6 december 2021

6 december 2021

John Bjarne Grover

Three days ago I found a pebble on the ground - it looked like a nose but on the underside it was smooth and straight and polished white and could probably rest on a flat surface without much inbetween. A metre or two away I found another of the same type - and in fact the two seemed to have broken apart from the same piece, as I constituted when I put them together in a perfect 'symbolon' - some 4-5 cm long.

Since there is a 'gemmological' society (for precious stones) in Pelzgasse who seems to organize courses etc, I thought, well, maybe this has been made by some aspiring gemmologist who made it on the first course and has carried it in the pocket since then, untill it fell out here. I had better leave it here on the ground.

I later in the day concluded that it could have been the 'Vogelstein' from my 'SNEEFT COEIL', poem #5 in the chapter 'Die Steine' (2016), including its third stanza:

O kennen wir nur das Sinken
wie Zwei sich zu Einem verköpfeln,
als stehen wir noch bei den Klinken,
die Türe den Hainen zu öffnen

This is in fact what brought me to hospital in 2018: I had through several days turned more and more weak but believed that with some days rest I would soon be quick up on my feet again - but when I got out of the hotel bed one morning it happened that I was so forceless - probably out of oxygen in the blood - that I fell forwards and knocked the head in the wall and was left on the floor without being able to get up. However, I managed to get the door open and shout for help. When I now found the pebble on the ground, it was after I had read in the edition 'Mikrolithen sinds, Steinchen' of Paul Celan's prose notebook entries - that was a day or two before I found this stone. I recognized at least a couple of those entries as being possibly about me - could be a portion of the series of notebook entries were about me - he could have written this after he had been to Odda in 1960 if it were a Doppelgänger who went to Stockholm with his passport while he travelled with the Doppelgänger's passport to Odda. When he returned to Paris he soon had a meeting with Martin Buber, as it is recorded in his biography. Examples:

1) Page 39: "Das süße Kind - es wollt ein Sauerohm werden. Und legt sich ins Bett einer Muhme". The editors comment (p.369) on this as a reference to W.A.Süskind. However, if it should be about me it could have been the logic that the Sauerohm was not really a 'sour resistance' but rather a SAU & ROM = PIK & PTRSIM, while the 'Muhme' ('aunt') could have been the Sachs-friends Holmqvist's address in Tantogatan in Stockholm - see my ABC for comments on this address - hence in the bed of a Holocaust = Mengele & Co.

2) Page 47: "Soll ich die deutsche Nachkriegsliteratur auf den Kopf stellen? - Sie steht ja schon Kopf". There existed a photo of me in Odda standing on my hands up against a wall. It was from about the Gori times. Comment on p.404 tells that the entry is written upside down on the paper. The entry could perhaps suggest that the german postwar literature was about me? Well, the entry written upside down on a paper was of course also a piece of german postwar literature. I think Celan has a poem with the line "Komm auf den Händen zu mir", but I cannot find this again now.

3) Page 54: "'Treblinka': On ne peut pas clouer de la lâcheté dans un crâne traversé par une balle" - comm. p.429 translates. "Man kann nicht Feigheit an einen von einer Kugel durchschossenen Schädel nageln". 'Treblinka' is trivially my name 'jump jarnegg grover'. 'Feigheit' could also be read 'fei-ghet' as the theme of Shijing #37 'Foxy tail wipes back and forth' for the JFK story from 1957. 'Kugel/balle' could then be the 'zombie'. 'Durchschossener Schädel' = the 'intramental' of the detached skullcap of 1957.

Around the millenium shift it was probably still completely taboo to associate me publically (only circumscriptionally) with the story in general or with Sachs and Celan, could be because of a high secrecy on the PTRSIM PIK factor, moon landings etc. However, the hysteria has today to a considerable extent calmed down and it should be possible to have the name pronounced - cp. the pronounciation of the name of 'Jack Straw' in 2001.

A few days before I found this stone I had also seen on the internet a sculpture by Mariele Neudecker sharing some traits with the pebble I found.

The stone looked somewhat like a nose when I put the two parts together and I thought: 'Ahja, genesen'.

10 december 2021:

PS - even the next poem #6 of four stanzas has something in its third stanza:

Flach ist es wie ein Dornenstrauch,
wie weiße Kitsch & Sohl',
wie das Papier erzählt es, auch
wie Korngold in Tirol.

which seems to make sense. I listened to some Korngold and saw the point.

Source:

Celan, P.: Mikrolithen sinds, Steinchen. Die Prosa aus dem Nachlass. Ed. by Barbara Wiedemann and Bertrand Badiou. Suhrkamp 2005.