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Morning of February 17, 1973. Saturday.

Dream #: 2,252-02. Reading time: 1 min 15 sec.



I am in Cubitis in my backyard in the late morning but watching a documentary at the same time (as if by way of a dream within a dream). The airplane overhead stays in one area of the sky longer than would be possible. At times, I seem closer to the plane as if I am watching the scene.

I watch an experimental aircraft called the “Black Robin.” It looks like a soaring bird in design, with a curving pattern on the backs of the wings reminiscent of bird feathers. There are also false associations with an increase in car crashes in the region. These crashes are a result of lovebugs getting into the engines. (These are insects that fly around in twos, attached to each other’s tails. People typically cover their car’s grill with a screen during this time.)

The Black Robin, on its first trip with many tourists, is swarmed by lovebugs as they enter crucial areas to cause a malfunction, as well as obstructing the pilots’ views. The Black Robin is of the same orange and black (in the same proportions) as the insects. The airplane begins to smoke, and it crashes somewhere northeast of my home, probably in the cow pasture. There is a tribute parade in the town center, with cannons on some of the floats. Characters from “Gilligan’s Island” are in the parade.

Over time, the Black Robin and its crash is more of a supposed urban legend. I feel puzzled over this in my dream. It is as if the experimental airplane never existed, and the histories of the tourists aboard were covered up or forgotten.

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Part of this dream may have been influenced by the “Love and the Baby Derby” episode of “Love American Style” (from the night before on the 16th), with Bob Denver (of “Gilligan’s Island”). “Derby” rhymes with “Herbie” and Herbie is the “love bug.”

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Night of February 15, 1973. Thursday.

This was a sparsely recurring (and always uneventful) dream of the bathroom in Cubits and a fictional one directly above it in an implied second storey. This is actually the only type of dream I have had (to my knowledge) where that house supposedly had a second floor - and only the bathroom of this nonexistent second floor ever seemed to be discernible in any way. While only ever in the “real” bathroom, I can see up through holes in the ceiling (caused by disrepair, I think) into the fictional in-dream second-floor bathroom. The toilet is in almost the same location, but slightly to the right. I do not think there is any major trouble with the plumbing (or any sign of larger leakage), but I sense the bathroom does not get much use (which seems logical - as its floor would be unsafe to walk on). Again, oddly, I had never thought at all (in-dream) about any other possible rooms of the fictional second floor.

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Something being higher is most often related to being closer to conscious self identity. The fictional bathroom is on a fictional second floor, and relates to a need to actually use the bathroom.

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Morning of February 8, 1973. Thursday.



There seems to be a (fictional) movie involving a sailor’s romantic relationship (and he is an unknown character to me). I am watching a very large television (perhaps four square feet) and there is a movie on, seemingly oriented on the west side of the room, though I am not sure what building I am in. (It may be from a memory of a motel my parents and I stopped at when traveling to Florida.) There are scenes of the man being intimate with an unknown woman, mostly hugging and talking at first (though followed by kissing and a love-making scene). The scene relates to his leaving America, I believe. (It may be that he has already left America to meet this female in another country, perhaps Europe or Australia, though I am not certain.) I think the movie is called “The Kiss”. Eventually, though starting out as a cutaway view, everything takes on an X-ray appearance at one point and I am watching the insides of their bodies in x-ray. It does not seem that unusual. Later, I notice color variations. The flowers in a vase on a table in the motel room seem to be affected by the colors on the television screen or change accordingly. It is almost as if features of my dream are “leaking” into each other.

This dream seemed a partial result of a less focused “experiment” where I was deliberately trying to dream in black and white. I think the cutaway view may be an influence from looking at cutaway views (side views) of the human reproductive system.

Night of February 1, 1973. Thursday.



I am sleeping on my stomach on the carport roof of the Cubitis house, facing north, fairly close to the first trellis, not really noticing the large corrugated sections running east and west (which were very annoying and problematic to maneuver over in real life, especially barefooted), with my arms supporting my head, a bit unrealistically too far out from the edge of the roof (as if my upper body is supported by an intangible surface). It is late at night, and there is a slight odor of smoke, probably from the west though also likely underneath me in the side yard. I cannot remember when I decided to sleep up here as it is not Friday (dream logic - though I typically did not mess around on the roof on school nights in reality) though it is curiously not that cold for the winter.

Either the Virginia Dare colony or the gypsies from “The Valley of Gwangi”, or perhaps both, are camped out at the southern periphery of the orange grove. It seems like a good way to survive for awhile - in eating Harold M’s oranges. In the distance behind me (mostly southeast?), John Boy Walton is hollering (almost inaudibly from my position though) about the inferiority of strangers (and the fact that only the Waltons are actually real people) and the superiority of Walton’s Mountain. I feel like climbing down, finding him, and punching him a few times, but I mostly remain relaxed, probably because I also sense that a tyrannosaurus will soon eat him in mid-speech (or perhaps the father of Virginia Dare will shoot him - I sense he has already been shot once under similar circumstances). However, in a drastic change of mood, John Boy decides that the Virginia Dare colony belongs on Walton’s Mountain. They are possibly intangible ghosts.

It also eventually occurs to me that the Virginia Dare colony was eaten by the tyrannosaurus from “The Valley of Gwangi” and I cannot understand why that had not been widely published in the newspapers. I know there is a tyrannosaurus around, but I somehow also know that he will not be in the immediate area at any point. I hear Harold M shooting at random dinosaurs briefly with his rifle (likely from a lawn chair on his very small mostly enclosed patio where he usually shoots at foxes and crows in reality), with an odd unrealistically distant echo, and cussing about his oranges being pilfered. Meanwhile, John Boy Walton dons a fox mask, which thus (automatically) makes him the new sheriff and so he can find the rest of Virginia Dare’s relatives. I am disgusted and disturbed by Virginia Dare’s father (Ananias Dare) roasting the eohippus (from “The Valley of Gwangi”), or maybe it is not Ananias Dare but Matt Dillon (James Arness). I am angry about this, but it is too late to crawl down from the roof via the trellis and I am wary about the tough look on Matt’s (James’s) face.

Afternoon of January 7, 1973. Sunday. In-depth revision on Sunday, 22 April 2018.



Scene one: My dream starts with my semi-lucid dream self walking south beyond the backyard of my Cubitis home (the backyard being on the east side of the house) in late afternoon, close to the railroad tracks. I do not attempt to actively auto-script my dream but I do summon some schoolmates into the setting, which discernibly includes (in order of real-life familiarity) Toby, Brenda, Steve W, Tina, and Sharla. I contemplate experiencing a science-fiction adventure. Walking a short distance from my home, behind what would be the second house south of mine, there is an area where the railroad tracks had somehow seemingly been pulled upwards. Looking up at the bent and twisted railroad tracks, which are at least twelve feet in height, creates vague vertigo. The feature also reminds me of a ladder. From here, we soon come to an old wooden sign, with “FORBIDDEN LAND” (in two rows, that is “FORBIDDEN” written above “LAND”) sloppily painted in red. Despite the sign, I know we are going to explore the area.

Scene two: Eventually, after walking east, we find ourselves in a small isolated town of which has the overall appearance of Dodge City, from the “Gunsmoke” television series, though there are a few additional modern features. When we are inside a restaurant and there is noise outside, like amplified galloping and implications of an earthquake, there are people talking about this event as if it occurs on a regular basis, at a certain time each day around noon. We notice plaster falling from the ceiling as whatever it is passes by, down the dirt street. There are not many cars and most are from the early 1960s. There is talk of a giant white horse. It is said that it is a hundred hands high, which is about 33 feet. I realize that the damage to the railroad tracks was caused by the giant horse galloping across that area. Despite the damage it has caused to the buildings (apparently the people are always rebuilding), the giant horse apparently does not go after people.

Scene three: We make our way up a mountain, but I am on my own in the final view. I am looking down over a large field, mostly featureless except for a lake in the right of my view, though there is also a cluster of trees beyond. The giant white horse was a mother that had been looking for her foal which she has now just found. The giant foal is drinking from the lake, which is not much bigger than him. I sense that they will go north to another land and no longer be problematic for the town. My dream takes on a very peaceful and positive tone. I feel very happy upon waking.

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Threads of scene one explained: The vague vertigo is a dynamic of vestibular system correlation (and the lack of viable awareness of my real physical body as I am sleeping), even in the intriguing ambiguous railroad tracks to ladder association, a ladder implying the potential to rise up from the dream state or augment lucidity.

Threads of scene two explained: My subliminal conscious self chooses the “Gunsmoke” set in recognition of my dream being like a movie or television show (unrelated to real life), which has been the case in a number of other dreams. Additionally, I typically pick the farmland to the east in such dreams (though it sometimes resets to being back closer to my house) as I was unfamiliar with its overall real-life appearance as I had never gone there and could only see some of it from my backyard. This way, my lack of experience with what the area looked like benefited the imaginary layout of my dream (even though my dreams do not render locations correctly anyway, to avoid associations with waking life memory). The restaurant in scene two seemed modeled somewhat after my middle school’s cafeteria, though was only around half the size. The attention to the plaster falling from the ceiling is a focus on liminal space division while in the dream state. It is more linked to vestibular system correlation than is doorway waking symbolism (or other subliminal anticipation of the dream ending).

Threads of scene three explained: In this dream, the emergent consciousness factor, more commonly rendered as an animal in childhood dreams, is the giant white mare. In the final waking event, my dream self, perceived as the foal, due to its incomplete nature while in the dream state, is found by way of the preconscious transition, without any conflict. This is a type of coalescence event which activates consciousness. The final dynamic is the very common water lowering waking symbolism, key autosymbolism for leaving the dream state since early childhood.

Conclusion: The main concept of this dream (the giant horse) was borrowed from the “Arizona Midnight” episode of the “Gunsmoke” television series seen the previous week (January 1). There was also an incidental association with the large plastic black stallion Aurora model that was of a much larger scale than all of my other animal model kits.

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Morning of January 1, 1973. Monday.



This was more towards just after one or two a.m., I think. I do not believe that there is any symbolic meaning or “message” other than typical meandering post-hypnagogic associations (though in my experience linked to random impersonal remote viewing or even foreshadowing). These are often solely incidental visual associations (relative to morphing), neither metaphorical (other than for the dreaming process itself, such as a clock becoming a bomb to stand for the process of waking up) or symbolic. Although such dreams may have beautiful imagery, I have never found them to have any personal significance and they seem to be a sort of Tetris effect relating to what was seen on television or elsewhere the previous day or in some cases, collective consciousness regarding a particular holiday mood.

A female toddler is standing and smoking an oversize cigarette in an undefined area (which I am not sure is indoors or outdoors though it seems more logically to be indoors, perhaps in a large hotel lobby). This act seems to make the immediate environment extraordinarily dirty with particulates of soot and even somehow causing small pieces of (mostly metallic) miscellaneous junk to fall or appear out of nowhere, such as very small broken springs, clock or wristwatch gears, and what may be broken parts of a toy plane and toy motorcycle. The toddler is also smudged with soot across her shoulders but happily puffs on the cigarette. The idea that smoking a cigarette will somehow cause tiny dirty springs and other tiny metal junk to fall from nowhere seems perfectly “normal” in-dream.

From here, I look more closely and realize that I am not seeing what I thought I was (though in actuality, it had in fact transformed). It is not a toddler, but a realistic doll (probably with a wind-up mechanism to move its right arm up and down to its face) and rather than smoking a cigarette it is blowing a New Year’s party horn (the kind that spiral out with a very annoying mid-range-pitched trumpet-like noise). Instead of falling soot, it is sparkling confetti (though there is an ambiguous association with real snow) that seems to be produced and somehow recycled (as a continuous display) by a machine. Instead of junk and broken clocks and toys, it is small wrapped presents which then take on a Christmas-like feel (even though it is after Christmas). I contemplate if I am viewing a new feature of “The Hall of Presidents” (Walt Disney World Resort).

This dream was related to a plane crash the prior Friday (which I had not really focused on), and a photograph which featured a “scarred doll lying in the mud” only seen after my dream, though this event may actually be coincidental as it lacks more personal detail and precision (for example, “automatic” association with Baby New Year, smoking, New Year party horn, etc.) "Eastern Air Lines Flight 401 was a Lockheed L-1011-1 Tristar jet that crashed into the Florida Everglades at 11:42 pm December 29, 1972, causing 101 fatalities.“ The question here is whether I was remote viewing the newspaper at one level or the actual scene (of the featured photograph)…OR…if it was visual (fractal-based) precognition relating to my individual path (and I had also physically been in that area in the recent past). Things like this are difficult if not impossible to attribute to just one unexplained mechanism (as most people try to do). (Even the extremely precise remote viewing of the Nancy comic strip on the morning of April 27, 1974 was discovered to have several additional unexplainable mechanisms at work - including a much older version of the same comic strip gag by the same artist - and validated associations I could not possibly have formed or linked consciously at any level.)

Morning of December 25, 1972. Monday.





This is a dream from Christmas morning of 1972. At the time I was certain that I was sleeping on the floor of the hallway during several false awakenings (I was actually sleeping on the living room floor fairly close to the Christmas tree and did not remember how I got there) - but of course, that would not have made any sense based on what I was seeing - a very strange and vivid state.

In my dream, I am pondering, over a very long time (seemingly several hours) on how a new Pinocchio book was sitting on the record shelf along the north wall, being the outermost book (it was actually a record shelf for 33s, not for books) - “It’s probably an unwrapped Christmas present,” I am thinking - but I am too tired (in my dream) to cheerfully get up and check everything on this Christmas morning. I feel dazed (years later, I learned this was precisely a jet-lag feeling I was seemingly experiencing). I was seeing it in a sort of vague half-aware state yet still saw it “clearly” in one sense. Pinocchio was shown from above the waist and seemed to be holding a violin or something (it was actually Hank Snow holding his guitar) - although I sometimes get the impression it is a large wooden mallet. This turned out in real life to be the cover of “The Best of Hank Snow” record album that my hypnopompic states were warping somewhat whenever I opened my eyes now and then and through false awakenings unrelated to the earlier hypnopompia.

It is also not realistic that I could have even seen this view from supposedly lying on my back in the hallway, fairly close to the back door.

Over time, a dream within a dream (and more vivid) unfolds, I have the recurring “mystery girl” dream (no mystery - this was the girl whose birth I sensed in 1968 and ended up marrying - from a great distance across the ocean to the other side of the planet - that area and Port Kembla are almost perfectly parallel in a diagonal mean and in each case, the hospital within the same close distance to the beach).

She seems sad and on the right side of a fictional doorway in the hallway. The doorway leads into a dark fictional room which is reminiscent of a cave - I have had several variations of this dream. I see the glow of a television which seems not bright enough to be a television even in a dark room. Later I am aware it must be the oven in the real-life kitchenette on the other side of the wall. (Ovens sometimes “replaced” dragons in childhood dreams.) We seem to be in some sort of intimate intended “meeting of minds” but it is mostly uneventful - I simply know she “is my wife”, yet I do hear her “mother”/“dragon” growling and snarling in the room with mostly human-like vocalizations. It is as if the girl is “trapped” by the manipulations of her mother even as an adult who wanted to have her own life (this turned out to be true in every way years later). She is beautiful but it is not the “time” - she is very young in real life at the time. My “jet-lag” makes me feel somewhat embarrassed (even this turned out to be true many years later).

I begin to curiously seem to be in two dreams at the same time (the most has been four simultaneously, to my knowledge). From there, I begin to pantomime the song about Miller’s Cave (only the title for the most part is relevant in this case). Doing a sort of embarrassing pretend-march (rather than just implied normal walking - why march in a cave?) and rather pointless arm movements (almost as if pretending to be a marionette) I look through two sets of eyes at the same time - a very odd awareness - one being “me” there and then in that dream within a dream - the other looking at the supposed Pinocchio book on the shelf thinking I am waking. The echo of the girl’s mother’s growls fade a bit. I sense that she is working on a marionette that I sense is me (first had a similar dream at around age six). Being in the doorway of the “dragon’s” room/cave very briefly I get the impression that Pinocchio is being created in a steel mill in a distant land in the “sizzling fire of the oven”. (Precognition again, my wife’s real father worked in the infamous “Bloodhouse” in Port Kembla.)

My wife’s mother’s maiden name was Miller (more precognition or telepathy in this case).

Finally, I wake into a completely different orientation, location, and position than what I thought I was in. I am somewhat disoriented. But I am happy it is Christmas morning.

This dream confirmed several important elements of my future path in exact detail.

The real, original version of “Pinocchio” is much different than the heavily “watered-down” Disney movie of which I still like. Part of this dream was almost as if to say “Disney represents modern mainstream ‘ignorance is bliss’ (a common consensus play in general - including "Fantasy World and Disney Girls” I mostly heard by the Captain and Tennille); the real Pinocchio story is very cruel and even he is - his feet are even burned off while sleeping at one point.

Synchronicity and other connections:

Hank Snow died on my birthday in 1999 in Madison (Madison is another recurring pattern throughout my life and is a play on Maidstone). However, it was Madison, Tennessee, not Wisconsin. I did not get a Pinocchio book that Christmas, but I did get a View-Master set of the non-Disney story which had the scene of a large snake threatening Pinocchio.

The “Blue Fairy” of the Pinocchio story is intriguingly like my “Blue Pearl” event (which actually resolved into the Blue Fairy in early childhood - the first time being in Christmas of 1969).

Does Hank Snow really look like Pinocchio? No…I do not think so (when awake that is)…

Morning of December 17, 1972. Sunday.



A bear is wandering around in the area near our home in Cubitis. There are no clearer thoughts of my parents or addressing my concerns to them about the bear, as if I do not perceive them as being present (though this is not logical - though many of my childhood dreams were erroneously rendered as such, which may be a natural but vestigial dreaming element, as my parents never left me home alone in reality). I worry about it getting into our house (though this dream has no nightmarish element, only lesser trepidation). At times, it seems of a duller orange coloration, though I think it is a lighter brown (or meant to be) in most scenes. There is a concern which seems to last about a full day and night and there is what seems like at least one “reset”. Throughout this seeming passage of time, I am not aware of any other activities or events.

Finally, the bear finds her three cubs in our backyard (an event which seems to be taking place early in the morning) and the mood of my dream changes completely into a beautiful sense of peace and love as the bear then seems to radiate a sort of light or light rays like the sun (even though it logically seems as if she would have found them before unless they had recently just strayed into that area coming into the backyard from elsewhere). Two of the bear cubs are in the area between our house and our neighbors’ to the south. The third is closer to his mother on her right side.

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This dream combines two forms of waking symbolism, sunrise waking symbolism and coalescence waking symbolism.

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This dream is a wonderful example of rendering two contrasting ideas in the same scene. The mother bear of course represents my mother (especially as it is this dream’s preconscious factor). The cub directly to her right (in the foreground in my viewpoint of the scene) represents me. Farther to the right in this scene, another cub (in the pair of cubs closer to the neighbors’ yard) is also me, but with the third cub representing Lisa. The two of “us” in this pair farther from the mother bear relates to a real day-to-day activity, though the mother bear is still watching them. (This is really not that different from seeing two versions of someone in a dream, or in fact, seeing oneself in a dream as if invisible or incorporeal or seeing two or more versions of the same pet at the same time.) The bear also remains, in the final scene, in the area where my mother hung clothes in real life.

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“Seeing” my mother as a threatening figure from the viewpoint of my dream self (prior to resolving the association in the last act) is really not that unusual. However, there were a number of dreams where the animal symbolism was not resolved as such and seemed limited to biological factors, that is, being “warned” about a potential animal-related event as a biological safety mechanism rather than having an “interpretation”. (I am fairly certain that if a dog dreams about being pursued or attacked by a large animal that the meaning is literal and preparatory, not symbolic.)

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There was a precognitive thread in this dream as well. About a day after this dream, I had gotten, from my older sister Carol, a package containing a number of plastic model kits. One of them was “Black Bear and Cubs”. There were two cubs in the kit, and the bear was not golden, but the associations where very similar.

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Morning of December 2, 1972. Saturday.



I am at some sort of business possibly on the second floor, in a large room, which seems like some sort of larger composite that includes my Cubitis bedroom. The orientation seems to be that I am looking south throughout my dream, associating it with my classroom as well (to a lesser extent).

Behind an unknown older male in a darker blue business suit who is standing near a large desk (about four times bigger than office desks I have seen in television shows and at school) is a very large wall-spanning map of the world. It looks a bit different at different times. There is also a large globe on the left that reminds me of a recent one I received as a combined birthday and Christmas (December 20th and 25th) package in the mail from my sister Carol.

The concept of whatever is going on is not very coherent. It is something to do with the “real” Atlas - the giant man that supposedly holds the planet Earth on his shoulders. I am not sure this is literal or some sort of metaphorical model but what I do know is that there is some sort of potential problem regarding the business (due to not operating twenty-four hours a day or some such) and something related to how the countries are to be displayed. This seems to be in regard to some sort of rental payment required to be displayed or acknowledged on the globe. At one point, the globe seems to be mostly only wire-framed and missing most of the surface detail due to the business doors being closed for Christmas vacation. I am not directly involved in anything.

There is a sense of misdirected wariness that this business may be making Atlas irritated so that some countries or regions may experience problems such as earthquakes or floods or that Atlas may become annoyed at having to observe long business meetings from wherever he actually is. Again, I am not sure how literal this association with the “real” Atlas is. However, the main theme seems to be that Atlas was doing fine until certain people “invaded” his day to day duty and turned it into a profiteering venture. There is even a lesser idea that a “rotational tax” has to be paid by everyone to keep the world turning on its axis, since they are the ones that claim they are keeping the world rotating (this seems to be in conflict with the static image of Atlas holding up the world - as such, how would it rotate?).

Morning of November 6, 1972. Monday.



This 1970s event was hilarious on one level in my opinion. It is one of those dreams where, although it is obviously precognitive (or remote-viewed) it also provides a clever lesson in how the various “filters” in remote viewing and precognition work.

The nuances, as usual, are far too close in detail to have any potential for coincidence. What is intriguing though, is that the usual precise nature of remote viewing or precognition was altered seemingly “on purpose” by the Source. In my dream, humanity is saved from the alien insect invasion by the giant anteater whereas in the real Warren story, they kill it before knowing what it is.

The dream itself came a short time before the validation (as is often the case), but as I said, it was not quite correct. The giant anteater in my dream coming up from the ocean is a distortion caused by the association with the “ocean” of the unconscious mind (otherwise the plot is mostly the same).

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In my dream, I am reading a black-and-white comic magazine of the type that Warren publishes (such as Eerie, Creepy, Vampirella, etc). I did not read this issue at the time (and had not gotten the previous issue) in real life and I could not have known about it.

I seem to be hovering over the comic magazine story at various distances and over different pages rather than turning the pages. (My bed is in the southwest corner, aligned to the west wall.) It has a very similar mood and awareness as to remote viewing dreams (as with the “more dishes less dishes” Nancy comic strip event). The story features a spacecraft with talking alien ants that invade Earth. They kidnap various people and they speak in an unusual “electronic” voice (possibly implying that they are either robotic or using some sort of electronic translator).

In my dream, a giant anteater emerges from the ocean. I see it eating all the human-sized alien ants and this is the last panel in the story. There is a smaller inset with text implying irony and repeating the words the “conqueror ants” had said midway through the story about how they would take over the planet and not be stopped. This is how my dream ends - with reading phrases the ants had spoken and which are now only invalid concepts in the wake of their destruction (in being eaten by the giant “aquatic” anteater, which had come from a large meteorite of many years back).

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After my dream, I was given a black-and-white comic magazine in reality (without having known I would be getting it), which had the same basic idea, and this was “Eerie” issue number 45 - the relevant story being called “The Mound”. However, the alien insects were not fully humanoid and the top panel on the last page is actually that of a dead anteater that was killed by the humans due to them thinking that the meteorite contained an enemy or an additional problem as the creatures they were already dealing with. Thus my dream echoed help from a “bigger power”, hope, and salvation, while the reality expressed the nature of human ignorance, suspicion, and acting without thinking about the consequences.

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I still have very fond feelings about this experience, which also teaches me that people who are “psychic” for profit are not being realistic, because what they are seeing may have a completely different outcome in reality.

Age 11. Morning of November 4, 1972. Saturday. About 8:00 a.m.

Dream #: 2,147-07. Reading time (optimized): 2 min.



My emerging consciousness and waking-life identity exist, but I am still dreaming, though I correctly recognize the location of my body as being in bed in my Cubitis home. It is morning.

An airplane flies over the area, its flight path and linear distance from the front of our house (though as high in the sky) correlating with my school bus route. (I am aware of this correlation as I dream, though it is Saturday. I had let go of my expectation of attending school.) I see the airplane’s underside as it flies from north to south.

A cage falls from the airplane, though moving slightly east as it falls so that it lands in our front yard about ten feet from my windows. (I vaguely consider it a gift from my dream girl, though possibly a mistaken delivery which replaced my gift with someone else’s). Inside the cage is the Warner Brothers cartoon character, the Tasmanian devil, though he is Pepto-Bismol pink. He seems about my height. He does not make any attempt to escape. I do not perceive him as a threat to me, despite his behavior (like exercising his mouth and waving his arms). I awake with a sense of amusement.

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“Something coming down” is a prevalent dream event as a result of vestibular cortex arousal during the waking process. Associations with flight occur throughout every sleep cycle as a result of my lack of physicality. This status also results in the rendering of a cage in this instance that represents my emerging awareness of how I cannot move my physical body as I sleep.

The Tasmanian devil, as the cortical arousal simulacrum, represents a visual association and expectation. I often woke around this time to watch “The Bugs Bunny Show.” There are influences from “Devil May Hare” and “Bedevilled Rabbit.” (In some cases, a tornado would represent the process, though it is important to note the Tasmanian devil cartoon character travels about in a miniature tornado.)

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On a personal spiritual level, I saw a Tasmanian devil at a zoo not long after I met Zsuzsanna (my dream girl). I had traveled to Australia by airplane. I only include this because of the correlations. For example, “When Worlds Collide” (1951) had aired the night before (November 3, 1972, though I had chosen to watch “The Valley of Gwangi” again as it was on at the same time). “When Worlds Collide” was the chief influence of my dream “The Pink Planet” from November 6, 1971. It had aired the night before in that case as well. In that dream, a Pepto-Bismol pink twin version of Earth was coming in view as I looked up to see Australia. In my “Wild Weasel” dream from 1969, a “real” Tasmanian devil (called a “weasel” as I did not know what real Tasmanian devils looked like at the time) traveled in a small tornado, and Brenda (validated stand-in for Zsuzsanna) and I hid from it as it remained beyond a frosted glass door (wall mediation).

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2 minutes and 15 seconds to read.

Friday morning, 13 October 1972.

The Pink Snake that Tried to Follow Me Home

Dream # 2,125-04.

While dreaming, I have dream state awareness, but I do not change the ongoing implication that is only mildly annoying. I occasionally feel vague abdominal cramps through the veil of sleep, aware of my status but without pain.

A small, skinny Pepto Bismol pink snake follows me through the empty halls of my middle school but is always a few feet behind me. I do not attempt to run from it. I perceive it as friendly but annoying. I do not think about whether it is venomous or not.

I look back and see it atop a row of lockers. It almost seems to be grinning, more with friendly curiosity, not a threat. It sometimes hides.

At one point, I wonder if it might be a relative, perhaps an uncle visiting from Wisconsin whom I have not met, or even my grandfather. Its essence is more like part of a cartoon in contrast to being realistic.

I continue to walk north, going home to Cubitis from Arcadia. (I never walked this route in real life as it was too far.) I walk through abstract and undefined spaces (some with indoor-outdoor ambiguity, others merely abstract), though still focused on returning home (even though I am already home and in bed sleeping).

As I think less about the snake and more about walking home, I realize it is probably not following me anymore. I decide to teleport home, which brings about wakefulness as I teleport.

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I have had many dreams where my dream self perceives deliberately waking up as teleporting. This error in thinking (in ambiguous metacognitive or liminal states that most dream writers pretend do not exist) is no different than protoconsciousness referring to a dream as a “movie.” It is flawed dynamic imagination and natural virtual amnesia (incomplete pathways from not being conscious). There is no reason to be stupid about it.

The snake in this dream is Pepto Bismol pink. (I drank a lot of Pepto Bismol when I was a child and did not find out until recently that children under 12 should not drink it.)

Pink is rarely a color that noticeably occurs in my dreams but is more often Pepto Bismol pink - which I always have the dream state awareness of as being so and sometimes become annoyed at how the color is “interfering” with my dream’s narrative, though all pink is not exclusively so. I usually do not put “meaning” into specific colors unless I understand what they “represent” while in the dream state.

Snakes (with no “convenient” singular “meaning”) sometimes appear in my dreams when I have abdominal cramps with indigestion. (This causality was more common in childhood.) This factor is not “interpretation” (which I know is an asinine fallacy) but the realization of underlying dream content influence, not opinion or pretending, as so many do. One association I have always had is a snake’s similarity to the human intestine because of its size and shape. There are many dreams more specific under this influence. (An additional factor relates to a boa constrictor squeezing a person’s abdomen.) Ultimately, snakes appear in dreaming experiences for many reasons in the realms of imagination, but the connection to the human intestine remains predominant for me (other than the vivid but generic waking alert/RAS dream outcomes).

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Morning of October 10, 1972. Tuesday. (Resupplemented for clarity on Tuesday, 5 September 2017.)


“Giant” trucks go by our house in Cubitis - as there is apparently a new and bigger highway now. They go fairly fast at times and I watch shingles and tar paper being ripped off the roof by the wind they make in passing, most vehicles heading north. I watch the event from a distance, seemingly from the other side of the highway (the original Highway Seventeen), yet also with the idea I am in my bed and viewing this scene while incorporeal. Our house seems farther south in overall imagery and awareness, though I am still clearly aware that it is our home. I am eventually vaguely lucid and the scene becomes somewhat peaceful.

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My original title for this was “The Martian Highway” even though there was no clearer awareness or idea of aliens being present. However, the trucks did seem to be much larger than normal, though sometimes this seemed more relative to distorted perspective. The idea that they were or could be “Martian giants” was not really defined as such. Later titles for this dream (while I was transferring thousands of my dreams to larger and more convenient binders) were “Thunder Road” and “Thundering Road”.

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The shingles blowing off our roof in the wind may relate to a preconscious factor (though wind usually relates to the passage of time), the roof symbolizing a particular state of consciousness in transition and its cessation. More relevant in this case however, may be the association with my blanket coming off while sleeping, or the need for the blanket to come off before getting ready for the day. This may additionally be validated by the engines of the oversized trucks, which are akin to growing neural and physical energy. Additionally, I was likely subliminally focused on the sound of passing semi-trailer trucks at times.

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Years later, in real life, after we moved, there actually was a very large wide highway that came fairly close to our old home (though on the opposite side), the house still being there. My wife Zsuzsanna, when a child, sometimes had a fear of large trucks.

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2 minute 20 second read.

Saturday morning, 7 October 1972. (Rewritten for clarifications on 21 June 2022.)

The Sally Struthers Autograph

Dream # 2,119-05.



Some people might incorrectly claim the foundation of this dream is a "false awakening," but it originated from semi-conscious summoning and maintaining it with partial lucidness. However, there were sparsely occurring "false awakenings" (but not in the conventional sense) later in this sleep cycle.

To clarify, I thought I had been awake a few times before morning when I was not (though this was more like false memories of brief dreams that did not occur), mistakenly confirming "Sally Struthers" was written on the page. (There was no resemblance to her real-world autograph). The outcome was that it was not her name but "sepia" written in cursive in real life. (Even if it had been her name, it would have been me who had written it.) The word was on the right-hand page, slightly above the center. As a boy, I had written that it might have been confusion with the word "sleepy." Ultimately, trying to remain alert enough throughout the night to write in my dream journal immediately after a dream was something I felt was problematic. I never had trouble recalling multiple dreams in vivid detail every morning, so it was unnecessary.

In my dream, actress Sally Struthers, dressed informally in blue jeans and an orange sweater, visits me around midnight in the darkness of my Cubitis bedroom. She stands in the southwest quadrant of my room near the head of my bed. She seems younger, probably from my associations with her teenage persona of Pebbles in the cartoon.

As she leans over me (as I do not get out of bed), she tells me about the work she will be doing to help people in poverty and her pending activism (Christian Children's Fund, which became a scandalous organization in 1994, and public service announcements). She wants to sign her name on a page of my dream journal (that, in real life, was open on the desk near the head of my bed) to prove to me that she had been here.

I was familiar with her acting in "All in the Family," the movie "Five Easy Pieces," and (as aforementioned) voicing Pebbles in "The Pebbles and Bamm-Bamm Show."

There is unaccountable content here. Sally's appearance and persona are more like Fran Clinton in "The Getaway," but that movie did not come out until December 1972. Odder is how, according to sources, she only became the Christian Children's Fund spokeswoman in 1976.

Because the movie ("The Getaway") was already in production when I had this dream, it is demonstrably more from a co-occurrent "non-local" perception rather than "seeing the future." (That is certainly true for my continual "communication" with Zsuzsanna before we learned of each other in waking life.)

The content regarding the Christian Children's Fund and the charity work she became known for is likely from a type of perception people do not fully understand yet. I do not think it is "seeing the future." Because they approached her as such, it must have been for a discernible reason, something I impersonally perceived (for no particular reason for me). With Zsuzsanna, it is different and an unknown factor continually linking us together all our lives on many levels.

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Morning of October 3, 1972. Tuesday.



My dream only involves one main scene over time. An unfamiliar and unknown man is somehow hanging, though horizontally oriented, from within a waterfall, protruding outward from above the waist. There seems to be no indication he is actually hanging onto anything (which at any rate would have to somehow be by his feet). His arms are forward and out as he remains somehow suspended in the waterfall face down, fairly close to where the waterfall begins at the top, as if he was perhaps somehow stuck in rocks from below the waist within the waterfall itself. I get the impression that the scene is being broadcast as a televised special news bulletin (a sparsely recurring situation mostly only in certain childhood dreams). The waterfall is fairly high but narrow. The scene is oriented to where I am seeing the waterfall primarily from the side (but not fully from the side, probably with a thirty degree horizontal rotation towards me), with the water flowing over to my right.

I seem to be incorporeal and hovering near the scene (and I do not feel threatened or concerned). There does not seem to be any backstory indicating how this situation may have happened. Something about the scene seems very puzzling and wrong (in the sense of its plausibility) but I cannot discern what it is. I keep watching the scene and there is no recall of directly waking.

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If this were my dream, and it is, I would know that water is autosymbolism for the absence of emotion and the essence of sleep and unconsciousness as evidenced by virtually countless commercial recordings that utilize the sound of water for relaxation and sleep inducement, not to mention that water induction is my most common form of dream state initiation, having occurred at least once per normal sleeping period for over fifty years. I would understand that autosymbolism would likely be rendering the thought, “I think I would like to remain in sleep longer”, thus sustaining it as a man being halfway within a waterfall when circadian rhythms dictate the waking transition and despite the dominant variant of otherwise very common water lowering waking symbolism.

I would also realize that I am subliminally attempting to control vestibular system ambiguity (which naturally occurs in REM sleep) by “holding” the illusory avatar in one position within water (sleep) to block the otherwise natural falling sensation or waking start.

I might question the intelligence or motive of someone who cannot understand the indispensable distinction between subliminal threads of the conscious self identity focusing on and attempting to hold onto, prolong, or vivify the dream state and the incomplete evanescent dream self attempting to recall or discern waking life.

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