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Thursday morning, 7 April 1977.

Cosmic Dawn (Wild Haflinger Horse in Front Yard)

Dream # 3,762-02.

I am standing in my front yard near the south side of our driveway in Cubitis early in the morning. The sun is incorrectly rising in the west.

A beautiful Haflinger horse is standing nearby. It faces me from the south near the first small silver oak tree. I think its name might be Cosmic Dawn, but I also vaguely consider “Cosmic Dawn” may be the name of a movie I am making. I try to recall if the horse is mine.

I calmly approach the horse to pat its nose, anticipating a spiritual connection. It suddenly seems afraid of me. It backs away and neighs loudly and unrealistically. It gallops to the highway, making stiff, unrealistic dancing and kicking movements with bizarre wriggling reminiscent of a mosquito larva.

Despite the increasingly surreal imagery as the horse continuously bucks as it progresses south, it briefly seems like a mechanism controlling the cosmos, including the movements of planets and stars. The night sky is visible through parts of the morning sky near the western horizon only.

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Lucidness and conscious bias seemed to result in the bizarre outcome. I often have more control of dream content in the second half of my sleep cycle with less lucidness (because of conscious bias), including when my dream self has no recall of what “dreaming” is but intuitively recognizes the essence and inconsequentiality of non-reality.

Ultimately, a horse corresponds with my ongoing perception of my imaginary physicality while in the dream state. My dream body and other imagined physical aspects of non-reality are not always stable, and awareness of that factor was present here. My dream made me realize that temporality outside of consciousness is ambiguous, as the night sky is visible through the sunrise in the wrong direction.

This dreaming experience integrates a real-world influence regarding a younger former schoolmate tying his horse to the first silver oak tree from our driveway. He had come to talk to my father about something his parents wanted. I was no longer going to school since age fifteen. I was not with him at any point, but I watched his horse through my window.

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Morning of April 2, 1967. Sunday.



When I was much younger in my dream work (around age nine), I had later tried to recall or determine associations with this recurring one as if it might have been based on an obscure real-life memory (even though only a few years had passed at the time since living in Wisconsin), though that does seem somewhat unlikely.

My parents and I visit, a few times, an old married couple on seemingly the west side of the street, possibly Third Street in La Crosse. They live in what seemingly used to be a large clothing store and the one large room is mostly their living area. The storefront door and windows (and now empty window display area) are mostly always blocked from the inside with multicolored velvety curtains. It is still mostly a commercial area of the city, though.

The old couple typically sit at a smaller dining room table, right next to the wall, man facing west and woman facing east, where there is a small bowl in the middle of the table (though sometimes a plant pot) that catches rainwater from a leak (though it does not have to still be raining at the time). The leak is usually only one drop at a time. For some reason, the whole scene and living area does not seem unusual at all. We usually visit them around nine in the morning or earlier.

It seems possible that my dream was built by associations with the “Jack Sprat” poem (possibly the only association I had at the time with an older couple at a table in this manner), the “Don’t Let the Rain Come Down” song (Serendipity Singers 1964 version), and an actual one-time visit to an older couple in the city. Still, this is one of the mysteries from older dream work as it somehow seems more relative to a real memory and place, which for some reason, is more elusive than much clearer memories from this time period. I usually kept my dream work secret (mostly due to believing that published works about dreams were all completely wrong), so did not ask my parents. It could be a composite memory of two places we frequented in reality.

Night of March 4, 1967. Saturday.



After extensive research I discovered that the movie that mainly influenced this recurring eerie dream was “Blood Beast from Outer Space“, also known as “The Night Caller” and “Night Caller from Outer Space“, first seen at age six. I also finally learned that it was a deformed hand, not a lobster claw as in my dream. I find it interesting how the last few minutes of a movie (seen in early childhood) can create such an intriguing recurring dream scenario for several years (though not nightmarish for the most part). I very much enjoy learning more and more about what influenced my dreams throughout my life and pinpointing dreams and trends. (Note that the IMDb date for this release is incorrect, as it was first shown in America prior to the listed November 1966 date.) I had this dream while sleeping in the matte black 1950s camper we had at the time in the space above the cab. Seeing this footage after so many years had a rather odd emotional effect on me.

In the actual movie, the alien was not a giant, but I was easily able to determine where the long-term influences came from, almost like traveling back in time or greatly stimulating old memories with an enhanced clarity. I am not sure why this particular few ending minutes of a movie had such an impact, while many other movies I have seen seem to have had little or no impact at all.

In my dream, I am outside at night with my parents seemingly during a long trip from Wisconsin to Florida (we do not have much with us - just enough to fill the otherwise empty areas of the station wagon - as the camper I am sleeping in in reality is not featured in my dream for some reason). It appears to be near a very long shopfront in a parking lot, including a used car lot on one side. A giant man (about twenty feet tall) with a burned face and with one arm being that of a lobster threatens the whole town. Fire seems to be involved and he seems to glow eerily in a pale green at one point. For some reason, we have to leave everything behind in the car, including my favorite coloring books. My mother assures me that I will have new coloring books at our new home (in Florida) when we get away from this danger. (I am not sure why we have to find a different car to leave in - perhaps there had been fire damage, or the engine stopped working or it was wrecked at that point in some other way.) Whatever state we are in at the time (which is uncertain in-dream) will no longer exist as a state because this giant creature will live here within the fire. (In the last scene of the movie, the alien stands in front of a large fire for a couple minutes.)

There appears to be some sort of odd (nostalgic) connection to the Johnny Cash song “The Story of a Broken Heart” (as if it were part of a monster movie and descriptive of this giant creature - it is possible I heard this song on the radio around this same time period). For some reason, coloring books seem to be my most important possessions in this dream. There was a motel we stopped at, at night, where I really enjoyed looking through an (as yet unused) over-sized (seemingly) dinosaurs coloring book.

Morning of February 9, 1977. Wednesday.



Dream Series: The Experience of Prescience, the Inexplicable Dream State Phenomenon. Part 4

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This dream’s main setting is an unusual variation of my Cubitis home. The shed is not present in the northern part of the backyard and one area near where the front of it would otherwise be is the side of a trailer that is oriented north to south, where two of my older brothers, Dennis and Jim, supposedly live (though they are living in Wisconsin at the time in reality, not Florida). The location of the main focus or dream’s climax is the exact same spot in the north side yard where my “mystery girl” revealed herself for the final time in this particular setting in a later dream (and also above where the body of Christ was literally buried in a childhood dream - eventually indicating I was the “son of the universe” in this cycle of existence), with the exact appearance (and unlikely accent) in every way, as my wife-to-be, Zsuzsanna, before we ever met in reality or even viably knew that we were real to each other.

An unknown beautiful dark-haired green-eyed girl (with the usual mixed Hungarian and Australian accent) features in my dream, thoug again, she has the same appearance as my lifelong “mystery girl” (dream girl of otherworldly beauty). She carries a sword which sometimes has a blue sheen and she wears some sort of unusual bikini-like outfit composed of teal-colored reptilian scales. Where I have a large scar on my left wrist, she has only a small scar on her left wrist. (In reality, Zsuzsanna has a smaller scar like a section of mine on her left wrist in the exact same spot where it matches mine. We got them in the same way; by falling onto a broken glass mug shard.)

At one point, I enter the trailer (its door otherwise in the same area the shed door would have been, though it is elevated). Jim and Dennis are not there, yet I have no doubt about the “reality” of this dream. I become impatient and angry at not finding my “mystery girl” after she is not present for a time, so angry that I tip over the shelves containing my brothers’ cassettes and records and such. I then make all the chairs fly about with telekinesis for a time as well as my literal “turning the tables” act, where I will a table to spin about and change its original orientation.

However, my “mystery girl” appears again in the next-to-last segment of this dream. She tells me that it is not my time to be with her yet and says she must “return to the Source”. I am not sure what it is all about. She is to be my bride, so I become impatient and reach out to her. She tells me that I will meet her in seventeen years in Australia. She seems to shrink, become younger and younger, and over time, becomes a gecko and scurries off southward. (In real life, I met Zsuzsanna in Australia exactly seventeen years after this dream, on February 9, 1994.)

I walk quickly south (covering more ground than would be possible in reality), thinking I might see her again, and, as is often the case, there is shallow water in many areas, but curiously, some swimming pools are mostly somehow empty while parts of the ground are lightly flooded (a variation of the very common water lowering waking symbolism, signifying the cessation of the dream state).

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Morning of September 13, 1977. Tuesday.



Somehow, the ghost of a mermaid speaks to me from a burning bush (but is later only glowing in light, with brass-colored rays coming out very brightly, with triangular tips - in the back of my mind is something about the book of Revelations in the Bible). This is near the right, when facing the house, southern side of the carport. Supposedly, this entity is my wife, or has been or will be my wife. A little after this, in real life, I had also made a one-copy home-made comic book for a few issues (no longer in existence, I suppose) of a young mermaid called Mary and her boyfriend John. In my dream, the mermaid was named Cleo (who appeared as a “normal” human for the most part - but had some special abilities at times in a couple other dreams). In this particular dream, it seemed she somehow also “lived” in the bush (a pun on my future wife living “in the bush” in Australia?) as well as being a “ghost girl” (for example, the shrub itself was where her spirit or soul actually “lived” - like a genie in a lamp, actually). Also in this dream, the mermaid seemed almost divine or holy. Other than the name “Cleo”, there is also (implied as angelic) “Gabrielle”, my wife’s middle name. Considering this was on her birthday before I met her (or even knew about her), I count it as precognitive as such.

Night of December 24, 1966. Saturday. (Christmas Eve.) Original date and other data validated and corrected.



A girl older than me (about nine) is dressed in a cat suit (like Catwoman from “Batman”) with the smaller eye mask. I confront her after she seems to not know someone is out on the roof (Rose Street apartments in La Crosse, Wisconsin). I think it is just before midnight and it is cold and very quiet otherwise and there is a bit of snow on the roof (more-so the recessed areas on either side of the walkway). She is surprised by me prior to going through the window into my sister Marilyn’s apartment and claims to be one of Santa’s elves (though it is not Christmas eve and I inform her of this in a somewhat patronizing yet friendly way). I am not sure what to think. She is carrying a green, lumpy bag which seems to contain a fair amount of unknown items (possibly some soda/pop bottles), but is seemingly not that heavy for her. (In the original, I had noted a possible set of holes with a fork partially protruding near the top.)

There was also a scene of a partial hypnopompic unfolding where paw prints are noted on the roof instead of human ones and I am considered to be “telling a story” regarding the incident later on in a false awakening.

This is a recurring theme of catlike people or beings being on the Rose Street roof late at night, often shadowy or mysterious forms; a likely influence - the animated movie “Gay Purr-ee” from 1962 (which I first saw on the 23rd of December, 1966) and the short-lived TV series “T.H.E. Cat”. In fact, an episode of “T.H.E. Cat” played during the next television airing of “Gay Purr-ee” (also written as “Gay Purree”) on a different channel.

This dream did have precognitive nuances as usual, but not that multilayered. A few years later, I saw the girl who seemed like the one in this dream (with the exact same details in the costume and same manner and movement) in real life. She was a classmate who had dressed up as “Catwoman” (not the exact character, but for some other story) for the school Halloween play.

Several years later, in 1971, the song where they sang “the Candy Man can” was sometimes "automatically" mentally “replaced” by “the Money Cat can” - which has a vaguely similar style and the same number of syllables in parts. I thought as a child that they were perhaps influenced by the “Money Cat” song, which would not be the first time one song influenced another commercially. In fact, I made a note of this to a few classmates, but they ignored the idea completely. This was one of the few times during that period I mentioned anything dream-related.

From the night of December 23, 1966. Friday.

Dream #: 4-01. Reading time (optimized): 1 min 30 sec.



This dream (repeating at different levels of vividness several times on the same night, though chiefly from willing it) occurred three days after my sixth birthday. It started before midnight of December 23 while I slept in the second-floor apartment of 901 Rose Street in La Crosse, Wisconsin.

Its primary causation is simply a different version of the first microdream that I have had virtually every sleep cycle to date (as of October 19, 2020) when I am walking with a vivid awareness of imaginary kinaesthesia and suddenly fall into wakefulness with myoclonus. The main difference, other than its unique content, originates from the predominant degree of sleep atonia resulting in a dream of a longer length than the common microdream I have described here.

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In my dream, it is late at night, and no other person seems to be awake. It is dark. I walk on the back roof of the Rose Street building (accessible from the second floor by way of a door at the end of a hallway), with liminal dream state awareness. I think of using the fire escape at the back of the building to descend to the parking area. When I start to step onto it, it is no longer present. A more realistic version of the Shadow Cat from “Gay Purr-ee” (1962) is suddenly holding onto my hand as I remain in the dream, though in undefined liminal space for a time.

I entered different versions of my dream several times in the same sleep cycle. In one instance, I descended the stairs. In another, I chose not to walk to the edge, though in another, I floated.

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Other than the usual causation, more specific influences in this case mainly come from the musical scenes in the animated movie. It includes the lines “If anyone can save you, the money cat can!” and “In the palm of our paw” from “The Money Cat.” Of lesser influence was “Show me the way to all my dreams” and “and be seen hand-in-hand with Paree” from “Take My Hand, Paree.”

Because of this dreaming experience, I began to develop an advanced understanding of dream control, liminality, and dream content causation in a world where virtually everything I read about dreams is the result of misconception.

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Night of December 16, 1966. Friday.



This was recurring from when I was very young. I believe there were a few versions that occurred in the middle of the night. In one version, in one journal, I had decided that the opossums may actually be small foxes (even though that really was not very reasonable), so I wrote a poem called “Foxes in the Trees” in real life, yet later decided that I should not change things, so I came to have an internal self-fulfilling symbolism of the opossums being the “princes of the trees”. Being watched by mysterious animal eyes is probably a universal theme in children’s dreams regardless of race or culture, but I am only guessing that based on my own early experiences in dream work.

It is late at night and I am in the woods, I assume in an area of Chipmunk Coulee farther from where I had actually lived in that region.

I am near a tree in which there are a few opossums on the branches but all I can see are their eerie glowing eyes (and in later versions, the lighter heart-shaped areas of their faces). It seems these opossums are some sort of guardians that are supposed to follow me and protect me in some unknown way. I pretend not to notice them because I do not want to cause trouble or perhaps draw attention to myself in this unfamiliar landscape.

In the distance is a long, winding path of an unusual (almost a sequence of Z-shaped turns) path where some areas seem to be dead forests. The moon (or sun in a rather “bad” dream rendering?) seems to be a black shadow hanging in the sky rather than the “real” moon or sun. This unusual area seems to be very similar to my “Empty Boots” dream found here: http://blue-opossum.tumblr.com/post/...75/empty-boots

Morning of November 29, 1976. Monday.



My older brother Earl (half-brother on my mother’s side whose father died on September 23, 1950, age 39, in a newspaper van accident) is in the process of completing his work in building a spacecraft which looks like the classic 1950s flying saucer, at first (though the appearance changes). He tests it around town and people often stop to see what is going on. I am with a friend and he also seems interested in this endeavor.

In the last part of my dream it seems my brother intends on leaving Earth and not coming back. The flying saucer takes off ominously into the sky in the afternoon and narrowly misses a clock tower, flying very slowly at first, nearly hovering in one spot at times. There is a very vivid awareness at this point. Regardless of a couple near misses with the tops of buildings, it successfully flies away. At this point it looks a lot like the Flying Sub from the television series “Voyage to the Bottom of the Sea”. Shortly after this, I do not see any sign of where he has gone.

My (unfamiliar supposed classmate) friend and I are discussing his life as we are walking along through an alley, seemingly south. He asks me, “How old was your brother?” and I say “Thirty-six,” waking up slowly to the unusual sadness in my voice.

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I had to do a lot of research on this to make sure it presently stands as correct as possible (regardless of later versions which have proven to be even more ambiguous). My brother died on November 29, 2007 (age 67, way too young in my opinion), so there is indeed a (long-term precognitive) marker here, one clue (unknown at the time) being the clock tower.

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This dream has the typical waking transition of the flight symbol, but it appears as an extraordinary atypical composite (with layered meaning) here, firstly as a flight symbol that metaphorically shows the essence of the dreamer successfully leaving the dream state (in contrast to the far more common directly perceived “falling” event). However, it is a “flying sub” which means it also comes from deep within the unconscious (or even collective conscious or the Source’s) realm. It is also a spaceship, which relates to tentative associations between waking self and full conscious self memory. I should add an additional note here that my brother also owned a Stingray (car), and of which the marine animal called a stingray resembles the Flying Sub. This dream also seems like a subtle “continuation” of my “Rocket Science?” dream, from earlier this year.

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Just because a dream is influenced by, say, television, does not mean it is dismissible. The foundations of non-lucid dreams will borrow anything and everything to metaphorically display the sleeping, dreaming, and waking process. The day before this dream, I had seen a CBS report on UFOS as well as as Nova’s “The Case of the Bermuda Triangle” (featuring the ocean of course and loosely associated with UFOs, perhaps even “flying subs”).

Morning of November 26, 1976. Friday.



In my dream, my last one of this morning (the sun already up in reality) it seems to be late morning, perhaps around ten o'clock or later, as my Cubitis bedroom is bright from daylight streaming in through the windows. I am still aware that it is winter. It does not seem that cold to me, though. Though it is Friday morning, I get a sense that it is Saturday morning.

I am in my bed, having seemingly been sleeping and not yet fully awake. My bed (lengthways east to west) is out from the left side of my bedroom’s door - that is, the east inner door to our living room from my room’s viewpoint (in contrast to the door to our carport from my room, on my north wall). I become aware of several bees slowly coming into my room from under the door. They do not sting me or even come near me, and I am only slightly wary of a potential danger. They seem a bit disorganized and very slow, sort of hovering in the air (close to the floor) at times, maybe even a bit sluggish from the cold. (In real life, there is a big enough gap under this door for larger bees to come through from the living room, though this has never been much of a concern).

Although I notice a few more large bees over time (though not unrealistically large), nothing happens. They mostly remain in the area near my door and not much higher than a foot from the floor.

This dream colored my mood in a curious way, not in a negative sense, just of an unusual indescribable elusive awareness. This may be related to my associations regarding my quitting of school (in the first few weeks of tenth grade), as bees used to fly in and out of empty soda cans within a small fenced-in area for placing recyclables near the roofed outdoor lunch area - and thus were sometimes very annoying. However, a few friends and I later spent more time near the outer north wall in the same general area though where no other students went, even though it was just around the corner. Another influence may have related to having seen “The Savage Bees” the previous Monday, which probably combined into a composite association (relating to those afternoons at high school during lunch).

Morning of November 26, 1976. Friday.



One trivial precognitive dream I had related to an album cover of a band I had not followed or even remembered hearing about prior to my dream (which occurred earlier in the evening on a Saturday night). This dream was in 1976 (a nighttime/early evening dream), and from research (one source reporting February 1978), about two years before the actual cover existed and a friend, Kyle C, took the record to work (well, it was in is car - he had coincidentally bought it earlier that day during lunch break). My dream’s version was visually correct for the most part, with the arrows pointing in two different directions on a yellow sign and the splattering of “ketchup” from a restaurant venue with live bands (in my dream but likely paint in reality). The real-life one turned out to be “Head East” but it was different when foreshadowed and otherwise visually foreseen, as is sometimes the case - as letters often change when I look at them in dreams (unless very lucid).

The writing in my dream did not say “Head East” but “Duck East Wayne” when I tried to focus on the scribbled letters on the album cover - a fictional name if I ever heard one - and I assumed the oppositely pointing arrows were just more dream confusion (although it really is the same as the later album cover in real life other then the scribbled name). I am also at a restaurant late at night and with a lot of lights shining everywhere (this is how the “ketchup gets spilled on the album cover”). I am also aware of an announcement on the radio. A male voice comes on and states very empirically, “Badcock Saturday Night presents…Duck East Wayne…”. This is more dream distortion, as Badcock is the name of a furniture store near where we lived. The band comes on at the venue I am at, singing a (fictional) song, “Too Late to Crumble” apparently about a girl who wants to go back to her boyfriend but he is in a new relationship.

Another dream around the same time period related to a band appearing in the basement of my high school. However, no one could get there in time to see the actual concert. The main song they just started to finish up when people were only then aware of the music is “Talkin’ About a Show”. There is a somewhat uncomfortable series of images of people running up and down stairs while the song is playing, only some finally reaching the basement to see the band live as they are finishing the song. There are later scenes of chaos in public, as well as gunfire and gang wars, and the song “Talkin’ About a Show” is still playing as if the people that are shooting at each other are “talking about a show” - the last line ending “and they’re all…talkin’ about a show” - it seems a bit egotistical for the band to be singing this for so long. This dream came before I saw at least one movie scene where someone holds up a large gun and says “(now) this is what I’m talking about”. Strange, as it seems a rather odd, “displaced” comment (like a lot of new slang terms, really).

Night of November 20/Morning of November 21, 1976. Sunday.



If you are easily disturbed, this is probably a good entry to give a miss. It is one of only a few of the more vivid nightmares I have had in my life - and probably relates to the physical changes during adolescence. (For example, dreams like “Silver Manta” and the first childhood “Haunted House” dream did not seem like an actual nightmare at all regardless of the scenario and emotions involved, but as inspiring adventures which I still have fond memories of.)

A large spaceship lands in my front yard at Cubitis, near the end of the driveway and a few feet from the highway. I do not actually see any aliens in the dream at any point, though. Actually, the ship seems more like some sort of “factory”, with a maze-like assembly-line (except that it is “dis-assembly”, so to speak.) that goes all about the internal perimeter of the squarish “flying saucer”.

What is vividly implied and shown from several angles (including from the side and from above) is with a first scene of a girl being carried (while lying on her side) down a conveyor belt (which is dotted sparsely with human blood and a few small scraps of clothes) within the spaceship. I am not sure who she is or where she came from. It reminds me of a miniature “car wash” to some extent (the part where she falls next may be vaguely related to the opening of “Land of the Lost”). She moves through a yellowish orange ribbon curtain into what looks like a chamber with an implied shallow well and there are robotic arms and such that seem to hurt her. Eventually I am aware she has been turned into “fuel” for the spacecraft, the body being shredded as through a high-tech food processor of sorts.

This happens with several people, mostly adults. Actually, I am not sure how I am seeing this. It is as if I am there in my “orb” form, but also in my bed at the same time (though not fully lucid, only partially questioning the events). The dream seems to reset several times during the night and very early morning. I am on the belt at some points, trying to work out why my bed is moving, but I usually will myself back to where I had been and never go through any “terror” from my own perspective.

As with most dreams throughout my life, even this dream had a layer of long-term precognition (which was actually the reason I started documenting dreams in the first place to try to work out the layers and “rules” if any, as it was so common). Several years later, I worked in a factory in Wisconsin and for the first time, was close in real life to very similar conveyor belts and (identical to the dream) vinyl (or vinyl-like) ribbon curtains at the end of a chemical wash for the metal parts. Around this same date years later, I took the place of a man (whose job was to simply place the metal sheets on a wooden shelf for a pallet as they came out on the belt) who had cut himself very badly on the hand (supposedly losing a finger from what one worker said though I am not one hundred percent sure now) and the blood (and a couple pieces of his white work glove) was still on the conveyor. I guess they did not want to lose any production time (relative to parts for Ford Taurus cars).

Night of November 12, 1966. Saturday.



I am in my older sister Marilyn’s apartment on Rose Street which was similar to my parent’s rented apartment on the second floor and across the hall in the same building. In her broom closet (which is larger in my dream), there appears to be some sort of “portal” into another world. A tall girl made of diamonds is ready to emerge. She is actually like a large living diamond which is shaped mostly like a person but with many seemingly both transparent and reflective facets. It is not a threatening event but is rather eerie. My sister Marilyn does not seem all that surprised or interested. (It almost seems incidental to the location, like someone coming to wait for a bus, perhaps). No clothes are implied. (She does seem to take on a fashion show stance at one point, hands on hips with upper body slightly slanted to her left side.) She may be some sort of being from a different planet as this is the feeling I eventually get. There does not seem to be a floor in the broom closet so I am not sure how she is standing in place. In fact, the broom closet almost seems to lead into outer space. (However, there is also the idea that she may have come up by way of an elevator from the tavern below the apartment.)

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Notes on Tuesday, 8 March 2016: This dreams ends with semi-lucid doorway waking symbolism. This type of dream outcome is sometimes triggered by the reticular activating system when environmental noise is present and based on the implied need to wake up and answer the door (which does not mean that the environmental noise is an actual door knock as the mind is unconscious and does not correctly perceive the real environment). Here, my emergent consciousness is rendered as a goddess-like being, the diamonds possibly analogous to the many facets of whole consciousness upon fully waking. Outer space relates to subliminal consciousness, the stars being neurons (in direct contrast to when awake when stars would represent the opposite, “seeing stars” as becoming unconscious or nearing unconsciousness). But why the female form? This causes me to question the doorway transition in this case as to whether it represented my ideal wife-to-be (even before she was born), Zsuzsanna. “The Biomagnetic Monster” (1965) dream could be seen as implying other people are connected while in the dream state though become “smaller” (less “present”) during the waking transition.

In “The Big Diamond” (1974) dream, it is implied that my emergent consciousness is a huge diamond (also representing whole consciousness - though the diamond is only half above ground - the other half below ground being my dream self). The only other character in “The Big Diamond” dream was the actress Michael Learned. She was apparently born on April 9th, which indicates prescience as that was when Zsuzsanna and I married.

In “Tulpa Triumphant” (2014) with my personal alternate title being “Zsuzsanna Triumphant”, my wife is seen as the “only true female that exists in this world” (or my dream state), which resolves to the reason for my dreams rendering her as the very accurate “mystery girl” long before we met. My dream may imply that all other females I have met or seen are only a facet of the “big diamond” while my wife Zsuzsanna is the diamond itself (symbolic of Corona Australis or Yin Incarnate, Virgo, Hathor, and so on, though not in the superstitious sense).

Diamonds represent the power of whole consciousness and thoughts that mirror (and reflect) various patterns into other areas of existence, as it is the conscious mind and expectation that builds the realm of the unconscious.

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But what if the origin of this dream in this case is the influence of the justifiably infamous “Mystery Date” (board game for girls) television commercial (from 1965)? How is that for irony?

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Morning of November 7, 1976. Sunday.



Water induction autosymbolism commences. Water is dream state autosymbolism for the essence of sleep. The presence of the water in mid-afternoon is more beautiful than ever. It sparkles and radiates in the promise of healing and maximum well-being. Water is life.

I had apparently come out from the water and that which had made me. There are several times when I open my eyes and squint due to the brightness of the sun directly overhead. The backyard of my Cubitis home has changed but I do not take that much notice to this. It seems I had fallen asleep in the backyard. The orange grove is not present. There is a large lake with islands rising in the distance as I gaze northward. Everything is so bright, well-defined, and vivid.

It seems as if I am slipping back and forth between my real bed and this “bed” in semi-lucidity. In my illogical thinking, I am wondering which location is where I really am. Perhaps both are real. Perhaps both are an illusion. The backyard is no longer covered with green grass, but smooth white ovular stones of about the size of my hands. This is not uncomfortable.

Eventually, when I hold my eyes open for a longer time, the head and neck of a very small plesiosaur, about the size of a cat, emerges from the lake about three feet from its shore. It has the grace of a swan. It sways somewhat as it seems to be watching me. Soon, there are a total of six. They all swim closer toward the shore, seeming curious of my presence. I am unsure if they are baby plesiosaurs or a miniature species.

I eventually enter the cool wonderful water. I swim with these creatures in a smooth and enjoyable event. It is a wonderful and peaceful experience. It is as if I am seen as a part of their world and they are welcoming me, though I am still fully aware of my human form. Euphoria. Can you imagine anything better than swimming in cool pure water in the dream state? The brain and heart are both about 73 percent water. It is the unsullied expansion of the self to be within this depth in the dream state. We swim to the depths of the lake, but eventually this segment of my dream fades.

In an offset dream, seemingly without waking fully, I now seem incorporeal. I am aware of a very large flatbed truck carrying our house to Wisconsin over a curved fictional highway beyond where the railroad tracks are in real life, to the east. I hover and watch the event. There is a vague focus on the house falling off this large truck as it makes a turn but I subliminally choose not to will this to happen, even after my dream resets and the scene repeats. It goes around a curve near a high embankment. I feel a sense of amusement as if I can shape the outcome in any way I choose.

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Years later, there was a highway in real life in that same area (though no lake or backyard of smooth white stones was ever a feature to this day). Although there had been talk of widening the highway (which has never happened to this day), that was regarding the original Highway Seventeen beyond our front yard to the west. I found it quite odd that the highway instead was built as in my dream. I never considered that this would actually happen.

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Last reviewed on Friday, 4 May 2018.

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Night of October 29, 1966. Saturday.



I am involved in a seeming prototype (first version of a dream theme that appears in more complex forms later on, especially after moving to a new home) of what appears to be a variation of the (originally) Milton Bradley game “Operation” (which is fairly new at the time). It reminds me just a bit of the “nostalgic” noise and lights of a carnival on a much smaller scale (and according to some sources, actually was based on games in funfairs so maybe that is a typical association). The main distortion is that it has a red telephone (receiver only, but probably only about half the size of a real one) in a recess on the left side, nested on its side though does somehow become full-sized at times. (This may be from a distortion of the actual shapes relative to real game sections, which are somewhat reminiscent of a telephone receiver shape.)

I am not quite sure if the telephone allows you to somehow talk to the character in the game and receive information on his present status, but it seems a bit strange at times as if I am “expecting” an eerie “contact” at one point. No conversations ever ensue, however. My dream remains nonthreatening.

Interestingly enough, I did not live in a home with a telephone until 1978 (we never had a telephone all the years I lived in Florida and only my sister had a telephone in the Rose Street building in Wisconsin).