the illusory dynamics of the dream state.)

On a final note, I do not see this as a bad dream, let alone a nightmare. (It occurred during sunrise, correlating with the autosymbolic content.)

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Morning of March 5, 1982. Friday.

Dream #: 5,555-01. Reading time (optimized): 2 min.



In my dream, I enter a building in the region I live in real life that is first like a shopping mall in La Crosse. Eventually, I am at a party, though I feel out of place as I do not drink in real life. (Important note: In this instance, my dream self has this specific knowledge of my waking-life identity, but in other dreams, it does not. With that differing status, I might drink as a result. This factor disproves the existence of the subconscious.) There is also a vague awareness of being in the basement of a church or cathedral.

The only person I recognize is John Belushi. He approaches me without invitation and casually talks about his death. He tells me death is like dreaming at first before moving on. As he talks, my dream becomes vivified, but not to the point where I am consciously aware I am dreaming at a higher level. He is wearing a dark suit that changes at times, from a shimmery material to duller and back again. He is drinking a pinkish drink from a small cocktail glass.

I am aware the people at this party are either in the casual process of dying or are living people sleeping, all in the same dreaming location (enigmatic space). A couple of times, John Belushi walks away to talk to someone else, but they ignore him, so he walks back to me. I start thinking that maybe it is not me he is talking to, but someone whom he sees as someone else, perhaps a friend, and I am somehow in the same location but unseen.

After leaving the building, I look back and notice a big white bat above it, flying in a circle. The structure now looks like a foreign mausoleum, though also like a miniature cathedral. The motions of the bat remind me of stop-motion animation as in “Jason and the Argonauts” from 1963 (a recurring dream distortion since childhood). I vaguely perceive the white bat only represents death in this dream because I had read about it in a so-called dream dictionary. (I do not believe in dream interpretation in the way others propagate this misconception.)

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Many people might call this dream precognitive (so I have included the label), but the content indicates it was telepathic, as John Belushi’s death occurred about the same time as my dream. I was not a fan and had not seen his movies. I had no way of knowing his status and held no recent thoughts of him. This dream is the only one in which he ever appeared.

My dream is principally literal co-occurrence with an event I could not have known about consciously.

Humanity has no viable explanations for experiences of this nature. Their typical response is with ignorance, denial, derision, and deceit no matter how much evidence is to the contrary. That sums it up for humanity’s ultimate failure to understand either the nature of enigmatic space or what dreams are.

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Morning of February 14, 1982. Sunday.



This is one of those “riding around in a car while relatives look for something” dreams, more common when I was much younger. I am with my brother-in-law Bob though at another point seem to be with someone else who is driving (possibly brother-in-law Mel and my sister Carol). I am in the back seat on the right side for the most part and my dream wavers between being alert and feeling a bit “off”.

There is a strong focus on finding a “bird cemetery” that takes up exactly one city block, or so it seems. However, over time, I get a very eerie feeling that something is not quite right. Time does not seem to pass normally as if I am living within some sort of looped or repeating situation. It does not come to my awareness at all that there are no bird cemeteries as such, and such an idea does not even seem strange to me in-dream. In fact, I get the impression that most bird cemeteries are probably a little bigger than many human cemeteries. At one point, it seems we pass the same bird cemetery several times (even though we do not make any turns, it seems) but do not stop because, for some reason, it is not the right one (the one we apparently are actually going to stop and visit). I see more and more bird cemeteries that seem similar or are somehow the “same” one and begin to recognize that there are hardly any other landmarks or areas with normal buildings (so that perhaps the “same” one-block bird cemetery is to be seen for three blocks in a row, that is, three instances of it). My uncomfortable awareness that I am stuck in some sort of “loop” remains until I wake as well as some sort of other unnamed but eerie association I cannot quite put words to (though my dream is too emotionless otherwise to be nightmarish).

This dream possibly came from (or was influenced by) the line “the mockingbird still singing o'er her grave”, as I get a vague impression that many of the birds are probably mockingbirds, shrikes, and starlings - this in turn possibly layered with the otherwise unrelated novel title “To Kill a Mockingbird”.

Update (July 2, 2015): I should probably add in this online entry that when I was very young, I very much thought that the line “the mockingbird still singing o'er her grave” was about the ghost of a mockingbird singing over her own grave. This is probably important regarding this particular dream’s distortion, as it was also a song my father sang (and he died on the fourteenth of February in 1979).

Morning of January 7, 1982. Thursday.

Dream #: 5,498-02. Reading time (optimized): 1 min.



I am on the city bus in La Crosse, seemingly headed south. The route is like one I had taken in real life from the north side to the south side. There are so many people on the bus that one unknown young female is standing at the front of the bus, though facing away from the main doors, and holding a baby of perhaps six months of age. I am seated in the middle of the right side, closest the aisle.

This female appears to be in friendly conversation with a few people sitting at the front of the bus. She is holding the baby with her right arm. Eventually, as the bus is coming to its next stop, she holds a large red apple in front of the baby’s face with her left arm. The infant not only opens his mouth impossibly wide to consume the apple in one gulp, but he also swallows the left forearm of the girl who is holding him. She looks at the baby with a sense of awe but seems uninjured and still cheerful.

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Two forms of coalescence waking symbolism occur here; firstly, the bus, which represents returning to consciousness (as an imaginary journey) in this case, with all the other dream characters together in one vehicle; secondly, the baby swallowing the apple with exaggerated dynamics. Being on a bus is also a form of linear vestibular system correlation, all vehicles being associations with the physical body. That factor typically includes cars, boats, and airplanes.

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Morning of November 29, 1981. Sunday.



I am back in the living room in Cubitis, more in the southwestern area of the larger room. It seems to be “isolated” somehow and I am perhaps the only one in the entire region. There is a very vivid awareness of the type which I would label as a type of “faux lucidity”, as, even though I am fully, consciously aware and it is so vivid, I am not certain of the nature of the “level” of my dream (regarding the particular “eerie” band of consciousness), and so see it as a potential aspect of really being fully awake at the time - it is an unusual state of knowing you are dreaming, yet still thinking you are somewhat conscious in an actual place with eyes open - a bit hard to explain, I think.

In one area to the south, near the left; the narrower section of wall at the end of the hallway (that was to the right of the kitchenette entrance though the layout is distorted), I see a large shadow slowly and very smoothly sweep across that area on the wall. It is shaped like a bird, seemingly a raven. There is an unusual sense of timelessness. This exact same theme (and very similar imagery) repeated later on (a few months later), but seemed to occur at an open construction site late at night in Wisconsin rather than my old Florida home as here.

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Over time, this seemed to create the phrase within my mind - “time is raven-winged”, (a possible play on “time flies” though also in the context of time being a “scavenger”).

This may sound negative, but we (my wife Zsuzsanna and our two oldest children at the time) had a positive enriching experience with helping an injured raven in real life years later.

The bird shadow symbol (usually rendered as being in flight), sometimes “sweeping” though sometimes falling, which primarily represents the waking point itself, has been common in a number of my waking transitions since early childhood. “Frozen” and motionless bird shadows with no source projected onto a stage used as a living space by a female tulpa was an extremely vivid scene in a dream of recent apex lucidity of the type of augmented awareness that almost surpasses real life perception. When your mind is able to freeze the birds in flight rendering to where only the hovering shadows are projected, that is near-ultimate dream control.

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Morning of November 9, 1981. Monday. Last reviewed and supplemented on Friday, 28 July 2017.



I become aware that I am sitting on the left arm of a couch in what seems to be the Loomis Street house. However, there is a feeling that the orientation is rotated in layout from the south wall of the living room to north wall of the dining room, so that the left arm of the couch is on the east side rather than the west side. It is not known if my dream implies that the living room and dining room have exchanged their locations as I am not focused on much other detail. I do see that there is a small side table on the left of the couch, which has at least a lamp and a rotary telephone. Still, it might be implied that I am in the dining room rather than the living room as I am vaguely aware of what could be the kitchen entrance farther off to my right rather than what would otherwise be the entrance from the porch.

An unknown male is sitting on the couch to my right, but not that close to me at first, only close enough to just reach me with his left hand. He seems to be an unknown and unfamiliar door-do-door salesman, possibly in his thirties.

He has a large snake hand puppet which covers nearly his entire left arm. It is not that realistic, though not as simple as a sketchy cartoon-like model.

He does not try to convey the idea that the puppet is talking though he does makes its mouth move. He does not seem to express that he knows that I know it is just a puppet. Perhaps he does not realize that I know it is just a puppet. (This is not certain.)

At another point, he mostly seems to remain behind the left side of the side table on the opposite side of me (to my left), reaching around with his left arm from the front. I make no attempt to acknowledge him or communicate in any way. Although he does not seem threatening, I remain annoyed, because I feel he is being childish, especially as my dream self identity is probably about twenty years old and such an approach is not what I would consider entertaining or even amusing. Although it seems he would have had to teleport to change position in this way (as I did not see him walking or moving to my knowledge), I do not think about his location changing as such and curiously, I do not see him as an imposer, only an annoying person of whom I do not reflect as having any backstory in this scenario.

When I awake, my left arm is numb, due to having my weight on it. (This is not a common event.)

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I do not believe that this dream is relevant to my conscious self’s day to day reality, and therefore, I do not believe that it has an “interpretation”. Here is why I believe this:

I believe that my awareness of the lamp on my left solely relates to my potential to become more aware in real time within my dream. I believe that the telephone on my left relates to either potential real-time communication with other levels of my consciousness or possibly thoughts perceived as originating from other people. I do not believe that there is any more to it than this because the experience is in real time, and is not a “recording” to “interpret” after the fact. (After all, in real life, you would go by what you experience as it is happening, not make claims that features like lamps or tables were something else the day before.)

The fact that I am “sitting on the left arm” of the couch rather than its seat implies liminal awareness that there is compromising weight on my left arm as I sleep.

The personified preconscious’s form as a door-to-door salesman implies a persona or feature that I would perhaps only see once, or at least not very often. The puppet is on his left arm, which means he is, in a rather odd and indirect way, trying to relay that my left arm is in a problematic position.

A puppet in a dream, in previous dreams, has been validated to be an “invitation” for my dream self to take control of my dream (though this same symbolism has also been validated as such in non-lucid dreams in most cases). In this case, it seems more about waking up and gaining control of my left arm.

Biological waking symbolism (more specifically, paresthesia waking symbolism) is the foundation of this dream and there is no reason to read more into it other than perhaps signifying the snake as a healing factor in getting my arm to move correctly again. The fact that the snake is not that realistic may be because my arm does not have its full natural use at the time.

Note that I have studied a lot of dreams in which a snake features. A snake often has completely different meanings in different dreams, which only the dreamer of the dream can come to correctly resolve.

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Morning of October 27, 1981. Tuesday.



I find myself wandering through an area near a fictitious outdoor café in Arcadia, Florida, on West Oak Street, near the Tree of Knowledge. The sidewalk is over twice the width it is in reality. It seems to be late afternoon even though an unlikely mist seems to rise from the ground at one point (but does not rise above my waist). (Mist such as this is a dream state indicator, a factor of the dream state itself.)

I begin to cheerfully interact with schoolmates and four of us sit down at a small round table sheltered under an umbrella. Eventually, our waiter approaches. He turns out to be Roosevelt (a former classmate and friend), but he is walking slowly from the south with his arms horizontally up in front of him as if mocking the sleepwalker stereotype (as seen on “The Honeymooners” for example), with his eyes rolled up so that only the whites of his eyes are visible. He is now apparently a zombie (the original meaning, not the popular modern misuse of the word). There is no threat, only seeming pretense. The situation seems rather comedic and I sense we are all being filmed, though I feel that Roosevelt is more aware of the supposed script. (Roosevelt is this dream’s personified preconscious. He is acting like a “zombie” or sleepwalker to make my dream self aware that I am dreaming, although this often does not work as my non-lucid subconscious self does not have viable synaptic gating to perceive my conscious self identity as in waking life. This factor has been rendered in the majority of my non-lucid dreams, which is unrelated to the myth of “interpretation”.)

Time passes, and more and more people apparently become zombies, who mostly roll their eyes up and mainly just walk around slowly with their arms stretched out in front of them like sleepwalkers, not any sort of threat at any point. I notice that the whole town of Arcadia has taken on the look of Dodge City as it appears in the “Gunsmoke” television series, though more like an isolated ghost town (which has occurred as a setting in other dreams).



In my dream’s final segment, I vividly hear nails being pulled from wood and thin boards being pulled apart with crowbars and I see that all the large old wooden buildings were only facades over the “real” commercial buildings, the facades now all being taken down, as the movie’s filming has apparently ended. All the “zombies” are seen to be actors in a new comedic movie featuring Arcadia as a tourist attraction inhabited by bumbling zombies. Behind another series of wooden facades (which are also being taken down), I see Lake Katherine (which is incorrectly rendered as being just north of Oak Street and the Tree of Knowledge). A single motor skiff moves through the water, being steered by an unknown cheerful male of perhaps thirty, who turns his boat to go right of my viewpoint (waking factor orientation). I feel a strong and clear sense of joy and happiness and the clear awareness of the sun rising and birds singing as my dream self focuses on the wakes left by the boat, and I think “wakes” as I am waking (which has happened in a number of other dreams, which of course is very amusing waking process autosymbolism in a dream that reflects the dream state itself in every way imaginable, including the facades being taken down; autosymbolism for the start of the final waking process and the breaking dawn waking autosymbolism; the end of the illusory dream state).

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Morning of October 24, 1981. Saturday.



I am in a music store that is similar to one in real life (in La Crosse). At one point earlier on it seems I am having two dreams at the same time (not all that uncommon for me when considering the different types of parallel dreaming and ambiguous “junk” composites). My alternate dream solely involves Toby T urinating outside against the outer wall of an old brick apartment building (of about four storeys) seemingly in the early afternoon in an area where people see him from the windows of the second storey. No drama unfolds, though this causes me to see him as eerily disrespectful and possibly even perverse for some reason.

Meanwhile, my main dream involves trying out new electronic keyboards in the store, including electric pianos. I do most testing while standing and trying the ones near the counter. The ones I try are not really suitable. Mostly, I continue to test with Beethoven’s “Für Elise”, but in every case, there are not enough keys to play the full range of the song (though I seemingly try to adapt in some cases). Some of the keyboards are not even made correctly. For example, the black keys go all the way across (or with too many in a row) instead of having the C# and D# two-black-keys sections as apart from the F# to A# three-black-keys set, thus making it impossible to tell what notes you are playing - note the wrong keyboard design with this entry that apparently actually exists (I did not change the image). With a couple of the keyboards, the keys are just too small, rendering it unplayable (as with some portable ones in real life - unless played by a child). One keyboard does not actually seem electric, just like an odd miniature piano with only about a two octave range. A couple products seem fake, or at least not feasible as a usable instrument.

I say to no one in particular (though likely more directed at the cashier or perhaps the manager if he is nearby at the time), “How do you expect me to play Beethoven on a piano like this?”

At one point, I pick up an accordion and my dream starts to become more and more vivid. When I attempt to play some keys on the accordion, it actually starts “singing” in layered human voices, somewhat like a barbershop quartet. All it sings is the musical phrase “strawberry fields forever” and I am filled with awe and enhanced perception. However, even though I am becoming lucid at this point, I soon wake.

This dream was precognitive (though solely from my personal perspective) as it was some time before I ever actually saw or learned more about digital sampling keyboards.

Morning of October 17, 1981. Saturday.



In this dream, I am walking with my old science teacher from high school when I lived in Arcadia (though we seem to be in Wisconsin in my dream). There is a mix of other males including a couple classmates from WWTC (WWTI at the time), and some coworkers from Eco (Ecology) 3 in La Crosse. We are walking through a large wheat field which seems to go on forever at first. The science teacher (who is male, but not very intelligent for his station) is talking on and on about something, but it is not clear what he is saying. I believe it may relate to whatever job is being set before us all to do.

Over time, we seem to be at work somehow getting wool from the wheat field (rather than from sheep - yet it is somehow still sheep’s wool), as some sort of industrial product for other companies. Eventually however, I am the only one left in the field, as everyone else is gone.

Over time, I find my way into a machine shop similar to the one I worked at in real life (Eco 3), but it seems to be abandoned. There are piles of wool sitting randomly askew over various punch-presses and drill-presses, much of it hanging off the edges. There is a strange mournful feeling as if everyone else had died or perhaps abandoned their life’s purpose. Later on, the pure white wool seems to have naturally changed into dirty or tainted “steel wool” from just sitting around for a long time - but is like wet, rusty iron (in a sponge-like form) that crumbles fairly easily, as if the workers did not perform their duties in time, I think, or again, perhaps all died before finishing their work and so the factory was then perhaps closed or abandoned from there. It seems an enigma, though.

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This dream dramatizes oversleeping. The dream state is represented by “wool” (and the field is recognized autosymbolism for liminal space, a specific level of awareness in REM sleep) and then the iron manifests as potential thinking skills and logic that is only viable in consciousness. It becomes rusty from both physical inactivity in sleeping an hour or so longer and the slower Saturday morning waking transition. The association with “steel wool” and its appearance may or may not be incidental, though again, the metal is mostly perceived as rusty iron, with steel typically associated in waking life with “stainless”.

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Morning of September 29, 1981. Tuesday.



A seemingly shorter dream (after a series of unrelated dreams), deemed shorter in conscious afterthought (which consequently probably seemed much longer than it was, almost “timeless” at the time) involved a boy’s spirit (a young boy, Scott R, who my sister was watching in real life at the time, as his mother had abandoned him) somehow becoming part of a bumblebee, yet also moving about in an invisible “cloud” of some kind at the same time. He is singing a melancholy song about being a bumblebee. One line is “Beh-beh-beh-bumblebee” (which is not a stutter but a slow musical intonation). It almost seems like a sort of prayer as well as a “cheerful” yet somehow mournful inference.

At the waking stage, he lands on the top of the south fence of the backyard of my sister’s house on Loomis Street, which divides her backyard and the neighbor’s backyard.

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This is part 2 of a random but extensive set of dreams pertaining primarily to fence autosymbolism (which means it is inherent to the dream state, not waking life). A fence is rendered as a metaphorical barrier between the dream state and the waking world, though can also serve as induction and dream state revivification in some cases (though not as often as doors do in my case).

In addition to liminal space autosymbolism, the very common dynamic of vestibular system correlation is present, with a bee as representing synaptic gating (due to the association with a bee “buzzing” and loosely associated with electricity as such). Thus, the bee is the preconscious factor of this dream. (The preconscious is often personified, and because the bee seems to have Scott’s essence on one level, it is partial personification here.)

An additional but inexplicable factor is that the boy (Scott) also had the same dream during the same time period (though from his viewpoint as actually seeming to be a singing bee). Most people do not accept shared dreaming (or in fact anything they cannot explain) even though I have experienced it continuously since earliest memory, especially with Zsuzsanna. However, this series is for explaining fence autosymbolism and to help rise above the deception of “interpretation”. People will believe whatever they want regardless of someone else’s knowledge and experience. After all, each life is unique.

In part 1, I wrote a little about the relevance of the rabbit. In that dream, it was a factor of returning to deeper sleep (even though it occurred during what would otherwise be the waking process), while this dream is a factor of closeness to waking (and was the last dream of my sleep cycle). (The rabbit goes under the fence but is stuck for a time within the fence itself. The bee in this dream lands on the fence with the assumption it will keep flying. Neither dream relates to waking life, but the dreaming process itself.)

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Morning of September 19, 1981. Saturday.



Summary of meaning: It seems in this dream there was a subliminal suppression of the preconscious (in me not wanting to wake immediately). I assume this due to the checkout dream exit symbolism being sustained by the cashier not being present. This took (presumably) a book being dropped behind the counter by the unknown dream character (preconscious assumed, as this act wakes the aardvark) to activate the transformation into my emergent consciousness, as a book is a symbol for a more discernible dawning focus and utilizing critical thinking skills.

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This was a rather ridiculous dream as dreaming of talking animals is not that common for me. The location seems to be some sort of unusual atypical composite of my sister’s house (Loomis Street), the main La Crosse library, and with features of a grocery store.

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At one point, there is an unknown female near what is seemingly a checkout (though I am not sure if she is buying groceries or checking out a book - it is quite ambiguous and hard to discern all the imagery at first). There is no one at the checkout however, and she also seems to drop something behind the counter on the other side, possibly a book.

My dream becomes much more vivid after this. A talking aardvark wanders out on four legs, from behind the counter, seemingly both complaining about people as well as talking about something he seems to find enjoyment in, wobbling off to my left and more in view at times. (It seems that what fell behind the counter possibly startled him, though there is a vague association that he was meant to be the cashier and somehow transformed.) My dream soon loses cohesion after this.

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This seems like a typical dawning consciousness dream (though with unusual emergent consciousness waking symbolism), but why did my transitional waking self (projected form) become an aardvark prior to waking? It is possible that the talking aardvark came from an association with the blue aardvark from “The Pink Panther” cartoons. Apparently, one of the names, Claude - as used by the ant according to one resource, is my first name, and I vaguely recall having seen this particular cartoon at least a couple times, thus that might be the main influence here.

The dream exit symbolism here is based on a checkout analogy, as the dream self leaving the dream.

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Morning of September 12, 1981. Saturday.



This dream was mostly uneventful but had some strange scenes. One is of a man walking down the sidewalk who seems to be wearing a goldfish bowl on his head complete with a goldfish swimming around although everything inside the bowl is green. His face does not quite look human, though, but it is not really menacing.

There is also some sort of adoption agency on that same street (seemingly one of the commercial streets in La Crosse, probably where “The Dragon’s Lair” video game parlor was at the time in real life). I see an “elf” who resembles the boy my sister Marilyn was taking care of for some time (even traveling to Florida when my family then moved back to Wisconsin with my sister and her husband helping out).

It seems elves are now interacting more with humans and some of them are being adopted from the nearby agency. I see an older man (possibly a relative of mine, I think, but I cannot identify him - there is a slight resemblance to older brother Earl) - and he picks up the small male elf who is mostly in green (and about the size of a four-year-old) and the elf says, loudly and clearly, as he sits on one of the man’s shoulders after a hug, “Oogaly oogly” (that is “oo” rhyming with “fool” and pronounced out as oo-ga-lee oo-glee).

It could be a play on “ugly”, but not sure why. It may have something to do with the fact that my sister did not get to adopt the boy because his real mother decided she wanted to keep him after all.

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