15 november 2021

15 november 2021

John Bjarne Grover

On probably 15 october I was out walking and passed the fountain at the church at the end of Märzstrasse. I considered taking a photo of it because of its peaceful and harmonic state but for just that reason I let it be. As I left the place, other faces told me that, well, then we can take the photo instead.

However, or maybe just therefore, the next day I had to go up to the fountain again and take a photo of it - but the mood was gone and I accepted a motive with a friendly dove who posed for a photo. The associations to Tiepolo's artwork was then growing so strong I had to add the url for it. This was before I recognized it also elsewhere.

In addition, the original motive was in 90 degrees angle to where the dove posed - and a little was left of the original idea in the original angle some days later.

When I found the black textiles on the tram-seat, I had to believe that it could have been somebody who had forgotten them and I had to deliver them to the driver. If the textiles occurred ex nihilo in the moment when I entered the tram, it is probably right to consider them my property - a gift from heaven, from the Madonna, it could mean. In my 'Rosens triangel' the end of poem #60 tells "Dette er RAGNATUR REISER" = "This is RAGNATUR TRAVELS". Could be somebody has felt the temptation of interpreting this in the sense of RAG-NATUR and therefore scissored them up and sewn them together to clothes-pieces - in an attempt to avoid the 'RAGNA-TUR' of my tram ride. This could be very unfortunate if it serves to lend a Madonna value to Ragna Grøver - including an attempt (of the puberty boy?) to 'revolt' against this idea. I agree to the RAG-NATUR but the fact that there were two and not only one is enough for that - they need not be scissored up for that understanding.

When administration of lost-and-found got the black textiles, they could have scanned surveillance and found that they took shape in the moment when I entered the tram - or somebody else followed me on surveillance and discovered it and contacted the lost-and-found and acquired the textiles therefrom - could be for intrigue purposes. The right response could have been something like this - a letter from the lost-and-found office:

"Dear Mr.Grover, we tried to find out who had left the black textiles on the tramseat and it seems that they took shape ex nihilo in the moment when you entered the tram. Therefore we have concluded that they are your ownership. You can get them back at our office".

That could have meant that the 'Schenkungs-Urkunde' gave the 'land' to the proper owner - and hence Austria could have got their land by 'divine authority'. But if they have tried to acquire it without proper grounds and even have scissored them up, it is possible that the integrity of the 'land' could have been threatened. In my 'Stillhetens åndedrag', the original form of the text is given in the postscript ("Structure and alignment") to the book.

There was a fold on one of the two black textiles. I did not look so closely at it - it was strangely humid even if it was a clear sky and the sun was shining, just as had been the case with the other textile as well. I looked rather briefly at it half unfolded and it seemed that one third or maybe fourth or so was folded up over the remaining part. I dont know how it could have been attached there - whether sewn or even 'supernaturally' woven in that way. If the latter form, supernaturally woven, it could have been about a 'trinity' state of reality - not a 'triangle' - beyond the normal human 'Webstuhl' (loom) format of reality. It could resemble the problem of my text - normally it is not possible to take a text and lift some lines from the end and insert inbetween every second line in the mid or beginning and get something sensible out of that: Normally that would lead to strong discontinuities which would look strange. If, therefore, the text has a natural integrity even in this transformed version, it would mean this sort of 'supernatural Webstuhl'.

The problem is that potential austrian attempts to get their defense back by way of these textiles could be a signal of a crisis in the reception of my poetry: It is vital that it be used not for propelling political interests but that it be credited for its contributions to the course of history and the spiritual development.

If my studies 'The coronavirus pandemic and John Grover 1823/1843' and 'Mystic numbers' solve the power cramp that has ridden the world for many decades, could be even centuries, then it must be observed that it is only my poetry in '20 Gedichte' that solves the problem, not any theoretic considerations around it. Therefore, if this be the case, it must count as a miracle that I have to spend my days in Austria by shuffling problems and problems day after day after day and cannot get on with my poetic work before I am out of the country.

It is 'possible', to continue the talk, that my written work through more than a decade has been subjected to rather massive harassment campaigns turning my texts into hostile attacks against me from every advertisement poster on the walls all over Austria - and now it cannot continue any longer. Is that strange? It seems to be worse than ever - even if I do not write poetry here. It must count as absolutely incredible - if my '20 Gedichte' have solved this power cramp - that I still spend my years sitting here throwing dirt and lifting problems in spadework - since it is probably not possible to repair these 10 years or more. Are a 'claps on walls treat' even planned to be a collapse of the 'simon' stockmarket and not only of my poetry? An identity there? It is all this which is hard to understand.

I have not got it from the society. I have to sit here being in a low mood because the world does not understand my poetry. It is good poetry, says I, but I have not heard anybody else say it.

I do not have the economic resources needed to find a lasting solution in another country (if the PIK buys a cheap flat in a normal house there is the risk that it is soon filled up with money-strong agents who buy the other flats and drive the houserent up to a level where the PIK cannot even have it sold - 4000 euros houserent per month for that little 25 square metres studio - nobody will buy that) and wait for the needed help - while the years are passing by. It is likely that every administration in the world has a bad conscience because they have not paid for the illegal intelligence copies - not to speak of the plagiarisms in culture there could have been, say, if Jessica Gorsam's 'Flaming desire' (as could have been a title among the dozen or so 'subliterature novels' I inspected some years ago) or Dan Brown's 'The lost symbol' should happen to be in more or less systematic parallel with my novel 'The Dreamer' (I have looked at only the beginning and end) - could be forwarded from the 'intelligence services' under the very false pretext that 'this is our intelligence project, please help yourself gratis with what you need' - and the administations will not admit it and apologize / pay reparation money because then they cannot continue lifting illegal intelligence copies from my workdesk (and forward to advertisement and other businesses) and then they lose contact with the political reality based on abuse of PTRSIM PIK - and that is the problem. The administrations cannot even find some other way for finding economic financing of my working possibilities - since any involvement would reveal that they 'knew about it' and that compromises the intentions. I only hope my financial resources do not disappear completely.

I looked for the former standard category 'kiosk literature' (to describe the genre of type 'Jessica Gorsam') but found it not on the internet - however, I found a reference to 'subliterature' wherein there were the examples mentioned 'Fifty shades of Grey' and 'The da Vinci code' and where 'Jessica Gorsam' could have been mentioned had it been a name. When I looked at these types of novels in a Libro shop some years ago, and I looked at a dozen or so of them which all contained the same pattern which I believed could have been in parallel with my novel, I speculated if they were produced in somewhat big amounts by computer - for the purpose of making a genre out of plagiarisms of my novel - for the possible conclusion that "all novels of this form have little literary value". Ah ja, it seems to be a massive propaganda machine for which the only collecting concept is that "it is not permitted to mention the name John Bjarne Grover". What nonsense that is. Of course it is permitted to mention my name in serious studies of the world today, in literary analysis and things like that.

PTRSIM PIK is of course my problem and not my chance. I applied for political asylum in 2002 as a refugee from the PTRSIM PIK status (even if I had not heard about these weird 'Messiah' ideas at that time). The whole story must be brought to daylight. I am a private person without any involvement in all that circus and one cannot continue lifting gratis intelligence from my work 'because it is PTRSIM PIK'. It is not PTRSIM PIK! I am a normal person like you are and I do not believe that there are neither monkeys nor angels or divines in my Stammbaum. But I believe that my poetry could have value for the progress of the cultural state of the world - but not because I am PTRSIM PIK! It is all this gloom of 'secret intelligence' which must be brought to healthy daylight. No administration can defend a strategy of lifting gratis intelligence from my workspace 'because it is PTRSIM PIK': If my work brings an end to a long power cramp, that is because of my poetry as a private person and not as a PTRSIM PIK.

I believe that a serious damage that can befall my work occurs if people who are interested in studying it can acquire copies of them but only pirate copies via illegal or otherwise shady sources (such as the government's intelligence services, who do not have the copyright) - and if these illegal copies are subjected to a serious study, the conclusion will arise that the shady sources have a copyright to the intellectual property - 'because it is PTRSIM PIK'. Therefore it could be of vital importance that some serious publisher, however small and trifling in the landscape, can provide some legal copies after agreement with me. It is I who must be credited for the work and not the administrations or their intelligence interests that could have been involved in this 'project' - even if that could have been in secret throughout a couple of centuries or so.