rshort1202

I am in a room that has a pool or multiple pools. One of them is pretty crowded. I am now sitting in it though, with Veronica (from high school). She’s wearing a Grateful Dead tie dye and is sitting a little too close to me. She is also turned towards me and is not so subtly coming onto me. I’m not very comfortable with it.

I have driven out to Kelli and Carl’s. It looks like nobody is home, but I also knock on the door. Nobody answer, so I go in. I call out ‘hello’ and get no answer, but I round a corner and see Carl. i continue into the room (doesn’t really look like their house) and Kelli and another girl on a black couch come into view. They’re watching something on the larger TV that is loud and probably why they didn’t hear me. I give Carl a hug and then a handshake. He offers me a margarita (I see one out - it’s in a green can that’s fairly tall: a Lime-a-Rita?) and I pause and think briefly before accepting. He goes to get one and chuckles, saying maybe I can have another or more and stay here. I am now on the couch and watching this movie with them. I am pretty sure the girl on the couch is Kelli Ann. I am not sure which can on the square coffee table is mine, but I feel pretty safe picking up the heaviest one. This film seems to be in the opening sequence - short clips of sea animals and people? with cool color tones and drab music, if any at all. Scenes keep repeating, so much so that we think there is something going wrong. After a repetition, however, there is new content, so we realize this was a purposeful stylization. I think about how that is very dream-like.

I am looking at a map that must be on a computer (it looks like Google Earth) with Melissa. I start zooming in on Nevada, and we can start to see streets and buildings while the whole country is still in frame. I continue zooming, trying to pull the northwest portion into focus. There is a street that seems to transverse just about the whole state. As I get closer, lines of houses along the road pop onto the screen. Some of them are in pairs, facing each other and diagonal to the road. Melissa says something about it being by her neighborhood. I scroll a little to the left, and we see on the map an image of someone walking. I get closer, and we see that it is Melissa. She is wearing her work smock. I think this must’ve been when she was still walking to work (She never has, though).



I’m outside in a back or side yard? seated in chairs with Dad, Jon, and another. We are talking about beer; Jon mentions a [some flavor: peach?] ale. I think it sounds good. It is dim/dark out.



There is some type of long and thin dock. At the end of it, I have dropped something into the water. It is deep, but not too deep - 10 feet? It is cold though, so I wouldn’t want to submerge myself. I end up prodding some pole down and only needing to extend my arm into the water a little bit to retrieve this blue mop head?

I am hanging out in a house with Melissa, Daylen, and one other. I am not sure whose house it is. I am sitting a little ways from them, and Daylen is trying to be alone with Melissa. I am not sure why they need to be alone right now, and I’m not really angry, but it does make me feel a little weird. I look up and they are gone. I stay here for a bit, eating one of those glazed chocolate pies as well as one other sweet, but then decide to go outside and find them. This neighborhood consists of similar houses, one street that I can see, and an abundance of lush lawn. It is almost labyrinthine. I start walking along a narrow section of lawn between the houses and spot the three walking along the street up ahead. I crouch-run up to a chain link fence and get down behind it. Melissa is either in front or behind, not too near either of the other guys i now know they are trying to catch Katydids. In fact, two different ones fly up and land on my arms before flying off again. I now head back to the house, and these passages of lawn are now inside. This ‘inside’ seems to be a corridor (with walls of a house?) with the lawn as the floor. It does not proceed straight ahead, but turns slightly in both directions. There are openings along the walls, either to rooms or to full houses. I think that the floor being grass is for fire protection. I imagine a fire coming through here.

I am outside somewhere that looks very familiar - very similar to Frenchmans. There are three lines of people, with about 20 or less in the largest line. I get into the ‘Lovebug’ line and none of the people my age in it look familiar. Someone clarifies that we have ‘moved up’ to Fireflies, so I move over. The lines now proceed up a moderate hill on an old, overgrown dirt road. I am wearing pants and long socks. The socks are kind of annoying on my ankles and the pants are hot and not giving me as much flexibility as I’d like. Someone walking with me makes a comment about them taking us on a strenuous walk. I don’t think it’s bad, but as I look at the incline and overgrowth, I could see how it would be for someone not used to it. We’re now reaching a crest in the hill and a building up here. I end up in this building - a bar and grill or something - with Dad. We’re seated at a table close to the corner and the bar, and we’re going to try a beer here. A lady comes over, I think we need a little longer, then it takes a while for her to come back. Looking out the window, I think about how there’s still a little ways to go. I am now back outside and walking. I’m with Jon, and we’re on more flat but forested terrain. It is greener and almost more inviting. The air is cooler and it is more dim and not as exposed. There is also a small river up here. I think there may also be a house, as Jon is saying and keeps saying something about ‘Jim’. He also keeps saying something about a spider (the image in my head is a large, black one, maybe a black widow). There are multiple wooden bridges across this river as we move onward. They are dark wood pieces placed parallel with the river, creating a flat bridge with supports every few pieces. When I watch Jon walk over some of them, the pieces move, swiveling, like a bead on a necklace. He’s been fine so far, but when he jumps onto one of the bridges, quite a ways from the bank, the pieces give way, causing his legs to slip through and him to be caught on one of the supports. He does have a grasp, but appears mostly stuck. I end up by him (in the water?) and am going to help him up. He places a small, circular, water-logged piece of meat onto the wood and then proceeds to clamber out of the water that seems turgid and turbulent yet somehow still.


I am outside somewhere that seems like a college campus or some other communal area. It seems slightly dim out. I have a pack of cigarettes and am smoking one. Others here are doing the same. I hold it between my middle and index fingers, noticing that everyone else does too. I think Niki is here. This carton is overly large and light blue. The inside slides open, revealing the cigarettes that also seem too large and like they’re made of plastic. I smoke one down, self conscious of my aggressive in and exhales, and want another, ashamedly. I think I smoked it too far? and it felt like the soft plastic piece sort of broke off when I got to the end. I think I now go somewhere with Niki - though it feels not as if we’re going together - but simply to the same place at the same time. Chelsea is here. It is brought up how she’s all but kicked a heroin habit, but is about to take it up again. We try to dissuade her, but she is blank, resolute, inconsolable. It is brought up where she would find the substance, and they say you need only follow this street. My gaze follows it down. It’s well known that it’s not the best place, and must be known for a prevalence of the drug. I think it’s residential, though it seems dirty and desolate out here.


I am outside and moving through some dirt trail between houses in a fairly rural neighborhood (almost like Dad’s). It seems I cover a lot of ground too quickly, almost like I’m watching it happen, instead of actually walking or running. I come to a straight-away that ends in a left turn that dead ends at the side of a house. On top of the path is a dilapidated train track. It follows the straight-away but is a few feet/a body’s height off the ground when it rounds the corner. I wonder how I am going to move along this, as it twists right before the house and may be incomplete in a section. The wall that the track runs into is a neutral color (light blue/grey?) and is slightly aged and worn and bare except for one large window. Through the window I see a partially drawn curtain and two chairs. I can hear people moving about talking inside, and these people are moving out of this house. It’ already pretty bare, but I start moving cups and other everyday items off a shelf. I think the people here don’t know that I am here? I now start moving stacks of DVDs (the ones we have at Mom’s, I’m pretty sure).



Analysis:

Later today, I go on a walk with Mom, on which we seem to come to some realizations about the first and third dreams from last night. What prompts these realizations is the sighting of a small bridge being constructed in a front yard. I find this significant, as the bridge as of yet only consists of the support pieces. I liken this to the recounting of my dream bridge and its support pieces and other swiveling pieces. I tell Mom that this dream involved multiple bridges over water and Jon jumping onto one, only to become stuck and in need of my assistance. I find it necessary to detail the background to this dream having any significance, that being me viewing the movie Hereditary on Saturday night and consequently contemplating a séance of my own with a plausible intention being contact with Opa. mom and I agree on the bridges, water, Jon, and my helping Jon all being symbolic in strict relation to Opa and his passing. Mom is the one what mentions that Jon was the one not present and therefore behind in coping with the situation. I seem to be helping Jon in this process and to me it seems to be because of my recent inclinations towards the idea of performing a séance to contact Opa. i believe the bridges are direct symbols of the ‘bridge’ to the ‘other side’. As I write this I begin to experience chills when contemplating the ‘turgid and turbulent yet somehow still” water, probably because it represents what the symbolic bridge physically bridges. Is probably significant that Jon surmounts the bridge. I am unsure of the piece of meat, as well as any meanings ‘Jim’s house’. During a pause in writing this, currently being unsure of the presence of ‘Jim’ and the spider, I go to the garage. Kneeling down by the fridge (which is right where the Black Widow used to be) I get a pre-recorded phone call in which the voice tells me his name is Jim. i immediately think it’s odd that it’s a Jim, but it isn’t until I’m recounting to Mom that I got a phone call from a Jim that it hits me that it was right by where we had the black widow, the one from the dream. Later on, still unfinished with this analysis, I text Kat telling her briefly what happened and asking if she’s had anything happen that has to do with Opa. She tells me a little while ago she had a dream of him in a silver Subaru, then she mentions how he is probably wishing he could’ve been at the graduation. It then hits me that the very beginning of the dream is probably a representation of the graduation. In it, I say ‘moved up’, which directly relates to Opa, while the whole scene can stand for Makayla’s graduation. As of now, it seems that the annoyance of my long socks and pants is the only part without apparent symbolism. As Mom and I started discussing the bridges, I realized that the train track in the third dream bears much resemblance to this image of a track or some sort of conveyance with missing or otherwise inoperable pieces. I believe this represents the contact or attempt at contact with Opa. The train tracks are an overt reference to Opa’s involvement with the V&T as well as a visual metaphor. The neighborhood is significant as well. I also feel that the tracks dead-ending in the house seems to be significant, as the house is another symbol for Opa or for the ‘other side’. The window conveys pretty much the same meaning, and the two empty chairs do not feel arbitrary. Mom mentions the two chairs that were always in Opa and Oma’s living room, and though that is true, the chairs in this dream were wooden and straight-backed, facing each other slightly, seemingly symbolizing conversation. I think it is symbolic that I never really see the people but only hear them (an image of the ‘spirit world’ or the impression of people contacting it) and also that they are moving out of this house. After all of this, I am left with the feeling that these dreams did not by chance occur so noteworthy and significant-seeming directly after my inclination towards conducting a seance. I with impressed with their impression, considering my lack of detailed dreams for quite a while, and believe that alone makes them significant. And then the sighting of the partially constructed bridge was the conduit for the deeper, real meaning. Every association produced varying levels of chills, which is enough for me to know that I have found the dream’s real ‘meaning’. I believe the dreams were some spiritual connection to Opa or an affirmation towards the idea of contact, with the same feeling of knowing I had about the dream in which he came into Starbucks when I was working, though not quite as understated.