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Morning of October 13, 1978. Friday.



The location in this dream is not fully determinable although it is likely Wisconsin because of the land features. All I know is that it is a somewhat isolated area with a higher hill or rise on one side (seemingly east) where a road or highway cuts into possibly the foot of a mountain (that is, the embankment that is exposing the strata where the spaceship protrudes slightly seems partially flat on top but may reach more into the implied foot of the mountain more to the east). I am seemingly not directly in my dream even though my view is moving about in a three-dimensional perspective. Instead, the focus is on several businessmen in suits and around the same age (probably late thirties).

My dream unfolds in mostly only showing the discovery of an apparent extraterrestrial spaceship that had crashed or landed on Earth many years ago, possibly even before there were humans. Oddly, the different geological layers and features seem to be linked to the spaceship somehow. This is not logical, of course, because it is set up almost to imply that the spaceship slowly phased into its landing area over many centuries so that it became “entombed” or even fossilized over time, so that the spaceship is embedded in geologically different strata, almost in a way that would imply that different parts of the spacecraft existed at different times (after crashing) even though it is the one object.

I fade in and out of my dream over seemingly at least half an hour, but this is mostly all there is to it. There are a couple false awakenings related to writing my dream down, but no aliens appear or are implied as possibly extant at any point. In fact, my dream’s last “reset” at one point is almost to imply it could be connected to a nearby restaurant for the tourism industry and is perhaps faked somehow or at least advertised in a misleading way.

There is also something about “all” television stations going off the air related to more of the spacecraft being uncovered relative to erosion - and some sort of unclear reference about people blaming the restaurant for their televisions not picking up channels correctly. I get an impressions of it being related to Chicago somehow. Doing extensive research and relevant updates on many of my older entries (even more inclusive with online dream details that I formerly saw as more insignificant), I had to smile at this one. Although there is no documentation of having been aware of it (I would have likely made the reference), there was actually a power failure the night before at a relay substation in Chicago, affecting all television stations in Wisconsin in periods from ten to forty-five minutes.

This dream was also seemingly influenced by residual memory of “Five Million Years to Earth” (original title: “Quatermass and the Pit”) from 1967.

Morning of October 13, 1968. Sunday.



I am in school with a special sort of book that has Matchbox Cars inside it. In one dream journal entry, my earliest record of this scene, I originally called this “The Small, Flat Car”. The actual case seems to be that I can take out and put back in real Matchbox Cars in this special book (based on the photos becoming “wells” within the book - recurring, and a long-term idea in childhood dreams). There is one version where I seem to be sitting in the back of the class for what seems like a very long time, and am somewhat concerned about a car being partially flat yet trying to fit it between the pages so that the teacher does not notice that I have my toys in school. It did not work most of the time, though I still was not noticed, seemingly from sitting so far back in the classroom.

Morning of October 11, 1968. Friday.



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

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

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

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Morning of September 28, 1968. Saturday.



I am sent to a warehouse-like area during school hours (even though I sense it is a Saturday - as it indeed is in real life) west of the school (West Elementary) and across the street to get a couple of textbooks, I think for other students (and perhaps one for myself). It is fairly dark inside.

A large “dogerpillar” crawls slowly near me from another part of the warehouse as a mist seems to rise up from the floor. There are shades of cyan, purple, white, and orange, and, terrified it will reach me, I stand up on a large crate just barely out of its reach as It is unable to lift itself, and can only crawl horizontally, which is an in-dream “relief” to me. It is at least a foot high or more and about five feet long. It starts making a strange, short mournful whining sound and I start to try to imitate the sound so that the creature will think I am one of its young (or one of its kind at least) and move on elsewhere. I continue to stand on the box making the sound in a somewhat worried state. Originally I had written “After awhile, I think that the creature may end up thinking that I am its offspring and may want something from me or to properly feed me! It seems there may not be a real way out.”

I am less afraid near the end (but still have an odd in-dream “faux end of the world” nervousness), but am concerned about missing reading class, and am wondering why they did not keep such a weird creature locked up. There is sort of a concern that I may never get out, but I slowly wake. (Oddly, there is no stronger thought of attempting to run away, even though the creature is very slow in its movements.)

Upon waking, I had found out (from my mother) that I was making a similar sound (vaguely like “vumpadump”) for several minutes before waking from the very vivid dream. (I have heard from some people that a person is unable to make sounds or speak in syllables when dreaming, but like almost everything else I have heard about dreams - it personally turned out to be wrong.) It is possible that the creature was partly based on the one from “The Monster That Challenged the World”, which I saw on Rose Street when about age five.

The very first dream journal title of this was “The Thing in the Room”. Someone who saw it (David K) said the title should be changed to “The Thing in the Attic”, which was pointless, as it was not an attic, so I later changed it to “The Thing in the Warehouse”. Because of what it looked like (a giant caterpillar with a weird dog-like head), the final title was “The Dogerpillar”.

This was not the first version of this dream. See this link: http://blue-opossum.tumblr.com/post/...ditional-notes

Morning of September 17, 1978. Sunday.

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



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

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Morning of September 8, 1968. Sunday.



I deliberately “step into” a chosen dream setting in my last dream of the morning, though I do not remain lucid. It is our Cubitis living room, but with different features. This setting is otherwise a rendering of the first area I see when leaving my bedroom in reality. The time seems to be early morning, around sunrise, the same time as when I “went in”. I sense that I am the only person present in our house (even though my parents are in the house in reality).

It comes to my attention that a great blue heron is trapped in our wood stove in the northeast corner of our living room. It is visible from the lowest part of the neck and up, thus somehow protruding from the top of this implied cage from an apparent opening. I am somewhat wary of it being in our house. Its beak grows longer as I watch, remaining in a horizontal orientation and pointing southward, never moving from side to side. I hold concern that it will become so long as to reach through the hallway (though it would have to curve if it did), out the back door at the end of the hallway (to the south) and possibly even around the world and back to where no one would be fully safe from it. This does not happen but I still decide to attempt to escape through the hallway (rather than going out the front door or back into my bedroom).

The bird does not make any sound. Its eyes seem very lifelike. I think that after going down the hallway that I could hide in the bathroom. The beak would have to turn at a ninety degree angle as well as go through the door but I am not focused on that line of reasoning other than very vaguely. As I walk through the bathroom’s doorway, I have a soft awakening (no noticeable physical hypnopompic event).

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Following is a detailed study in subliminal waking trepidation as sustained by the dream self in “The Heron’s Elongated Beak” (September 8, 1968) on Sunday, 16 July 2017:

• This dream is based on subliminal expectancy of the lower back spasm, a common physical jolt that only occurs in certain levels of consciousness between sleeping and waking (similar to the hypnopompic leg kick or abdominal jolt but experienced through different symbolism). In this case, my dream self successfully avoided it, though not with lucid intent (and possibly by coincidence as the event horizon occurs with various levels of presence and intensity, sometimes fading in an identical manner as an expected sneeze sometimes does). Being jabbed in the lower back by a bird’s beak or a variety of other features (such as a dog’s nose, knife, or arrow) was more common in childhood dreams and is also linked to certain forms of apex lucidity. This is a real-time biological event and its in-dream premonitory symbolism has nothing to do with the conscious self’s day to day reality.
• In other dreams such as “The Buzzard’s Beak (October 4, 1969), I did not "escape” the bird beak’s assault or lower back spasm as I did in this dream.
• Precognitive thread: The exact appearance of the wood stove and its location and orientation did not exist in reality until years later when I was a teenager. My parents did not own a wood stove in Florida up until a few years before we moved back to Wisconsin. I could not have known about the appearance, location, or orientation, as my father did not even build the chimney for it until years later, so there was no reason for it to be placed here in my dream based on any likely expectation. (Additionally, my dream’s date was a specific marker to when we first got the wood stove.)
• Going down the hallway into the bathroom relates the need to get up and use one in reality. Although the hallway can imply conduit symbolism (real-time consciousness shift) it may be incidental in this case. A doorway typically symbolizes (in real time) a dream’s exit point (though often serves as lucid induction).
• Preconscious waking induction of the emergent consciousness as features related to flight (birds, airplanes, flying saucers, my dream self in flight, and so on) have occurred in over 18,000 of my known dreams (excluding microdreams and other types), but usually with unique dynamics.

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Morning of September 2, 1968. Monday.



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

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

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

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

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

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



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

Night of August 10, 1968 (and after - environment was similar in the last section of the “Ocean Carousel” entry). Saturday.



Summary: I explore a mostly teal-colored submarine/oil-rig/warehouse composite and see periscopes of all sizes and eventually meet anthropomorphic sandspurs (also written as sand spurs and sandburs). When making the trip from Wisconsin to Florida at about a year younger than here, I sometimes dreamt of anthropomorphic vegetables in mostly featureless canyon-like surroundings or near cliffs.

This is related to the environment and location I described at the end of the “Ocean carousel entry”. It is the odd teal-colored and primarily metal structure that is seemingly linked to a beach or possibly as being somewhat like a larger, more complex oil rig. In this dream, there are more submarine features than before, including electrical boxes of some kind.

The little, I assume rooms, are somewhat reminiscent of larger (older style) refrigerators with a slightly curved door (vertically on each side) other than the square vents at about face-level, which are like larger horizontal slats of venetian blinds. As I said, even the metal-grill staircases are mostly of a teal color.

Although the first “version” of this fictional location was unpopulated (other than myself) this one has creatures of some kind. This environment, though the same as the other, seems less realistic, somehow.

It mostly starts out as being watched by (or rather, with) various types of periscopes (all vertical), which remind me vaguely of chimneys from some sort of elusive fictional animated movie. The periscopes range from almost drinking-straw-like to larger than a rain gutter. Eventually, after noticing eyes of various sizes in the external periscopes lenses, there are porcupine-like creatures that are like orange sandspurs with short legs (and I think with arms - at least one carrying a harpoon).

I guess I am “invading” their territory by their suppositions. This is certainly not my intent as who wants to be around porcupine-like “people” anyway? Not me. They apparently do not speak English yet there is a slight murmuring - I get the sense they speak Brazilian Portuguese. I accidentally step on one’s foot but that does not instigate a fight or conflict. In some ways, I am not even sure if these were of the eyes watching from the periscopes originally, or a different type of creature sent out to just check for them. The creatures seem confused. I almost sense a mental shrugging from them as a group. The one with the harpoon may or may not be a leader. The harpoon is reminiscent of a giant sewing machine needle. I leave the area without drama and without being stopped or chased.

I eventually make my way to the beach by going up various metal structures, all mostly like steps of slightly different steepness. I sort of fall forward onto the shore. There are ancient-looking “starfish” that are more like star-shaped rocks with spirals in the center, although I think they mostly have more than five legs, perhaps six to eight each. Two are stuck together as if originally formed that way (one side into the top of another or some such).

Night of July 25, 1968 to Morning of July 26, 1968.

Important: The above date reference has been validated to be the first, most vivid, and longest version of this recurring childhood dream theme (as well as of the most precognitive layers).



My dream starts out with a precognitive scene, with Linda, a girl I knew from school, feeding “our chickens” in the backyard at Cubitis (this was when we still had a rabbit farm - and a worm farm - and my father had not even begun to think about raising chickens yet). The look is quite the same as it would be, with high, wobbly fences and several different enclosures, as well as the eventually partly dismantled rabbit shed being a part of it all. In fact, a little later on, he had made a concrete rabbit for an entrance ornament, in which, later, it also looked like a chick lying on its back (as if hatching from an egg), the rabbit’s ears transforming into the chicken’s beak in the visual “translation”. The girl is still outside when the moon is out, although the chickens are far less active. It then seems like I am looking at the images in a sort of farming magazine or real estate catalog (I did a little “photo projection” in real life at the time, so the change is not that unusual to me).

Eventually, I cross the highway (at night) and there is a “haunted house” where the house of Karen and Kenny S should be, and no other houses around it. I think it is two floors, or maybe three. (Karen’s was only a small one-storey house and very similar to mine.)

When I walk in, I notice a dark blue cartoon-like spider named “Hairy”/“Harry”, about half as high as I am. It has mischievous animated human eyes, but is more like just an oval with the eyes and lines for the mouth and coming out of the “body” for the legs. I think this is connected with a cartoon version of “The Addams Family”, as I eventually see a few other characters, which are not really frightening in any way.

A little later, there is a visually “perfect” scene (as if exactly replayed) from “Tickle Me”, an Elvis Presley movie that eventually features a haunted house with a “hidden treasure”. The scene seems to somehow relate to the hand in the box (Addams Family) to the hand coming out of the tiny door above the fireplace and punching people as in “Tickle Me” (with a brief impression of seeing myself in the scene). The imagery is exact and very vibrant. There is also the scene with the “ghost grandmother” in the rocking chair which somehow seems to be occurring in my father’s larger walk-in/sliding doors closet, yet I am still in the “haunted house”.

Later on is an additional part that was also precisely precognitive. I open a small window in a door and see a werewolf moving towards me a certain way, and there is some sort of funny game-like idea (similar to older “Captain Kangaroo” show openings that I had never seen before at that time) of shutting the window (in the door) with the door open - or leaving the window open, but with the door closed and so on, but the werewolf (starting out like a shadowy figure) - a sort of gray color and looking sort of “stiff” like a toy or model with hands raised that are not moving much, and a slight swaying side to side as he walks. At the same time, I understand that he is my brother-in-law, Verdell. Later on, for some reason, when he (my brother-in-law, Verdell) was visiting in real life (he only came down to Florida with my sister every two years or so for a few days), he bought a werewolf (wolf man) model with no explanation, even surprising my sister (there were various monster models in the store). The original model was grayish; the image (above) is of a painted figure but is from the same kit. In my dream, Verdell had looked just like the model, no shirt, pants held up with a belt, and no shoes. There was even a rat running around his foot.

Later on, after a few other misadventures, I find myself in a locker room (precognitive to one I spent time in later on in life; I had not at that point known what the one at the new middle school - featured in my dream - looked like - everything was correctly oriented). In fact, I was wondering how I got in such a place, inside of a seeming residential home. I later notice a very strange-looking cat (like the one from Disney’s “Cinderella”, whose name is “Lucifer”) sitting on a dark purplish-indigo velvet pillow with golden tassels - on top of what seems to be the hallway water fountain. However, it changes into (or is chased off by) a more normal-looking cat. It is then female and jumps up and “kisses” me (exactly like the opening credits for “Bewitched”, and with fluttering stars, real sparkles, and such - years later, I found my wife had a cat named Sparky when I first met her) and turns into Brenda (the girl who often seemed to represent my unknown future wife).

There is quite a bit more that I did not record fully when younger. During this particular time period, I wrote all my dreams out - often with pictures - on color notebook paper (not allowed for usage in school later on), mostly lighter hues of pink, purplish, greenish, yellowish, and bluish. I guess it was a pain for teachers to have to try to read pencil print on color paper (especially darker such as purple), hard enough to read on white paper.

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.)

Night of July 4, 1968. Thursday. (The image on the left is me on that day. The other is my wife in January of 1989 before we made real-life contact.)



Across the ocean “to the other side” (excluding Mexico) is in my thoughts and a real-life concept comes into play.

Many children probably notice this, but in real life, when you are on a wharf looking down, and with the water flowing under you past the pillars and such, it sometimes “feels” like you are on a merry-go-round even though, of course, you are not moving (for example, it “feels” like it is the dock that is “moving” while the waves only react to that imagined movement of the dock - focusing on this idea enhances the false perception of movement almost - in my case - to the point of getting motion sickness). Looking down, I separate myself from the land and the shore - it is a strange sense of freedom. Of course when the sun sets (a bit “too quickly” - but time moves at various speeds in dreams, as well as jumping through events completely), the fireworks are, on some levels, like the energies of a carnival when the time “rushes” to that point.

Being near the more dynamic ocean seems much more grand than the La Crosse carnivals I had been to not that long prior, where they have the little boat rides in a pool-like structure that is not much bigger than a few bathtubs in volume. This did not leave much impression on my dreams, it seems.

This is “my” carousel. I am the only one on it - a “giant carousel” of conquest of a sort - better than a battleship. I can somehow travel to the “other side” of the ocean (technically the Gulf of Mexico - but I will just fly over Mexico or “try to” as in another - much later - dream where I was probably considering that it was “just in the way”). (Of course, in reality, that would have been Port Kembla where my wife was to be born several weeks from that particular day - but is only partly related to all the other facets that “self-built” themselves on many levels). I am not nervous about the ocean. There had been the earlier dreams about the two fighting sea monsters (actual prehistoric animals - but over-sized in the dream) preventing the completion of my sailing trip. In that case, I was only on a sailboat and the idea of a “giant” carousel or merry-go-round seemed more workable at this point.

Not much happens. I get impressions of valleys and open skies and a sense of welcome solitude. I realize that I will have to cross “unimportant” land to get to open sea and start my “real journey”.

In another dream, I am seemingly on some sort of complex (abandoned) battleship or more likely an odd structure near shore. I cannot quite put words to it but it all seems very familiar. Everything is sort of a teal color and there are many different tiers and a sense of antiquity. No one else is around anywhere (even in the whole region, it seems - it is almost like “all people are gone”). Much of the walking area is like a sort of metal grill (also teal) but not all. Some of the doors have vents on them that are somewhat window-like. I wander around but there are no other features other than very sparse aspects of things I have seen in movies with older submarines and such. The parts are almost like a group of random small rooms set at various heights over various metal staircases (not in any logical order), all the same shade of teal. This was a precursor to similar dreams that were populated, so to speak. I may write on those later.

Morning of July 2, 1978. Sunday.



There were a few different versions of this dream (including a couple “resets” during the same sleeping period) which was likely influenced by the television series “Gunsmoke”. I make my way to an old, smaller (unknown) ghost town on my own. There is a skeleton hanging from an old noose that had never been taken down. I had understood the town to be “cursed”, yet it also has some sort of secret.

It turns out that the town is some sort of portal to the past. As I am walking along, I see an upright oval portal (higher up) in another area that is looking into the past. It is a man (about thirty) who still seems to be alive (but dying) and hanging from the noose. The “vision” soon fades. The town had been “cursed” because of his wrongful death - by the tavern entrance being turned into an active portal and the people being “pawns” of time itself.

Later on, when I walk through the batwing doors of an old tavern (wooden floor), I am transported into the past, into the time when the town was at its peak in population and prosperity. Someone is playing the song “There is a Tavern in the Town” on a newer (and properly tuned) piano.

I talk to a few people, including the man who had been hanged. Apparently, he had been hanged for murder. However, he seems very friendly and claims he did not do it. Eventually, a knife is thrown into someone’s neck from behind, just as they are leaving the tavern, and the friendly man I know is blamed. I go in and out of the batwing doors and back to the same time portal entry point. The song “There is a Tavern in the Town” keeps repeating (a thin man in a dark purplish vest and a white shirt and with a mustache and smoking a smaller cigar - is playing it), as I do this a few times, so the scenes repeat. Finally, I am able to see who actually throws the knife (an older, chubbier man of about forty with a black beard and dressed in ragged clothes). Eventually, as the cycle repeats, I am able to warn the other person. The villain gets away, though, but promises to do harm at some point in the future.

Soon, I am in my own time; there is an unserviced player piano (originally thought to be a ghost involved by some visitors) playing “There is a Tavern in the Town”, but it is very out of tune (or in an unfamiliar minor key) and playing very slowly (similar to a particular Johnny Bond recording I used to own in real life - not sure, but it may be from the “On the Wagon” narrative - have not heard it in many years). It seems that the town was eventually made into a tourist attraction for a short time, prior to it finally being abandoned.

I see a very eerie in-dream vision of an empty noose swinging in the wind (it was the same noose that had originally been used to hang the innocent man but is now empty). I had saved the young man from the hanging. He comes out from the portal and thanks me, but then tells me that time may eventually reset itself and he may have to face the idea of “being hanged again” and he then returns to his own time. Still, the skeleton and noose are gone when I make my way home. The “resetting” may not occur in my lifetime.

Morning of June 29, 1978. Thursday.



This is a very strange mashup dream - the final version being eerily precognitive (regardless of the odd plot), the sparser “prototype” (but far more comedic and cartoon-like) first occurring February 7th, 1978 (shortly after seeing the last “Logan’s Run” episode on its first airing, which was called “Stargate” - unrelated to the later series of that name) - there was a more extensive “repeat” that was more “logical” in some ways (and again, less comedic), on the night June 28th, 1978 to the morning of June 29th, before Bob (Robert) Crane (star of “Hogan’s Heroes”) died in real life - so I am assuming a rather complex level of precognition and synchronicity here. There was also an “anniversary version” on June 29th, 1979 - which had uneasy implications in memory of the prior even though I already accepted it as precognitive regarding the Bob Crane issue. It all is related to a fictional adventure movie that is a combination of two real-life television shows, “Hogan’s Heroes” and “Logan’s Run”. I had finally written a story, but did not keep it when I heard that Bob Crane had died the next day. There has been a later series of the “Logan’s Run” title, and there is apparently going to be a remake.

In my dream, it is “Hogan’s Run”. I will try to include some of the more basic scenes from all versions. I actually play the role of Hogan (Bob Crane) from almost an external awareness of some kind (as if I am hovering above the character at all times) - only the “Hogan’s Heroes” characters and relevant personas are in my dream - none from “Logan’s Run”.

One scene involves soldiers marching at Stalag 13, although it is also like a “Logan’s Run” scenario in some ways. There is a scene where General der Infanterie Albert Burkhalter (Leon Askin) yells at Col. Wilhelm Klink (Werner Klemperer) about needing to “control his men” as they seem to be marching around in a disorderly fashion almost like out-of-control robots (this scene seems to also take place in front of my sister Marilyn’s house on Loomis Street - one of the first dreams since moving from Florida in the last days of June, but there are more trees - though in real life, some of them had gotten Dutch elm disease - incidentally forming DED as an acronym). There is another scene where General Burkhalter suddenly transforms into a gurgling infant in a restaurant where he and Col. Klink are seated at opposite sides of a round table. He is eating applesauce and gets some in his “hair” and on Col. Klink. However, he has only one long strand of hair sticking from the top of his head and forming a slight spiral, but has almost the same face as his adult form. This is possibly due to the word “Infanterie”, as Col. Klink refers (sarcastically) to Burkhalter as “being in infantry” during the meeting - which at that point, seems to actually be in Germany.

There is a disjointed part of my dream that seems to connect to Foghorn Leghorn cartoons, with “duplicate” dog characters related slightly to the soldier scene - then they seem to blur one into another and a scene with two men marching into each other as they become one, slightly disoriented for a short time.

There is a place that sounds something like “Wavering Heights” or “Waverling Heights” (I first assumed a corruption of “Wuthering Heights” - which was coincidentally one of the first things my wife’s mother mentioned when we first made contact) - which I think is one of the main cities in another area that Hogan is trying to get to. (Coincidentally, the place I lived at years later, with my wife and two children at the time, was called “Wavell Heights”, a suburb of Brisbane.) In my dream though, a “waverling” seems to be some sort of name for a half-grown fish.

At the main vivid part, and the seeming outcome (but which changes), Hogan is on some sort of raft that is propelled by some sort of high-tech gadget or motor. There appear to be farm animals aboard. They are singing happily about escaping from the prison camp and going on to freedom on the other side of the big river (even though there is supposedly more pollution where they are going). The song they are singing at one point (see link) is actually one Bob Crane sang in real life with one of the Smothers Brothers. I also used to hear it when I was in sixth grade (where a main issue was pollution at that time, including a song called “Take My Hand My Son”), the lines I most remember being “Pollution, pollution, wear a gas mask and a veil, then you can breathe long as you don’t inhale”. I had my own “stupid version” for a time and not knowing any better, sang “then you can breathe long as you don’t get ill…” I guess I should not feel too bad, as two girls I knew (one being the “other”, Susan R, and the other girl, Susan C), once sang “The answer is blowing in the wind-ow”.

In the end, everything goes really weird and “bubbly”. They go through a “stargate”, which is more like some sort of giant culvert (or part of a dam’s spillway?) or a standalone circular “door” at one point - a portal into another “world” (recurring from late 1960s). They appear to have a miniature Statue of Liberty on board. The raft goes faster and faster, the mood turns happily more cartoon-like, the characters on the raft are leaning more and more forward; the water is spraying about their raft like it is the fastest thing ever. The music gets faster and high-pitched in a near-Mickey-Mouse-like way, almost to the point of being highly annoying and distorted in a surreal sense…“If you visit American city, you will find it very pretty…looong as yooou don’t inhaaale…”. Suddenly, it turns out that Hogan had been sleeping all that time and was still drugged from an attempted escape and in a state of dying. A voice rings out menacingly yet with a melancholy atmosphere. It is the very serious voice of Col. Klink…“I told you…(dramatic pause)…No one ever escapes from Stalag thirTEEN” (stronger accent on “teen”). My dream ends there. Although this section was quite eerily precognitive of the “real Hogan” dying shortly after, it is also a strange play (influence) of the “Deadly Dream” movie from 1971, with Lloyd Bridges - in which it ends the same way and he dies.

The level of “personal foreshadowing” unknowingly triggered by subtle prior causes versus willful (conscious) manifestation versus natural intuition and precognition (in various in-dream composite forms) is completely different in each individual, as everyone has a completely different path and ongoing perspective. Not expecting the death of Bob Crane at only 49 and also having “Logan’s Run” coincidentally rerun just prior to the “prototype” of my dream, and likely unknown or unrealized aspects or incidental connections or “triggers”, contributed to a very strange mix of composite precognition and “typical” dream mashups that oddly, can also be traced back to other causes which seem to be a sort of foreshadowing as well. I have noted a lot of people who have precognitive “mashups” (or odd, incongruous though precognitive composites too complex to be coincidental) who rarely notice or acknowledge them.

http://www.guntheranderson.com/v/data/pollutio.htm

http://www.rense.com/general83/911sc.htm

Morning of June 13, 1978. Tuesday.



In this dream, I am aware that aggressive hippopotamuses are continuously swimming about and eating people near a beach as well as capsizing boats (apparently called “eights” or rowing boats used in the sport of competitive rowing) that seem to be part of a local competition. People are warned about the danger including with a few signs near the shore, but nobody pays heed to either the signs or the actual threatening appearances of the hippopotamuses in the large river (though they mostly lurk under the water and none of them are ever onshore).

There is eventually a scene where I am on a small airplane (not a Cessna but some sort of older type I have seen in older safari movies, at least as the exterior). There are several people on the airplane, perhaps as many as ten in close proximity. The unfamiliar female pilot (of only about twenty), though she has the appearance of my “dream girl”, is having trouble with the airplane and just manages to avoid crashing into the Eiffel Tower by dramatically flying under it, almost as if in slow motion. This feels interesting and exciting, perhaps because my dream is almost bordering on lucidity at this point and the vestibular system ambiguity of the dream state, though I slowly wake up after this near-miss event. The airplane seems associated with being on a school bus as from years before and seemed more like a bus inside. There is also a vague association of school with regard to the airplane, as if it might be part of a school field trip (though I was no longer in school at this point in reality).

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Morning of June 9, 1968. Sunday.



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

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

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

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

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

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

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

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

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

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