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Morning of February 4, 1972. Friday. (Original version, fully explained.)



Message: “Let the sunshine in” / “Wake up and enjoy the day and don’t dawdle in the dream state even if you can fly while sleeping”

My dream starts out with a partial focus on last Sunday’s total lunar eclipse of January 30, 1972. I am firstly outside in the front yard in Cubitis, but as my dream ends, it seems like I teleport into the southwest bedroom. (I am also not as aware of my physical body as in other dreams.)

Prior to my dream’s sudden outdoors to indoors scene shift, the moon, which is in the northwest area of the sky (the same location the sun was in my dream “The Day There Was No Sun”), becomes sort of dark. I am not sure if there is going to be another eclipse or not. Eventually, the moon somehow seems to become a giant crow or blackbird.

This giant crow crashes through our roof, directly into our large sliding-door closet in the southwest bedroom (where my school clothes are kept in real life). The giant crow has somewhat of a cartoon-like appearance. He seems to have an expression of puzzlement and frustration and I get the vague impression he is now “too fat to fly” as relating to the “moon being full”. He fills our entire closet with his bulky body, which is several times the area and volume of our hall closet. I am aware that this event means “when the moon is in the seventh house”, seemingly meant to mean that our house is the seventh from an implied starting point, though I am also aware it is the first line from the song “Age of Aquarius” (which ends with “let the sunshine in” continuously repeating).

The moon represents the dream state (as well as circadian rhythms in relationship to night and sleeping) and the link to the unconscious self. It flies but “falls” and becomes a part of my day to day waking reality by reminding me I have to get up and go to the closet to get dressed for school.

The “silly” giant crow is a projection of my dream self as simultaneously both an upsized and downgraded flight symbol (flight being the dream itself, the fall being the natural waking mechanism), cartoon-like to represent the "unreal” nature of some dream types and giant because of trying to focus more on my dream, frustrated and puzzled because my dream is over (waking transition).

Night of February 1, 1972. Tuesday. (This was possibly after midnight into February 2, though one of the first of nine longer heavily documented dreams.)



In my dream (age eleven), I am somehow aware that my home in Cubitis is, for whatever reason, “the source of the Nile” (which of course makes no sense at all in any context). (It seems probable that our water pump is somehow partly responsible though it is in a slightly different location in reality relative to its place in our front yard). My house is more isolated than in real life and possibly located in a different place farther south, though still in Florida, apparently. I am not aware of our next-door real-life neighbors at any point (or the orange grove on the north side) and in fact, seem to be the only human presence in-dream for the most part. Somehow, the part of the Nile River that we live near (or which is coming out from near our water pump) is only eventually like a stream about six feet wide at the most. The main scenes seem to relate to being outside and watching the water flow, albeit, somewhat unrealistically. In fact, the water seems to be bubbling at times as if it is boiling. However, it is not actually boiling but just displaying an apparently normal feature of the Nile River. I am not aware of any potential danger (such as crocodiles). Not much happens other than looking at the river’s surface and sometimes hearing the low-volume bubbling sound. (Another unrealistic aspect is that the water seems to sometimes mainly flow towards the banks rather than forward with the supposed current.)

This dream seems to be at least partially linked to the “prototype” (first version) of my “Deer Monkey” dream element, so as such, I have decidedly placed the online “Deer Monkey” entry with this set and moved the date heading to this one, as it mostly is the same in description. The only real differences are that the “deer monkey” seemingly lives near a trailer park rather than near the (faux) “Nile River” as in the version from this set and in the later version seems to perhaps be the only one left in existence (“deer monkey” as mentioned in my other entry as being wrongfully titled in my childhood dream journal - even though that was technically the name my dream presented - as I had not yet caught on for whatever reason of how two-word terms were properly used - as it was an unusual type of deer rather than a monkey so technically should have been called “monkey deer”. Up until the early 1980s, I still had a cassette with the sound I tried to vocally mimic from my dream, which sounded a bit like a peacock - and perhaps was influenced as such).

Newly researched and updated June 29, 2015. I am still intrigued by how dreams typically get as many things wrong as possible (even regarding something as simple as how water should be - although certain dream types are far more “realistic” concerning physics) other than in validated remote-viewing and precognitive events (though which also sometimes join as otherwise unrelated composite events).

Night of January 22, 1972. Saturday.



There was a connection between an older dream of three witches and the later (last known version) “Straw House” dream. The “main”, extremely vivid (and semi-lucid) straw house dream was on January 22nd, 1972 (age 11) during the middle of the night. This version was influenced (mostly in “atmosphere”) by a vaguely similar scene from the television movie “Something Evil”, where the character of Marjorie Worden absentmindedly wanders through a large enclosed vineyard or nursery. In this highly aware state in my dream, I found myself moving towards a very large house made mostly of straw.

After entering this structure (somehow in order to “escape” from the three witches from a much older “anniversary-type” dream and who I do not actually see in this dream - I sense they are invisible and had followed me from a store in the town of Arcadia), I run swiftly through the seemingly infinite but narrow halls of straw (with a subtle doorway of additional minor detail every several feet) that glow with a very eerie radiance. I vividly feel the slapping of various strands of straw on my face as I run. I am not afraid at that point - it almost seems, eventually, like an unending state of freedom and beauty. It goes on and on for some time but I do not tire. I greatly enjoy the imagery and mental clarity and unusual lighting and atmosphere. After a time, however, I find myself emerging from the structure and see that it is actually quite small from the outside. From a deeper level, I find myself manifesting a Tyrannosaurus rex in a fairly close area. (It was very common for me to be aware of the mental creation of anything that chased or threatened me, with little exception other than a few apnea-based dreams, usually associated with a dragon - knowing that I did it on purpose either to thrill myself or to cause a change in dream awareness or even out of the urge to wake myself after “sleeping too long” - my most lucid attempt being the Pepto-Bismol-colored triceratops tulpa semi-dream and all-night dream states. I notice from the writings of others that most people seemingly do not have this memory of instigation - yet mine is often clear even in non-lucid dreams.)

Apparently, the dinosaur had been there all that time (false memory through my own awareness of instigation of such). This is similar to the older dream ending where I was in a store and the three very short, very old “witches” (wearing scarves over their heads and shawls, and all nearly identical) all carrying Easter baskets filled with food, and somewhat cartoon-like, walked near me, giggling (cackling) in a mischievous way. I ran from the store and there was also a tyrannosaurus that appeared near a lesser-used back-road. In both of these dreams (after self-instigating my own chase), I did the same thing. I dived into tall weeds and remained still until I awoke. In my later dream, it was the tall weeds near the railroad tracks seemingly in back of my house. This implied that the straw house was associated (being in the same general location) with the rabbit shed my father had built in real life. Interestingly, this and similar dreams had a very clear physical awareness of being outside in tall grasses, even a sense of outside air. The residual sensations such dreams held were quite intriguing, as if the mind refused to fully integrate itself into the real environment (even the actual body positioning) until the last possible second.

See also: “Your Greatest Fear”

Morning of January 11, 1972. Tuesday.



This was a more vivid scenario related to the “Fear No Evil” movie from 1969. (See also this link.)

I am at a fancy unknown restaurant with Susan R. For some reason, the Beatles song “Hello Goodbye” is playing in a 1920s band style (as if from a false in-dream “memory” of the song having been released and becoming popular in 1922). This is connected with a car accident relative to my (in-dream only) 1922 red Phaeton. There is some ambiguity regarding the ghost of Susan R after the car goes off an embankment and crashes, leaving several smaller sections (and she or her remains seem to have vanished at one point) - and there is also the presence of the “mystery girl” at one point (though mostly in shadow and not more definitive in rendering). This was at the level of paranormal dreaming that was directly related to my eventual real-life destiny regardless of the strong movie influence. I am not threatened or injured at any point. The movie is not set in 1922 so I am not sure why this came to dominate this dream theme other than the small antique car in the movie which is slightly similar to the 1922 red Phaeton of earlier dreams. The mystery girl, though somewhat eerie, does not seem threatening or demonic as in the movie’s parallel theme.

Morning of January 8, 1972. Saturday. (First version.)



I am in some sort of “hidden” valley in an unknown region, perhaps even implied to be on another planet (though dreaming of being on other planets is quite rare for me). It may also be an “undiscovered” part of Florida. The lush valley seems to have its own special type of animals, many of them unusual and “giant” species of lizards. At one point, I am floating over the scene. I seem to be the only human presence around, disembodied at times. I do not seem to be in danger at any point.

One of the giant lizards seems to have some of the characteristics of the Cheshire Cat from the Disney version of “Alice in Wonderland” (from 1951), including the bluish and purple stripes around its tail and body (and perhaps even the ability to vanish with the “grin” remaining). I do have an association with the idea of a “Cheshire lizard”. The lizards do not seem threatening at any point. They are not really that much like genuine dinosaurs and not really like the popular imagery of dragons either (even though one title considered was “Valley of the Dragons” - though that was an actual movie from 1961).

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It is possible that this dream was inspired somewhat by movies like “Journey to the Center of the Earth” (from 1959) where real live lizards were made up to look like “dinosaurs”.

Morning of January 2, 1972. Sunday.



I am apparently a member of a group of detectives. I seem much older and I do not seem implied to be my conscious self. I am riding in the front seat on the right and I am not the driver. The driver is an unknown male with a celebrity essence, though unfamiliar. We are in what may be a police car, but from the 1920s or 1930s.

We are supposed to prevent a biplane from taking off from the runway of a small airport. Soon, it is headed right for us. Oddly, we are also copied into a scene in front of us at somewhat of a distance. That is, we are watching “our” car on the runway ahead, with another us (yet somehow still us). I am thinking “we” might be struck by the biplane if we keep going but it is not that fearful. (The sense of anticipation is not that vivid.) The biplane lifts from the runway a few times, but only just a little, and is back down.

Eventually stopping, and the other us no longer present, it turns out that the biplane is only a painted mural (or perhaps a low-set billboard) so it was never really a threat. We get out of the car. The biplane is now facing the left side of the car and it seems we may be on a normal city street. I feel like saying something but I do not.

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Night of January 1, 1972. Saturday.



This dream was the rather unfortunate result of having seen some of “The Mole People” (from 1956) and “Bikini Beach” (from 1964) on our black-and-white television in Cubitis on the same day (though I only saw about the last half of “The Mole People” as I got up too late - about eight o'clock - to see it from the beginning - though my mother had watched it from the beginning yet did not think much of it except for mild amusement, I thought). In my dream, Annette Funicello is in the main role of the fictional in-dream version of “The Mole People” and apparently her boyfriend is one of the mole people though looks fairly normal, and there is a scene where the slightly more human-like heads (than the creatures in the actual movie) are sort of moving side to side with their bodies otherwise buried in the sand at the mostly featureless beach. There is something somewhat ambiguous about the scene in that it seems more like a foreign desert at one point than an American beach, though it does not seem to be horror; only some sort of low-key drama. I only remember about three distorted fictional scenes, which is typical of such movie-influenced composite jumbles. What a way to start the new year (1972), as my mother used to say.

Morning of November 27, 1971. Saturday.



I am in a public place later at night, possibly related to a fifth grade field trip (seemingly close to West Elementary School). I have access to an incredibly powerful telescope. Through the telescope, I see very large and “close” details of the planet Jupiter. However, it also seems as if Jupiter has become extremely close to Earth and somehow “turned into” (perhaps temporarily) various bands of colorful clouds. There is the idea in my dream that Jupiter is not really solid but “made up of clouds” or a sort of multicolored vapor that moves through Earth’s night sky on a regular basis. It is all very colorful and beautiful and creates a sense of both peace and wonder. It is almost as if Jupiter is like a giant soap bubble regarding the continuously changing color patterns. Mainly, there is the idea that Jupiter is not a large planet (with the surface as such in terms of overall area) - an idea which turned out to be precognitive (or using postcognition to an extent). This is because I had not heard anywhere at that time that Jupiter did not have a huge solid surface implied by its size. I was not focused much on the concept of a planet being “made of gas” (I assume even after hearing the term “gas giant”) and originally assumed as a much younger child that it had a huge planet-wide surface based on ideas others had told me, including what I saw in a few older movies.

See also: “Soap-bubble-like window”

Night of November 19, 1971. Friday.

Dream #: 1,796-02. Reading time: 1 min 40 sec.



While in the Cubitis house’s living room, I hear on my mother’s radio (her pale green one that was sometimes atop our refrigerator) about a twister approaching from the west. I am concerned that Brenda does not know about it. I plan to go to her house to get her so that we can escape from it. (I do not see or consult my parents even though I am only ten years old, though this was typical in my childhood dreams.)

As with the majority of my dreams, features are incorrect without my dream self’s realization that they are. In this case, Brenda’s house is incorrectly east of my house (where the cow pasture is in real life) rather than north of it. Also, Arcadia is east of my home rather than south.

As the tornado is approaching, I go into Brenda’s house without knocking and say hello to her. (Neither her parents nor brothers are present.) We are suddenly in her kitchen. She looks annoyed with me and moves around a table to avoid me. I convince her of the danger, and she happily comes with me. We manage to avoid the tornado. It is seemingly a result of running in specific directions and being in particular places for a time, even though we seem to backtrack at times.

In the last scene, we are sitting at a big water fountain in an unknown city that seems to be a newly built resort. (The twister had supposedly destroyed it, but it was somehow quickly rebuilt while we were traveling. The tornado was there before us even though we were running from the opposite direction).

We eat sandwiches that had been in transparent sandwich bags (that it seems we were carrying even though this backstory did not have a foundation) and smile happily in the knowledge the worst is over. I have a vague sense we may be near Disney World. (It would be in a different location in reality as it seems we are not that far east of my house.)

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My dream coincided with the opening of Disney’s Fort Wilderness Resort and Campground in Orlando, Florida. I might have heard about it, so I am uncertain if it was a precognitive factor.

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The fountain and surrounding area now make me think of one of the first public places I went with my wife Zsuzsanna in Brisbane in 1994. It was like in my dream and with the same cheerful essence when I was with Zsuzsanna.

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Night of November 13, 1971. Saturday.



Yes, I know, stupid title. It was originally “Haunted House 2” and I think the first title (before copied over into another book) was “The House” (wow…such imagination I had…).

The actress Jocelyn Lane appears as a child around my age, but in the first part of the dream there is a newspaper article that she has gone missing, possibly kidnapped. There is not much to this dream other than wandering around in a mostly featureless house, but it had a very vivid atmosphere and sharp awareness. It copies the “Tickle Me” (1965) scene, though it is me singing through the window (not Elvis) and she is not actually annoyed or scared at any point but hopeful of escaping the house since I am there with her. I do not see any supposed kidnappers at any point.

It turns out that she was taken by a giant hairy white monster, the creature from “I Was a Slave of the Living Titan!” from Marvel’s “Monsters on the Prowl” number 11. What is a bit odd, though, is that the orientation does not make much sense when the monster’s face appears in the window. We are supposedly on the first floor of a building, yet the monster’s face appears directly in the window (as big as the area of the larger sash window) as if he is standing in a deep hole just outside (though this is not implied by the location). Eventually, the house is on fire, but we had already escaped by then. When going back to get something the girl said she lost, there is just bare ground.

The large empty house that this dream supposedly took place at had already burned down in real life (I did have a precognitive dream of this). It was north (by about four or five implied lots) of my Cubitis home and on the other side of the two-lane highway. It was a very strange morning when that happened, watching the huge flames go into the sky while waiting for the school bus in the dark. I used to wait for the bus to go to school (usually with the S family - Lisa M went to a private school - SCA) during one period, just prior to dawn, which, now, seems quite intriguing to me, because in the region I live in now, it is already getting light at 4:30 and fairly bright out by 5:00.

Just out of curiosity and marching on with my meticulous notes on the thousands of childhood dreams I had documented several times over (with the older copies on hand for accuracy), additional research revealed something I was not as aware of when younger in how comic books, television shows, and even movies (though I was aware of some “duplicate” movies which were only different in title and a few edited scenes) were released again in a slightly different form - I am somewhat amused by how often they did this. (See image.) It is funny, because dreams have a tendency to do this as well.

Morning of November 6, 1971. Saturday.



Of the thousands of documented dreams (even prior to my teen years) I found how dreams (at least mine) often seemed to lay out the course of one’s life in a fairly precise precognitive sense, often with many layered levels of accurate detail and associations (including many impersonal ones related to trivial things you see or read later rather than directly experience) - some not realized or verified until years later. This is one of my more important childhood dreams by mood and association. (This dream seemed loosely based on “When Worlds Collide”, a science-fiction movie from 1951, from the 1933 novel, though my dream held major differences. The idea is popular even in modern “doomsday” pseudo-science circles with scam artists.) This (“The Pink Planet”) was the original dream journal title at age ten.

It is somehow “known” in-dream that there is an Earth-sized planet on a collision course with Earth. Perhaps one of my parents had mentioned it or I had heard about it on the radio. I cannot yet see any sign of it in the sky at first. It seems to be morning, perhaps around 9 am. My father still owns a car (in real life, he was to eventually gave up driving primarily due to other people’s incompetence and his growing wariness of it).

The planet eventually comes closer to Earth and I see that it is like a “twin” Earth except for its color. As I look up, I mostly only see Australia as the planet is seemingly “coming down”. There is a pink glow around the other planet - even Australia looks pink. (Pink glows were fairly common in some of my childhood dreams and was associated with taking Pepto-Bismol, which seemed to have a direct effect on some types of dreams.) It is the biggest when my parents decide that we need to go to the other side of the world, apparently Japan, to get away from the destructive force of the collision. Obviously, this is not very realistic for a couple obvious reasons; one being that you cannot just drive to Japan (from Florida) in a short time and two being that it would not do any good just to go to the other side of Earth. Not focusing on this obvious unlikelihood, I am ready to leave home. There is an extraordinary sense of awe as I watch the planet. It is in the southwest region of the sky, filling at least a quarter of it, as we are leaving our home, going south down Highway Seventeen with just a few of our belongings.

We seem to get to Japan fairly quickly (again, supposedly by my father driving a car). However, I get the strong sense that I should return (having left my potential partner in life - the “mystery girl”?), so I leave my parents and set out to find out what is going on…to return to the other side of the world regardless of what awaits…as it feels it is my “destiny” for some reason, or that “love is there”. I wake before much else happens, although I eventually get the odd sense (in one “reset”) that I had somehow reached the other planet just by walking.

See Also: “Cage From The Sky”

Minor primarily coincidental associations: The planet in the movie is called Zyra, and my wife’s name begins with Z, not all that common a beginning letter for names (or even words for that matter). The star was called Bellus and her middle name is Gabrielle. One of the main actors in the movie had a last name that was very similar to “the Other” (Susan R), the first syllable in fact. The in-dream association with the twin planet at one point was “nigh pier” (based on my “Return to the Harbor” recurring dreams as well, where I anticipated my wife’s birth in Port Kembla - as well as the play on “docking” in the idea of two planets “coming together” as one as my dream seemed to imply at one point), which sounds vaguely like the first part of some pronunciations of Nibiru (which I never took seriously by the way - it is just typical scam artist pseudo-science). This was also the (coincidental) date to my trip to Australia in real life just prior to marriage. There is a Planet P (Tony Carey - my favorite vocalist who actually worked with a good friend from school but years later in Germany) album called “Pink World” which has a number of associations including some imagery that looks like my room in Cubitis or rather things I had at the time. The main song has the line “in a quiet little village by the sea I hear the calling and it calls for you and me”. Also, as in my dream, I ended up in Japan prior to the continuing journey to Australia in real life, something I could not have known (or even correctly guessed) as a child.

Night of November 2, 1971. Tuesday. (”Resets” into next day; November 3rd.)



This is the first, most vivid version of this dream as far as I know. This was one of my childhood dreams that I really liked and looked back on more than others. It is a typical “everything turns out to be different than what was originally thought” haunted house transformation. Although this type may relate to it getting closer to sunrise (in reality) towards a dream’s ending (thus transforming eerie features with the promise of approaching dawn) creating resolvableness where semidarkness dominated the setting previously, it may also relate to the very heavy influence “Castle of Blood” had on me in my early years. There is a certain feeling that cannot be described, yet not like other dreams where in-dream features typically transform.

In my dream, my best friend Toby T and I (in an implied but not directly experienced back story) are challenged to spend the night in a supposedly haunted house in a similar manner as directly inspired by the Barbara Steele movie “Castle of Blood” (1964; also known as “Danza Macabra” and “Castle of Terror” as first seen, but the movie has several other titles). (Not only that, this dream even occurred on the same date as the movie, November 2nd, “The Day of the Dead” or rather “Night of the Dead” as referenced by the movie.)

Over time, my dream mostly involves “sleeping” in this setting (though I am still aware throughout; just moving in and out of different levels of awareness). There is supposedly the presence of a (possibly vampire) coffin near the foot of my bed as well as a vampire bat hanging on the curtain. The silhouette of the bat can be seen at different times throughout the night from the moonlight filtering through the curtain. Toby ends up leaving before dawn (believing the immediate setting to be potentially threatening), thus losing the bet. I seem to be aware of the semi-dark in-dream environment for a very long time (for a dream, especially) and there is a sense of comfort and timelessness at one point as if I already know the outcome.

Eventually, I come to learn (as it gets closer to sunrise) that the concern about a coffin is unsubstantial, as it turns out to be a large (possibly empty) toy chest that someone left behind. The “bat” turns out to be a large harmless moth that remains on the curtain all night and is clearly seen as a moth at daybreak when the sun filters through the curtain. This seems to have been inspired by a real-life event but I cannot place the memory (perhaps a time when I was half-asleep when younger and actually thinking that a large moth was a bat - this would have likely been in the trailer in Fort Ogden).

Finally, it turns out to not be a house at all, but a smaller trailer that reminds me of the one Toby lived in (or again, the one my family stayed in in Fort Ogden) - though I did not learn of this until later when I visited him - so a layer of minor precognition exists even in this dream, as it did have some of the same layout, including his bed and furniture arrangement in his rather small room (though dreams have a tendency to create all sorts of unlikely composites otherwise).

There is a later version of this dream where the trailer itself turned out to be a “ghost” in one sense and did not exist after daybreak, which gives it a different feeling (and whereas the main version is not a “real” ghost story at all, the lesser version is).

This was a very enjoyable DDR dream that seemed to last the entire night. The “vampire bat” is resolved to a moth. The “vampire’s coffin” is resolved to a toy chest. It is typical of how, as the sunrise approaches, the dream’s features morph into something “safer” or more logical.

Morning of October 16, 1971. Saturday.



This was another November 6th dream (the first recorded title being “I Married a Ghost”) though the longest, most focused version was on October 16 (very early morning), 1971. In this case, it was mostly based on associations with the movie “Danza Macabra” (also known as “Castle of Blood”, but first seen as “Castle of Terror” on the “Shock Theatre” television series). To this day, I still have not seen, or even made any effort to see, the remake (“Web of the Spider” from 1971). This was quite odd I suppose (especially for a young boy), some sort of catalyst, perhaps, and came years before the “showdown” dream (the castle-of-winds one) between the “other” and my as-yet-unknown-to-be-real wife (in their actual forms rather than being represented by others). Had I not been influenced (or rather deliberately focused on with a higher clarity than with most movies, to be honest) to some degree by a few (to me) archetypical movies, it is likely my path would have been the same, just with a little less movie-based synchronicity and long-term memory of such, perhaps - the patterns and personal themes would likely have come from elsewhere as it is. I would likely have formed similar symbolic aspects from other things I saw or did not yet see.

For many years after, I had this focus around November 2nd (related to the “Night of the Dead” event in the movie - which of course is not Halloween as some have claimed - guess they did not really watch the movie they wrote about so much - which often seems to be the case even with so-called movie critics). Thus, dreams relating to around that date sometimes centered around certain ideas even when I had not seen the movie for awhile. Interestingly, as a young boy, I even perceived November 2nd to be the “real” Halloween even though I never mentioned it to others much at all. I guess because it was sort of like “my” private Halloween.

The main point of my dream was that I was originally going to marry the Julia character (Margarete Robsahm). However, there were scene changes and parts with wandering about in a mist. Eventually I married the Barbara Steele character (Elisabeth Blackwood). I guess the reason was that at least she tried to save poor Alan (me?). I did not die, however - only everyone else was a ghost. The marriage took place in an unusual location. It was outside in a mist on the top of a fairly high isolated staircase (at least twenty steps) with nothing beyond the top landing. Everything had a sort of grayish and bluish transparent look. The preacher (unknown) stood reading for some time. In the background, below, there was a very vague association with a white horse and hippies on motorcycles in the fog - seems to be from the episode of “The Immortal” (“White Horse, Steel Horse”). There are also scenes of wandering around in a library after-hours (recurring). This time, also in a mist. Being in a mist was far more common when I was younger, becoming fairly rare after the age of sixteen unless I instigated the idea with lucidity. (Age sixteen is when I developed what I considered amazing full control over some dreams for nearly a year - usually the last ones of a series).

Curiously, the movie characters, depending on angle, lighting, and expression, were similar to the real-life associations (which of course I did not associate with my wife at the earlier times, as this was years before she first wrote to me), including the same hair colors. I did include an image, but I cannot find the photo where my wife looks so much like the first image I actually mistook it for her once, the third being the “other” symbol. Again, it all depends on angle, expression, and lighting; otherwise, there is not that much of a resemblance at all. It could have been the other way around (hair, looks, and character intent different), but was not.

Morning of October 3, 1971. Sunday.



“The Staged Bull”, regardless of its nightmarish essence (though I felt no direct threat as a result of being in the state of apex lucidity) was one of my most fascinating childhood dreams and also of which contained intriguing redundant symbolism (or “multiplicity” of the type which many dreams have). The level of extreme vividness was nearly indistinguishable from wakefulness, even my body awareness and sense of weight and movement as well as the incredibly realistic ambiance that many dreams lack.

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At the beginning of my dream, I am in my bed in Cubitis and the time seems to be around nine o'clock in the morning. During the process of a false awakening and “getting out of bed” (in my dream), I enter the state of apex lucidity and as a result I am already astounded by my fully aware perspective before I even make my way into our living room to go out the front door, into the carport, and into our front yard, and from there, I expectantly contemplate intimacy with the neighbor girl which basically, as young as I was, reflected my real-life attitude (though our relationship was mostly innocent; that is, mostly only hand-holding, hugging, spooning, and kissing at this time).

In my dream, the setting was a very nice and sunny day and I could even feel the fresh warm air on my body and in my lungs, and the distance orientation to other areas of the yard and orange groves was all perfect, as were the smooth walking movements and an almost overwhelming joy and sense of freedom, but there was soon something else, some sort of “higher authority” perhaps, and a menacing presence in my dream (a preconscious thread most likely), almost as if I was being stopped from exploring beyond my large front yard. There were three menacing dogs growling at me shortly after that otherwise beautiful feeling of freedom, my sense of freedom lowering somewhat, but I was not attacked in any way. The dogs never moved from their positions on the front lawn.

There was also another vivid but surreal menacing presence, which was an animal that was moving about in our yard looking much like a bull ready to charge. His front legs and feet seemed a bit too thin. He was mostly facing towards my home and near the largest tree between our front yard and our neighbor’s front yard. My first thought was that it was a bull that had somehow gotten a puppet stage stuck on his head (and in the back of my mind I was contemplating what could have happened to the teachers and students watching the show and although I am fully lucid I still do not consider that an outdoor puppet show near my home would have been highly unlikely, though bulls have gotten out from nearby farms) and as a result was likely very agitated by not being able to see where he was. Upon looking more closely though, it seemed that the bull’s head actually was a puppet stage, with a small, red, velvety curtain continuously swaying outward and inward to where the bull’s face would have been. I clearly hear the strange breathing. puffing, and snorting as he moves one front leg about (reminding me of a chicken scratching for food), and I feel a sense of augmented awe and potential danger, but nothing threatening happens other than an eerie feeling that my dream is not really my own, which causes me to decide to just wake up on my own, albeit frustrated at the missed opportunity to explore a dream of this “impossible” level of clarity.

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Important key points, including multiplicity; that is, two or more symbols that represent the same concept:

Firstly, the three aggressive dogs represent an invitation to control my dream, as dogs typically symbolize obedience. Their positions on our front lawn symbolize my physical day-to-day reality. Standing, sitting in a chair, and lying in bed. Dream-self role: potential dog-trainer (analogous to dream control).

Secondly, the bull also represents an invitation to control my dream, the red curtain symbolizing that the bull, on some levels, is already under my conscious control (though I unfortunately do not realize this while in my dream) as it is apparently preventing him from seeing me and thus knowing where to charge (and, although he is directly pointing towards our open carport entrance, does not change his position when I walk past him and more towards the highway). (One of my vividest recurring childhood dreams of a much earlier time period than this dream involved a bull crashing through the wall of the living room of our house near Mohawk Valley.) Dream-self role: potential bullfighter (analogous to dream control).

Thirdly, a puppet stage also obviously represents an invitation to control my dream. It is modeled after the high school auditorium stage, which my elementary school also used at the time. Dream-self role: potential puppet master (analogous to dream control).

Morning of September 25, 1971. Saturday.



This is from late childhood and was inspired by two giant mummy comic books (as well as “King Kong”) I had at that time. Toby T (my best friend), Brenda W, Tina L, and Lisa M are with me to find and capture (in a sort of King-Kong-like scenario) Gomdulla, the giant mummy. We stumble randomly into a large pyramid, which is more like the Concordia dance-hall my father had often done shows at but may be a much larger version of the old DHS auditorium in part.

The giant mummy comes from around the corner (after much in-dream concentration to instigate it). I dance in his open hand (similar to Fay Wray on King Kong’s hand, I suppose), but somehow it is more like dancing on a mattress behind bulletproof glass with a subtle hint of a camera nearby (yet somehow more like a stage performance at school). Even though the mummy is originally male (I assume), the two songs I do are:

“Hello ma baby! Hello ma honey! Hello ma ragtime gal!” and “Mummy! How I love ya! How I love ya! My dear ol’ mummy!” (altered from “Mammy” and “Swanee”).

It could have been a lot better, though - in terms of a “proper” and more interesting and longer “movie dream” (there were at least two other later versions of this one that were worse and less eventful than this one). Toby messes around swinging on a giant loose bandage that hangs down (like Tarzan, I suppose). Brenda sort of breaks down and wants to go home. I go into a stupid “forced” persona that seems fake and I say “Aw! Do you want your mummy?" and she walks around with arms folded across her chest with a sad look, which is soon replaced by disgust and disbelief of my behavior.

Toby takes the clasp/buckle from Brenda W’s dark leather purse. It was the real-life buckle which was a clock framework with the words "wait for me” on it, which I always thought was interesting - and I had never seen it elsewhere. I have not been able to find any Google image of it, either. He holds it up to frighten away the giant mummy/alien somewhat in accordance with the manner of a cross keeping away a vampire. The original (childhood journal) name for this was “The Search for the Giant Mummy”.

Later on in real life we had a board game called “Voice of the Mummy” and I had my own “Dark Shadows” game.