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Night of October 18, 1974. Friday.



This dream was mostly influenced by a movie I had finished watching prior to going to bed. It involved being on a submarine, though my imaginary dream body is implied to be phased out of the dream itself so that nothing threatens me despite the three-dimensional visual quality of the imagery and the realistic varying distance orientation of the different audio sources.

I mostly only see close-up images of snakes. Their heads rise up at times as if they are aware of me, but I am never touched or threatened.

I seem to be lying on a bunk-bed at one point, which is a bit uncomfortable. I can clearly hear the snakes hissing. What is unusual is that the hissing of the snakes eventually seems to be caused by some sort of electricity that is somehow “melting” them. I see liquorice-like sections drip slightly and fall from a horizontal metal grill. (This is not the first time when electricity has seemingly melted features in a dream, which is autosymbolism for the neural energy of the conscious self identity by way of the preconscious in dissolving the illusion of a dream.) I do not see any other people at any time.

Eventually, I become aware that this “electricity” also sounds like Alka-Seltzer fizzing in a glass of water. I watch a few more snakes hang by their heads and melt, reminding me of the human intestine, though a few are also lying on the floor. There is eventually a vague eeriness of the semi-lucid realization of bilocation, though first in thinking of not being in my Cubitis bedroom (the bed longways along the north wall with the head at the west area at the time in reality) but instead, being deep under the ocean, not quite claustrophobic, though this awareness transforms into the ambiguity of liminal space, where I become semi-lucid just prior to waking, deciding not to reenter my dream. Additionally, the point at which I was on a bunk bed was an obvious dream state indicator, the subliminal awareness that I am asleep in bed.

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Firstly, there was primary influence from “Fer-de-Lance”, the 1974 TV movie. Secondly, I typically associate snakes with the human intestine, and taking Alka-Seltzer prior to sleeping augmented this association.

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Night of October 15, 1974. Tuesday.



The companion to this entry can be found here: “The Gate” connection

This was another dream about being underground and near a “gate” to an “underworld” - a very long sparsely recurring dream that I had also written as a longer story, called “Diamond Cave” - which had a large number of different ideas and imagery, a few having been similar to the later movie “The Gate” (but with far more additional mixed elements) - including the “eye on the palm of the hand” symbol. The diamond-like patterns through much of it was a type of in-dream hypnagogic-like imagery that was also common at that time. I had also illustrated some of the easier-to-illustrate parts, such as the “flatworm demons” seen at the end of my dream.

There is a scene near the beginning of several of my friends (including Toby T and Johnny C). They are sleeping (or in suspended animation?) in five mostly transparent coffins made of diamonds and turning about in an implied pentagon shape, floating in the air in the semidarkness in an undefined area.

There are later - geodes with diamond-like light patterns that glow and “dance” with various holographic light patterns (mostly bluish), like a swaying curtain that also crosses over itself. This was possibly inspired by a Donald Duck comic book story that implies meteorites are filled with precious jewels like diamonds, opals, and rubies - which was a recurring theme for a few weeks when much younger - something I even believed for a short time. Also, it seems as if the “diamond coffins” are some form of large casket-shaped transparent geodes kept afloat by magnetism.

There is a long-lasting scene of running through a very long hall or underground tunnel (or a fancy marble hall built into the underground tunnel, yet with imposing tree roots near divided larger doorway-like sections). I am moving past endless statues on each side of me that represent Greek gods and goddesses, mostly “good”, a few “demonic” or less human-like in anatomy. There is a sort of teal hue in parts of the imagery.

My dream’s last scene is of a larger “conference room” in an underground cave. It is filled to capacity with arrow-headed flatworm-like “demons” of perfectly alternating black and white figures, “standing”/upright, and turning (slightly twisting around) to look at me, each, either white with black eyes, or black with white eyes, similar to an M.C. Escher picture expressing perfect or near-perfect contrast of these “demonic flatworm” figures. There is one figure that seems to be addressing the rest on some sort of podium or lectern. There is no sound or speaking by them (and no perceived threat).

Looking over notes and doing more research, I have decided to consider this as lightly (impersonally) precognitive, because of the elements matching the later movie’s elements only for these connections (and not as precise in imagery or more multiple-layered details as other precognitive events have typically been):

1. The glowing geodes relating to opening an underground “gate” and being part of the overall theme.

2. Groups of “small demons” seeming to be in “conference” underground (though not of similar appearance).

3. Underground scenes with tree roots very much like my dream in distance, size, and depth orientation.

4. The eerie apocalyptic tree house scene (creating a very pure sense of time displacement), which also goes farther back in other dreams.

5. The fact that in the actual movie, it shows the imp’s arm (after being severed by the door) fall and turn into scattering worm-like creatures.

6. The movie also included a levitation scene.

There are also elements from other recurring childhood dreams that are vaguely similar, such as the idea of “saving the world” by firing a rocket (from “The Day There Was No Sun”).

Another loosely related link is of insects vanishing from a jar - such as the moths in the jar in the movie (but relating to a recurring real-life experience). Both my wife and I when fairly young used to collect smaller water bugs (in my case, smaller water-boatman beetles - the larvae which coincidentally resemble the “worms” in the movie) in glass jars with lids. We both experienced how the beetles (usually around seven or eight or more) seemed to have completely vanished from the sealed jar after only one night. In my case, I simply attributed it to microbes or some such eating them - or maybe weird properties of the ditch water (such as too much acidity), but was never certain of what really happened. There was hardly ever any sediment left in the water or residue at the bottom, either.

There were also a couple times in real life when I went to touch an (aquatic?) orange worm-like thing (that looked and moved somewhat like an accordion) in a puddle (left after a long rain) that mostly vanished after touching, leaving only a few particles and broken pieces within only a few seconds. This also puzzled me and even triggered several dreams about “ongoing creation of life”, such as “Niemeyer’s Penguin” (or “Penguin in a Jar”) and The New Life.

Morning of September 22, 1974. Sunday.

Dream #: 2,834-02. Reading time (optimized): 1 min.



My dream self becomes aware of imaginary kinaesthesia (as a result of vestibular system ambiguity during sleep atonia) before the illusion of riding in a vehicle begins to compensate for my status of being in REM sleep. (There is no “interpretation” in this as it is how my dream originates.)

I am riding in the back seat of a taxi on Highway 17 in Florida in the late morning. It is going south to Arcadia instead of north to my home in Cubitis.

The driver is an elderly black male (who had driven the taxi I had taken in real life a few days previously except that it was to ride home from school).

The overpass crumbles and collapses when the vehicle is at the highest point, and the taxi plummets.

However, as a result of being aware I am in the dream state, I simultaneously phase through the roof of the taxi and fly above the scene without concern. As I look at the setting below, the overpass has become rubble. The landscape seems miniaturized, and the taxi is now the size of a Matchbox Car. This viewpoint is not a result of flying high above the scene, as the distance is seemingly minimal.

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PRECOGNITIVE: Despite this dream resulting from the usual sleep atonia to myoclonus compensation, they dynamited this overpass on October 25, 1988, in real life, and removed the rubble. (Construction began in 1937. See the image if available.) I left Cubitis in 1978 to live in Wisconsin.

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Very early morning of September 21, 1974. Saturday.



This dream was likely inspired in part by the often low-rated 1972 movie called “Frogs”, with Ray Milland. In my dream, I am spending the night with classmates at some sort of estate in the middle of a cypress swamp; probably in Florida near an area where we went on field trips in real life (as a toddler, I lived in a cypress swamp). My bus driver, Mr. F, is there instead of any of our teachers and he appears to be very scared and walks around with a rifle. (In real life, Mr. F was a kind but very unusual character. He would have some sort of severe panic attack whenever he heard the sound of someone whistling, even at a very low volume, and start shaking and yelling, almost driving off the road. He always acted a bit distracted and nervous as it was, and I was amazed he was allowed to be a school bus driver at all. He even bumped into me with the actual bus, although I did not get hurt, when I was crossing in front as we were always told to do, as he must have been distracted and just started to drive off again right after he had stopped.)

The “killer frogs” come out precisely at midnight. We all hide in a building (which is - or is like - a tourist station in a park). Not much happens, though. There is some concern about them breaking through a window, but they do not. I see them all in a row, lined up like soldiers, even possibly with a seeming unseen group leader. I view some scenes like this at ground level somehow (even from an angle that would imply being slightly under the ground’s surface and a few other odd “camera angles”), but am not in any danger at any time. Even though it is supposed to be “horror”, it is somehow more like “Halloween fun” for me in my dream.

There is a rather odd scene where I seem to be dramatically preaching about why the frogs are seeking revenge against humanity. One line is about them being run over by bicycles. (From a real-life event where I had actually run over a toad with my bicycle in the walkway from the carport to the shed).

Later on, everything is quiet (in the morning) and everything is normal again.

There were later a couple similar dreams as this. I also wrote a story in real life called “I’m Afraid of Toads” based somewhat on my dream (even though in my dream, they were frogs). Of course, I had no fear of either toads or frogs, and in fact, used to carry toads around as a boy even when they peed on me. I once set up a “toad city” in the Cubitis carport (before my father added the extra bedroom) in an old washtub (with dirt and cardboard buildings and the “Toad City” sign) I borrowed from my parents - and watched them for a couple weeks then let them go.

In real life, my female friend and classmate, Brenda W, copied my story mostly word for word (including the title) but solely replacing the word “toads” with “spiders” in each and every case - and several people liked it. I found that so odd an act, I was not remotely angry or annoyed, only amused, especially when she became very embarrassed when someone was reading “her” story out loud on the bus and I listened in.

Morning of September 13, 1974. Friday.



The so-called “cataroo” in this dream is quite different in appearance than the first personal version (and vision) of this fictional creature. In this dream, it mostly looks like a kangaroo with a cat’s head while in the first dream about this fantasy hybrid creature, it had the entire upper half of a cat and the bottom half of an implied miniature kangaroo but only cat-sized overall. The fact that the last version was the most kangaroo-like implies my path getting closer to my Australian wife-to-be.

In the dream, I am in an unknown and mostly undefined location (somewhat like an isolated movie set in the middle of a void), though it seems to be present at another level of perspective (superimposed in locational memory but with no known or discernible features around the central area) just west of my Cubitis home. There is a castle, possibly abandoned as I see no other people in the dream, which has a large moat around it.

Somehow, I fall into the moat, which turns out to be mostly of darker-colored quicksand. (This is a partial “replay” of a real-life event where I got stuck in a deeper muddy hole in the far backyard area when messing around one afternoon and my father had to pull me up and out.)

Eventually, a “cataroo” approaches and pulls me out and then seems “happy”. There is not that much interaction as I mostly follow it around the castle grounds until the dream loses cohesion. Unlike the first cataroo dream, this one is about kangaroo size and mostly remains upright.

Here we see (as usual with me) an entire stratum of precognitive Source-based perspective and synchronicity.

This was on my wife’s sixth birthday prior to knowing she (additionally in reference to the “mystery girl”) even existed - and she is Australian… (kangaroo link) as well as having been a cat breeder and going to cat shows when we first made contact (cat link) - thus the cataroo obviously symbolize my wife in a precognitive sense (although the first cataroo dream was even more precisely precognitive in a visual sense). This was also on a Friday the 13th as was my wife’s birthday.

This was also the first time I later saw “Night of the Lepus”, which aired on television on CBS (as the late movie) at 11:30 pm. The associations are that my family had a rabbit farm (both in Chipmunk Coulee in Wisconsin and in Cubitis in Florida) and that the movie references the rabbit problem in Australia (where my yet-to-be wife lived). There are also more precognitive layers associated with my surgery in 1976 detailed in other entries. There is a lesser idea of course on how kangaroos and rabbits are both “hopping animals”. (I had also watched “Cat Ballou” earlier that same evening - which seems to be a personal Source play on “cat below” in reference to Australia.)

The in-dream association also has a link to Psalm 69:14, 69 being a visual association of Yin and Yang and the supposedly secret (Temple of Hathor) Sagittarius and Virgo union - Corona Borealis and Corona Australis - and interestingly, I never associated it as other people do; that is, immediately (and often solely) with the oral “act” - which to me is absurd - especially as I was aware of the spiritual meaning and Yin-Yang connection around age four back in 1965. I do not directly follow Christianity, but this Bible verse reads “Rescue me from the mire, do not let me sink; deliver me from those who hate me, from the deep waters”. This implies that my wife (prior to knowing the “mystery girl” was real) would, in the future, “save me from the quicksand to get to the castle”. The castle was also the location of the main spiritual “battle” between the “mystery girl” (wife-to-be) and the “other” (Susan R) - which had real-life repercussions over a lifetime of several people. Of course, the “corona” association is “crown” - which implies a castle connection as it is.

As for number fourteen, there is a link to my personal path - but it relates solely to the recurrence of the Roman form XIV for some reason. I suspect this complementary highly recurring synchronicity (a Louis XIV musical aired this evening as well at 10:00) relates not so much to the number fourteen but to the lesser symbolic plays on eleven and twenty-two - because XI represents eleven and V is the twenty-second letter of the English alphabet. (The key patten being 6, 9, 11, 22, 66, 69, 96, 99, etc.)

“Rescue me from the mire” was also the first line of a Bryan Adams song (sixth studio album) I heard after communicating with my wife-to-be for a time in 1992, titled “Do I Have to Say the Words?” - recorded in 1991 (the year I first made contact with my wife) and listed as having the length of 6:11, peaking at number 11 on the US Billboard Hot 100, and the second song on the CD single being “Summer Of ‘69” (live).

Just purely out of curiosity I used the same next vowel, next consonant cycle on “Lepus” as I had originally discovered in childhood regarding my name becoming “I hug PO Virgo”. “Lepus” can make “Bufo J” which is relative to the toad - another “hopping animal” (though not that good a hopper) in the 13th row after the original “Lepus” by the same token that “Jesus” makes “Love V” in its second row.

Finally, as I wrote in other entries, the “cataroo” was solely from an inner perspective, as this was before the Internet and before I realized that other people had contemplated this mythical hybrid, likely both before and after I had - in modern hindsight.

Morning of September 11, 1974. Wednesday.



I am physically involved with a Latina classmate who is lying on her back. There are two older female classmates on each side seemingly giving her instructions as well as holding her legs so that she does not roll over or kick on a large platform holding the hanging Liberty Bell. Her blue jeans tear off like tissue paper. This takes place in the southern area of my backyard in Cubitis, very close to the southeast corner of the house. The cubic platform seems about three feet high and probably has room for about five people in side-by-side lying-down position. I am facing north.

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• This was partly influenced by the television movie “Born Innocent”, seen the night of September 10th.
• This dream is an excellent example of a metaphorical rendering to halt the waking transition even though my lucidity is minimal. A bell symbolizes the waking prompt but because it is cracked, it is associated with the symbolic pause of the waking prompt to make the dream last longer as a result. (This is not by active dream self will but by native dream state metaphor).
• This was precognitive in being based on the exact location of my first real intimate experience in Cubitis.
• In real life, this classmate often wore blue jeans with a large stop sign patch on the bottom. Her last name ended in “bell”.

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Morning of September 8, 1974. Sunday.



This is my original dream journal entry name from the 1970s. I am not exactly sure why I chose that name other than “heart” being associated with blood circulation and lava representing blood in an in-dream symbolic sense. “Volcano Maze” probably would have made a little more sense, I suppose, but my “automatic” title clarified the alternate associations and overall meaning much better.

It is early morning. It is on the weekend and Steve W and Tina L and I have discovered a cave in a mountain in the middle of Highway Seventeen about four houses south of my Cubitis home. This seems a bit strange, I suppose, but the idea it is a dream never occurs. Cars will just have to drive around it somehow, I suppose, or perhaps drive through it thus far.

Over time, we wander around and discover many maze-like passageways. It turns out to be a volcano which isslowly becoming active, but volcanoes are not really full of caves and explorable tunnels in this manner - and there are even stalactites and stalagmites of glowing volcanic rock. The fire and lava exists at various locations in the “maze”. There are various pools of lava of different sizes in different “rooms” almost as if it was man-made. We decide to leave, as the mazes seem to be getting bigger and the volcano seems to be growing. I find my way out first, but Steve and Tina are still somewhere in the “volcano”. They do manage to escape (from the southern area) and run down the highway to where I am. When I look in their direction, I see waves of reddish and yellowish “flame” behind them, but it is more like a blur of swaying columns of color (like an effect in a movie). There is also an idea that we should go back in with cameras and make some sort of documentary, but that does not sound like a good idea.

This dream mainly represents my curiosity about the human heart and the various ways blood circulates in the body. It occurred around the same time I had drawn a complex picture of the heart and its functions. Steve W was impressed by my drawing skills (I even did poster art for his student political campaign) but Tina was not impressed and always reflected more of a dominant sarcasm towards everyone.

Morning of September 7, 1974. Saturday.



I am in a mostly empty room, seemingly in my middle school, but yet a bit unfamiliar. There is mostly only a folding table, I think, and about five or six folding chairs. However, that does not seem quite right as the chairs (only at one point) have divided legs - the two parts of each silver leg are very thin but meet at the bottom and at times seem they would collapse if someone sat on them (though I remain standing). I do not think that there is anyone else around. However, for a very brief time (only a few seconds) I seem suddenly fearful of an “alien presence” or perhaps ghostly (may relate to classmate MG’s unexpected death earlier this year) though that seems odd due to the room showing no direct signs that anyone but myself is around. This slight “terror” passes fairly quickly. (I get the vague impression that Susan R and I had been playing checkers, but this may or may not be residual memory from an actual earlier scene - seemingly somehow related to whether MG lives or dies, like a false memory from before the event).

Still, I seem to think there is someone else around who follows me unseen (MG?). The scene shifts to the front of a fancy residence. I am walking into the unfamiliar house but am not sure why. For some reason, I get the impression that someone (MG? - or possibly Kip B, the only other male around at the time when MG wanted to fight me that last day) is talking about being in the “right frame of mind”. Apparently, you need to be in the “right frame of mind” to be “worthy” of being in this high-class-appearing residence. I do not actually see whoever has apparently said this. Instead, I see myself from a disembodied perspective (about six feet away) as the “other me” turns around and angrily states, “…assuming you even have a frame of mind!” which seems to be sarcasm at whom now does seem like Kip B only in thought, though it could relate to my own uncomfortable mental state relating to MG’s unexplainable passing (which lasted for about a year).

Morning of September 2, 1974. Monday.



I seem to be outside at some sort of unfamiliar park or camping grounds though logic would dictate it is somehow associated with Disneyland or Disney World. Still, the area does not have many features; mostly just a cheap-looking makeshift stage and old bleachers in a random stretch of lawn near a forest.

I hear a younger man enthusiastically say “Here come the bears!” over a loudspeaker. I also get the impression that the event is being televised. After a short time, several people in very loose-fitting thin bear costumes (most of them light-colored such as yellow or pale orange) run across the grounds of the park. They wave as they are running and the scene reminds me a lot of the end of a marathon or of the players of a baseball game running out to the field. I seem to be looking up at them from the ground as they tower over me somewhat and a bit seemingly outwards at an unusual distorted angle at one point (somewhat like a tilted camera view though firsthand from my own eyes). I seem to discern them more as people rather than people in potentially clumsy costumes.

Apparently, they are the bears of Disney’s Country Bear Jamboree (or perhaps of a cheaper copycat outfit) and they eventually start to do a musical show on the somewhat shoddy outdoor stage, although the actual ones in reality are audio-animatronic figures. Although I have seen them on television in real life, I had not seem them firsthand even when I went to Disney World.

Morning of August 25, 1974. Sunday.



This dream seemed extraordinary to me for a few reasons. One reason is that it was the only very vivid dream I have had that seemed to be solely in black-and-white at one point, even considering the amazing sense of depth perception and distance perception and orientation. The mood seems quite intense and with a purpose. Just before King Kong appears in a parade (non-threatening, apparently) there is a clear mood of expectation (similar to that of certain other types of dreams, but augmented). I seem to be very large myself (even bigger than King Kong) but seemingly disembodied and apparently invisible and viewing the scene from above, looking at the rows and columns of “tiny” people in the parade as well as the large group of spectators.

This scenario seems like some sort of special seasonal event or important celebration. Even though there is also an ambiguous “ancient Rome” feeling, the scene seems to be in a modern American city such as New York (although it also seems much like an area in La Crosse that I had not been to in years - near the post office - as such, we seem to be moving due north - though this would indicate the people are very tiny in proportion to this area and with the buildings implied to be much bigger than they are in reality). In a way, my dream seems like a nostalgic blending of the mood and “power” in the original “King Kong” movie from 1933 - yet there is no stop-motion animation feel at any point - it is quite fluid and realistic. None of the cheering and applauding people show any signs of fear. The size of King Kong though, is much bigger than his movie-implied size. The length of one of his fingers is probably as long as four people here.

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This dream was the night before starting eighth grade. I guess I perceived that I would feel out of place or “overly noticeable” going back to school, on some levels (though I did not really expect a “dog-and-pony show” until graduation, though I only went until the first part of tenth grade publicly and got my GED without incident or ceremony). Still, I did not plan to monkey around too much. (Pretend I did not write that - and yes, I know, King Kong was not technically a monkey.)

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Morning of August 3, 1974. Saturday.

Dream #: 2,784-02. Reading time (optimized): 1 min 30 sec.



An unusual but intriguing huge feature appears in what seems to be a big parking lot (with no cars) in Arcadia, though the landscape, which changes after my dream’s beginning, is erroneous because of the impression of high hills in the distance and the elevation from where I study it. I seem to be east of its location. The feature is a huge diamond (oval cut), seemingly half above ground and half below. The area it occupies seems close to where Arcadia’s DeSoto Memorial Hospital would be but quite different than in reality, especially regarding the fictitious valley and high hills.

Michael Learned, the actress who played Olivia Walton on “The Waltons” television series, is the only other person present. However, she is also vaguely reminiscent of my middle school business teacher (Blair), as well as having somewhat of a motherly persona. She remains cheerful as she tells me about the enormous diamond though I do not recall what she said.

I get the vague impression that the gigantic diamond may be an alien spaceship, but this is uncertain, and there is no sign of aliens. It may be a man-made structure for use as a plant nursery but ultimately seems like a type of geodesic dome. Even so, I try to decide if it had emerged from underground or had landed from above.

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How to understand dreams in my online dream journal: A parking lot is typically a rendering of the association with emerging liminality in the realization my physical body is “parked” while I sleep.

A feature coming out of the ground (or considered as such at any point) is instinctual autosymbolism for emergence from slow-wave sleep. This dream has a similar significance as “A giant onion is growing in our backyard garden” from July 19, 1975. The top half of the diamond in this dreaming experience, being above ground (especially in a parking lot), confirms to me that accessible layers (or facets) of memory only exist with the emergence of cognizance and consciousness during the beginning of liminality (increasing lucidity) to viable wakefulness.

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Because the details of this dream were similar to a “Pathways to Mastership” meditation I did not know of or use until years later, I have tagged this as precognitive.

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Morning of July 27, 1974. Saturday.

Dream #: 2,777-01. 38 second read.





In the late morning, I am in the southwest bedroom of my home in Cubitis, looking out our jalousie windows (south wall) toward the southwest.

I sense my mother sitting in the room (to my left), possibly sewing.

There is a radio broadcast about a tornado watch. I anticipate its approach from the southwest, but I remain unconcerned.

When the "tornado" arrives, it is invisible. There is no evidence of wind. I vividly feel our house gently lifting about three feet from the ground and slowly floating north for several feet, with no discernible damage. I remain by the windows, feeling amused. I think of it as the remaining part of the storm. The neighbor's house to the south remains on the ground.

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As I have explained numerous times in my reports, a tornado often results from my metacognitive anticipation of the vestibular-motor sensations caused by REM sleep. With the outcome of this narrative, there should be no doubt whatsoever.

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Morning of July 20, 1974. Saturday.

Dream #: 2,770-01. Optimized 1 min 15 sec read.




In the late morning, I develop a growing concern about a brown recluse spider being in my room in the Cubitis house.

I go to the carport, intending to go into the backyard, considering it might be safer outside. As I walk, I look down and see the brown recluse "spider" embedded in the back of my right hand with minimal blood (eight small red spots in two clusters of four).

My dream self sees it as a "spider" even though it is a capacitor with eight wire "legs" (four jutting from each end). I can vaguely make out random letters and numbers on the side of the "spider's" cylindrical body (but I do not recall the sequence). My sense of awe feels artificial: as if I am creating a scene for a movie. I sense its milky "venom" is not yet in my bloodstream. My dream fades before I go beyond the east end of the carport (that would otherwise lead to our backyard).

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Causation and Influences:

Second-hand "dream interpretation" is impracticable. There are many reasons why. As a metacognitive dreamer, my dreams predominantly respond to my navigation of the dream state while in it. Here, there is a specific amalgam of two literal influences. They are both tied to somatosensory phasing from sleeping on my hand and the "buzzing" effect from lack of blood flow in this position. The first was my concern about a brown recluse spider being in my room in waking life. The second was minimally injuring my hand while tampering with the inside of a radio. The screwdriver also slipped, and capacitor gel squirted into my eye, creating my dream's illusory implication of a capacitor as a "spider" with "venom." There are additional influences, one relating to the "buzzing" (or tingling) from lack of blood flow as correlating with electricity and associations with neural energy (in navigating the dream state).

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Morning of July 13, 1974. Saturday



Most of my dream takes place in the southwest bedroom of our Cubitis house. I am not aware of my parents being present at any time. On my father’s large dresser that faces out from the east wall (just to the left of the door) sits a large greenish stuffed bunny, which, despite the fact that it is a fictional and unlikely feature, I am not at all surprised by. It sits on the leftmost side of the dresser.

Over time, I seem to understand that the stuffed bunny somehow works as a “traffic light” or more correctly, some sort of warning beacon, as it has the potential to turn different colors regarding the level of safety in the environment. I am somehow aware that it is akin to a barometer in some ways and is green because everything is okay.

Eventually, an earthquake begins. Parts of the ceiling start falling. Unrealistically, the falling debris includes broken rafters, small stones, and thin flat pieces of concrete. Through the falling debris, I see that the stuffed bunny is now red and I feel a sense of awe and wonder. Even though I sense it might be the end of the world, I am not terrified. This is the last thing I see and on one level, it almost seems like a mood I had deliberately manifested.

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After my dream, my father told my mother and I that he was thinking of closing down our rabbit farm. In fact, he did take down two sections of our rabbit shed and a few pieces of concrete, along with boards that had been used as rafters and such, sat around for a time. This is why I have decided my dream had a precognitive layer as well as being a typical real-time dreaming metaphor.

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• The bedroom setting was created because a person is often sleeping in a bedroom when having a dream. If a person is not sleeping in a bedroom in reality, it still, perhaps even more so, signifies the potential of being asleep. This is what I refer to as a “dream sign”.
• Although my father had a rabbit farm on our property at the time, a rabbit is also a real-time indicator of being asleep. Rabbits (except cottontail rabbits) live underground in burrows or warrens, which is associated with being unconscious (or exploring the depths of the unconscious mind within sleep). Therefore, a rabbit could be considered a third-order dream sign. (Think “Alice in Wonderland”.)
• Because a stuffed animal may have associations with a pillow, a stuffed rabbit becomes a dream sign on two different levels. The bedroom setting makes it a three-way dreaming indicator, yet I did not become lucid.
• Red is one of the three waking prompt colors (yellow, orange, red), red having the strongest priority, sometimes suggesting having slept for too long.
• The ceiling falling merely means cessation of the dream state and the dream self incarnation. Secondly, it is a subliminal projection of the biological falling sensation, that same level of subliminal projection that creates airplanes and birds in dreams (which represent real-time consciousness displacement, that is, being unconscious yet still aware at one level).
• We never had a stuffed rabbit in our home in reality.

Night of July 5, 1964. Sunday.



One of the first vivid and somewhat lucid nightmares I remembered with more clarity as a young child is this one from age three. Woody Woodpecker is driving a car (which is rendered in my dream as a real car, that is, not like a cartoon), which seems like my brother-in-law Verdell’s car. Knothead and Splinter are also in the front seat. He accidentally drives off a very steep embankment (which is likely modeled after the road up to Grandad Bluff). His car rolls downward and out of control over the very steep incline with my dream showing (as if I am hovering in front of the scene) terrified expressions from the three of them, sometimes taking on an almost anthropomorphic appearance. His car does not turn over or completely wreck; it just keeps tipping forward a bit, dropping and moving forward. I seem to be hovering closer in front of his car at one point (almost as if switching between being in front of a movie screen as to actually being there, though incorporeal). It seemed to go on for a very long time. This was a late nighttime dream, but which seemed to “reset” and repeat near early morning. It did not cause me to wake with a start as with other nightmares.

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This dream is likely my first remembered “failed flight” waking transition. The birds, even though cartoons, are trapped in the car and there is no apparent escape. There is a transmutation of “I am falling” (waking consciousness shift though sustained here in real-time foreshadowing) to “they are falling” as well as “I cannot drive” to “he cannot drive”. This dream was very likely the result of the memory of riding in a car on the road up to Grandad Bluff and the sustained wariness I had in real life for a time.

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