Harlem and Jensen and Aung San
John Bjarne Grover
The article discusses the relation between Gudmund Harlem and John Jensen Grøver/'Mengele' and how this story seems to be the background of the current situation in Burma on the background of the historic case of Aung San - not the least relative to the role of the Celans
Gudmund Harlem was the father of Gro Harlem Brundtland. He was about the same age as John Jensen. Harlem was born in 1917 and started studying medicine in Oslo in 1935, while Jensen was born in 1916 and started studying medicine in Oslo in 1936 (these data are the official ones, not necessarily historically true). Then came the war in 1940 and the Gran/Harlem student committee (Bjarne Gran and Gudmund Harlem) was #3 on the Oslo Report undertext list, as far as I have been able to understand it. There were some things at the university and some students broke off the studies, told Jensen. Whatever happened, Jensen went back to Klipra during the war and had difficulties with getting on again after the war, but eventually made his exam in 1954. Harlem had his exam in 1946 and went for specializing in rehabilitation medicine in UK and US 1946-1950. One could guess that Jensen went back to Oslo after Harlem had gone to UK. In 1955, soon after Jensen had his exam and when he still lived in Ålesund where he had got a starting job, Harlem was appointed minister of health in the government of Gerhardsen and remained there untill 1960 when he was moved over to the ministry of defence where he remained untill 1965. This means that Harlem was defence or 'gun' minister during the Kennedy assassination, and there are reasons to believe that the responsibility for this was dumped on Norway on the mythological level. That means that it was Harlem's 'gun' which had shot Kennedy, so to speak, as a mythological execution of Grøver ('Jensen' new name since 1946) whose name resembled Kennedy's somewhat. Hilsen Osvald etc.
Jensen had a bad start in spite of his name-change in 1946. After Ålesund, he moved to Molde in 1957 where I was born, and from there some months in Oslo as 'candidate' at 'Rikshospitalet'. One could guess that if the story about his 'innstilling' (best results in all exams, was the story) in 1954 were true, then one may have wanted him to start an academic career in medicine, and hence Rikshospitalet. But he may have lost his courage and fled to Hammerfest, as far off from Oslo as he could come - and certainly Harlem could have helped him get a job there, far off. There I was acquainted with Jan-Egil Nygaard, a son my age of a colleague (skeleton specialist) of Grøver/'Mengele' who was somewhat gun-mad. This gun enthusiast came to follow after us in the following years and tended to live nearby. I remember him shooting out the open window. He seems to have got jobs (from Harlem, probably) at the same hospitals as Grøver/'Mengele'. Jan-Egil was my best friend and kindergarden colleague also in Molde in 1963 and we met again as classmates in Fredrikstad in 1973.
One could guess that the story have been some onr-ovr for Jensen - some story from an evening with Harlem's wife Danderyd or something like that. And then the 'genesen' eventually had to realize that the time of glory was over for the 'genes' and he had better change his name to something else - something the opposite perhaps. Harlem was cief of the rehabilitation centre SAO in Oslo when Grøver/'Mengele' took his specialty there in 1968-69. The explanation of onr-ovr would of course in any case have been a cover story for the political project.
Grøver/'Mengele' told me that he had abused morphine in Hammerfest - which perhaps could have meant that I was abused with opposite-valued chemicals there. My own squeeze-around story later in life is much worse than his. (If Celan wrote about the 'nazi cunt' in his 'Meridian' lecture, it could have been due to such plans of swapping Grøver/'Mengele' with me already then). The chemical formula for morphine (according to my source which is Webster's dictionary) is the alkaloid C17H19O3N.H2O, the characteristic numbers of which can be recognized in Grøver/'Mengele's CV in terms of his move-arounds. After his official medical exam in 1954, Vibeke Grøver was born in Ålesund 1955 and I in Molde 29/6-1957. We moved to Oslo on 26/9-1957. Here is the list which also can be found (discussed from another viewpoint) under this article.
Ålesund 1955-56 - 16-17 months 'turnus' Ålesund-Molde (the time is guesswork),
Molde 1956-57 - 16 months (including 3 months temp in some position)
Oslo - 1957-58 - 6 months in neuro department (Rikshospitalet)
Hammerfest 1958-59 - 20 months
Odda 1959-62 - 30 months
Molde 1962-63 - 20 months (including 15 months in some assistant chief position)
Volda 1964-65 - 20 months
Molde 1965-68 - 40 months?
Molde 1968-70 - 10 months assistant doctor on psychiatric department inbetween
SAO, Oslo 1968-69 - 12 months
Fredrikstad from 1970 onwards.
Which means that if the hospital career (the source is 'Norges Leger') in these towns came to describe the chemical formula for 'morphine', this would also attach to my name since Hammerfest = ronk/junk/jump, Odda = jarnegg, Molde-Volda-Molde = røver, hence my name John Bjarne Grøver - before Fredrikstad. This clearly could be part of the same strategy as for the JOB-NEG-y declaration based on my name which then leaves the 'JAR connection', so to speak.
Now the mysteries seem to obtain not for Jensen's relation to Harlem but in the relation to Celan and his addresses. Celan came to Paris from Vienna in 1948. After some first years in Rue des Ecoles, he lived with his wife 1953-55 at '5 Rue de Lota' which later was interpreted in my 1960-62 address in 'Odda' = 'jarnegg' as well as in the date 5 January 1957 for the Eisenhower doctrine and hence my sort of 'semi-official birthday', while his 1955-57 address '29bis Rue de Montevideo' is telling of my official birthday 29 June 1957. These two streets are parallel - with only 'Rue de Faisandre' as a parallel inbetween. 'Faisander' is about hanging something up (e.g. ham) untill it gets old and gray and possibly smelly, hence 'Hammerfest' for the hung-up flesh. While these form three vertical 'cricket poles', the top horizontal lintel is the third address of the Celans 1957-67 in '78 Rue de Longchamp' which could be about 'langs Kampen' = 'Brinken' on Kampen in Oslo where I lived between my birth in Molde and Hammerfest and where there could have been the sexual abuse of me. Which means that the addresses in this district (arond.16) of Paris were very 'meaningful' in the sense of referring to me - and to the 'morphine' career of Jensen. The fact is that the streetnames of the three first addresses of the Celans after their wedding on 23 December 1952 tell of my name and the moving tour along hospital jobs for Grøver/'Mengele' in Norway. There are not so many hospitals in Norway, which means that if the tour should encode my name, then there were not so many possibilities. The streetnames are real mysteries here. It is only the station 'Volda' on the moving tour which are not covered in the three streetnames in Ar.16 - but that in fact is the fourth address of Paul Celan, in Ar.5 in 24 Rue de Tournefort in the period 1967-69 when he lived in a studio flat close to his workplace after his suicide attempt and 8 month psychiatric crisis which ended his family life. 'Volda' means 'the violence', a sort of 'tournefort', or even 'rydde turne-fort', a violent and sudden rearrangement of the room. Which means that when Celan moved to his new flat at Pont Mirabeau in 6 Avenue Emile Zola in 1969, it represented the new address of the Gröver family in Fredrikstad after his death in 1970 and it was the end station in a rather long series of addresses which left the question to be answered how this could have come about. Why these strange correlations when Grøver/'Mengele's career had such hospital and morphine formula reasons?
'The battle of Maldon' is a poem ascribed to old 'anglo-saxon' sources, but one can guess that it was written in 1731 or thereabout as part of the plans of british administration. 'Maldon' could in fact be the reason for 'Molde' and its hospital in this series, and there is mention of 'the son of Odda' - which could be 'Odda' and the hospital there. It means that the placenames for the moving tour to some extent could have been planned in the 18th century. My name as part of the San Pantalon mysticism seems to have been planned in the 19th century. One could guess that the tour was planned early and the hospitals needed for a good pretext correspondingly early. Harlem as minister of health is only a way of explaining that the planning could have been long ago. To this comes the mystery how the Celans arrived in just these addresses: That seems to be in the fact that the father of Gisele Celan-Lestrange owned some of these houses (the ones in the fifties). Why did he own them? Had the couple been brought together by Isaac Chiva for these reasons? I don't know when her father acquired the houses, but there is one element which cannot be looked apart from and that is the role of Aung San. His daughter Aung San Suu Kyi was on the day 25 months old when her father was assassinated in 1947 - a counterpoint to the 75% for Gadamer. If one assumes that 'aung san' can mean 'morphine', which perhaps it can by simple phonology, 'suu kyi' can come out as 'sykehus' = 'hospital'. Which would be the two factors in the movement tour. But if she were assigned such a role, it would be her Suu Kyi name which would be the public reason ('sykehus') for the movings, while the unofficial 'morphine' reason would have been the assassination of her father in 1947. Barthes made these early references to Viggo Brøndal etc in Combat which could indicate that it could be about this story.
However, it is difficult for me to see how this could have any sort of defining role in those days. One could guess that the plans were old - and when Aung San gave his daughter this name, the cynical planners of the norwegian intrigue decided to assassinated the 'unofficial' part of the name - her father, for making a shadow intrigue in Burma representing the chemicals of Dr.Verboten. A sudden impulse in a british or US ministry, that could have been, and only a peripheral 'comment' to the story in Norway. A sudden impulse like the one on the beach in "L'etranger" - and hence Barthes wrote his 'Degre zero' for pronouncing this 'sudden impulse' in advance (the article was printed afterwards) - and thereby Aung San would have been suspected of being an agent who pulked and was not assassinated. 'Tabareshti' where Celan allegedly did San[d] road work during WWII ('auklutsa'!) would have been the emotions of the shooter on the beach in that book of Camus - a 'blunder during a moment of rest' = 'tabareshti'. The intrigue on Combat would have been for making a correlate to this in France - with Barthes and all that. That could have been the reason for the story of Combat - and hence the more recent story with Smadja/smadra etc. After which Celan's later father-in-law acquired the flats in these streets - unless the family had owned them earlier - I still don't know when or why they were acquired.
'Aung San' is not likely to mean 'morphine', on this background, but perhaps rather the chemicals of Dr.Verboten. The reason for his assassination - and for the sudden intrigue in 'Combat' - would then likely have been in the name of his daughter and the plans already then for a global coup of the world power - plans which then could be installed into concepts such as Jung's (Aungs!) ideas of 'the syzygy' for the genetic level. It was a bad idea with this assassination in Burma - and maybe this 'syzygy' was not a suitable concept for the political intrigue after all.
On this background, Aung San Suu Kyi would have been a shadow image of me on the other side of the globe - cp. the Vietnam war. The reason for her house arrest could then be the same reason as for surveillance - a reference to the idea of SPY AND NERVOUS. 'Nervous' would be the label due to the hospital in 1999-2000 - which was precisely 'Sand-viken Sykehus' = 'San (aung) Suu Kyi'. But this is only one of the reasons and that is official. The other reason is the SPY and that is possible surveillance - and the house arrest in Burma. The real reason is of course that they plan to make a continuation of the holocaust by way of the JOB-NEG-y strategy.
The clue is in the REASONS. That could be 'Risløkka' = 'the reas[on] loop' as the parallel street to Labraaten. Which loop? Could be the black see LOP.
The mystery is in the addresses of the Celans. These could be taken to constitute something of a proof that they were involved in the project - either both or one of them or at least her father. Could be the family would have been offered these flats or houses on good conditions well in time - and could be these are the sort of correlations which can be obtained with 'top secret' index plans installed decades ahead and with a rooting in e.g. 'Beowulf' in its relation to 'Maldon'. 'The sons of Odda were first to flee' - that is not 'Rue de Lotta', but the concepts are nevertheless related anyhow. 'Italian' invokes the concept of 'mangiare' in this intrigue - and that is precisely the meaning of 'Vietnam' in Norwegian. The Vietnam war could have been a way of installing 'mangiare' relative to the other-side Norway - in the battle of USA (not Maldon) against the communists after they had to give up battling Beowulf-Castro on Cuba. Things like these could have been active. How on earth could I get into that Paxon flat in Athens? There were no other chances for me in Athens. When the dimensions are on this scale, then the mystery addresses of the Celans are perhaps not so mysterious after all.
The story with Jensen and Harlem is clearly of a 'ridiculous' kind - Jensen in bed with Harlem's (later?) wife Danderyd and then the 'gun-mad' colleague-neighbour (Hammerfest, Molde, Fredrikstad) Nygaard shooting through the window in 1963 while Harlem was health minister 1955-60 for controlling Jensen's career and defense minister 1960-65 for controlling the guns - that means that the Kennedy assassination in 1963 (when we lived in Molde at 'Stuevollen' and neighbour Nygaard was shooting out the window while I stood next to him in his living-room = 'stue') was a symbolic execution of 'Grøver' = 'Kennedy' - in the 'Battle of Maldon'. Even the assassination of Gandhi in 1948 could have been for the same reasons - for creating the political mythology. Then the onr-ovr 'Grøver' would have to move around from the one outpost assistant job to the other and give up an academic career in Oslo in spite of his sensational exam of 1954 - which was so good that he was admitted to the king for a handshake. Clearly in this mythology it would have been health minister Harlem who had administered the 'handshake' to the king in 1958 in return for his lapsus with the student in 1954. The theme for this ridiculous story (including Grøver/'Mengele' teaching me to read on Stuevollen, the word 'pannekake', at the table with a view out the open window - it was probably late summer or autumn but probably not as late as November) would have been the concept of 'onr-over' which could be the onset-truncated form of the name relative to the 'm-ARMOR' part of the San Pantalon soffitto in Venice, on the other side of the money-pulley-row.
This story is about the REASONs for the correlations with Celan. There were two reasons: 1) The 'morphine' chemicals in Hammerfest and 2) the hospitals that existed in Norway. In addition to this, there was the unspoken reason in terms of the ONR-OVR of Grøver/'Mengele' - a reason which could have been designed to cover also the assassinations of Gandhi (1948) and Kennedy (1963). It would also be this ONR-OVR which was the reason why he had to leave his GENEsen name and go over to John Grøver. But that means that the reason which was assassinated in terms of Aung San in 1947 - the 'morphine' reason - would have been the unspoken ONR-OVR reason of 1948 and 1963. Hence Aung San represented the GENESen part of the story. There was also a colleague doctor called 'Anders Munthe-Kaas', I think possibly a relative or at least name-sake of a (Herman?) Munthe-Kaas who bought the white T-262 beetle in the seventies, and for whom the issue of 'reason' could have applied also to the family relations of the Grøvers. But that name could mean that the 'Kaas' = 'cause' of 'Munthe', which could mean 'humourous' or 'to[wards] the mouth', which again could refer to the 'dehn-Mund' of the Hitler type on the altar part of the 'soffitto' for representing the 'Ausdehungslehre' of Grassmann, also could apply to the 'Anders' name in the sense that the 'humour' of Harlem, apparently in a mythologic sense of it - shooting state chiefs around the world - would apply to the reason of the 'morphine' chemicals. But that would mean a 'ku deta' strategy - coup d'etats in states for installing the verboten methods. If that is the story since Aung San 1947, the coup of Combat and Barthes' early article, with Gandhi in 1948 before the opening of the state of Israel, then it is clear that the whole story of the 20th century could boil down to not much more than an attempt to install verboten methods for ruling the world - probably organized by states out for a control with the entire world. WWI and WWII could have been made for precisely the reason of having a reason to install the method of government by verboten methods. The military government in Burma could as such represent a pretext attitude of attempted protest against verboten methods, and if the burmese government represents foreign powers in some way or other, that could mean a foreign pretext for pretending to work against 'Aung San' = verboten methods of the [jewish] genes-en.
Gorbachov resigned with the beginning dissolution of the Soviet Union after his perestroika and glasnost, and there was a coup attempt at a certain stage. Has there been a 'coup' in Israel? Is the state under total control by way of verboten methods? The black sea loop is likely to be intended to be a political means which stops protests even before they take shape in the minds of the people. I have no idea what is the situation in Israel in these respects. If the Soviet Union was dissolved and a coup was arranged in Pakistan for hinting about a certain situation in Israel, I mean if that was the reason for these historic events, then it is a little difficult to understand why the world does not start being a little more outspoken.
Could be Anna Politovskaja tried to be outspoken. If her death related to my personal history, one could see a link back to Aung San in that sense of it. Cp. also 'Mandelay' in Burma and the 'Spojke' phenomenon in Veles, Macedonia - with the churchill 'out'-yard on top of the hill - a sort of LIKUD phenomenon.
As far as the role of Celan in this story is concerned, one can notice that the situation with the war at the Falklands could have been about an attempt to push an 'e' into the name - for the form 'fall-Celans' as a variant of the later 'fal-scum', while the british reaction of Thatcher could have been to push it back out again to the 'fall-clans' which it really is. Hence the short war on the division line of the treaty of Tordesillas of 1500 = 3/4 relative to 2000. The Falklands war was from April to June 1982, which means about the time of the story with Club-7 and those things in 1982. The situation (which theoretically could have some relevance for the death of Politovskaja) at the Klingenberg cinema (with the Trondheim teacher behind a pillar) could have been just before this - around March-April 1982, perhaps - as is a likely guess of mine. Hence the recent death of Politovskaja could have been about the REASON for the 1982 war. (There was something with kissing in front of the cinema). The beginning of the war was related to the argentinian presence in the island of 'Southern Georgia' - which also was the reason for the russian invasion of Georgia recently.
'Southern Georgia' = 'sydgeorgia' = 'syke-orgia', cp. 'syke-hus' and 'syke-Norge' ('sick Norway') which was the domain of Gudmund Harlem as health minister 1955-60. But then 'syke-Norge' would have been the hidden reason while 'syke-hus' could have been a more official reason. The real reason would have been in the 'psyke-orgie' of the verboten plans. Hence the defense-ministry war was about the verboten program and it ended with a pushback of the 'harlemist' attack on Aung San. But british labour has been in the progress in recent years - after I was in England 1997-98.
Margaret Thatcher and Aung San - these could still be names activated for turning things around. The 'harlemist' program (on a mythological level, this harlemist involvement) of shooting state chiefs with names resembling 'Grøver' for a verboten 'ku deta' could have served to associate Grøver/'Mengele' with an anti-verboten attitude, including perhaps an intended swap of him with Celan. His name on the form 'Ancel' could have been planned to be about the 'uncle' for the foetus over the door in 'San Pantalon'.
The former name of the capital of Burma was Rangon, now it is changed to Yangon. That could resemble Smadra/Smadja - hence the origin in the story of Aung San with 'Combat' in 1947. And the new name of the country is Myanmar (formerly Burma/Birma), which likewise could have an origin in 'mitt ansvar' = 'my responsibility' = 'my REASON'.
My-t-an-sv-ar = T-SV
My---an-m-ar = ----M
cp. the P-sykehus (such as 'San[d]viken'), the syke-N-orge (Harlem-Norge) and the C-E-lan/Clan (cp. the 'Kennedy clan' in the sense of a harlemist persecution due to Jensen/Grøver/'Mengele' and the latter's swap-relation with Celan). And 'onr-ovr' and 'm-ARMOR'. Not to speak of the 'morphine' = 'phine-mor' = 'Myanmar'. Cp. An-cel = 'uncle' vs. Cel-an = 'Kennedy Clan' fitzgerald frutta as the intersecting door-altar axis relative to U Thant and 'm-ARMOR' in the cross-direction. That could mean that the name-constructions could serve to turn the roles around - and hence the effects of e.g. the Falklands war and the Thatcher government could be turned around for the Labour government in England. I notice Chomsky' G/B ('government and binding') theory from about the same times. The recent russian involvement in Georgia had its reason in an enclave - which consequently could make it a matter related to 'Southern Georgia' of 1982. The reason why such name-matters could have some effect could be in the currently isolated role of the country of Burma - which thereby could enhance its indexical function (guesswork of mine, this analysis). It would be about informational encapsulation - such as the house arrests of Aung San Suu Kyi and apparently also some encapsulation of me - I don't know why there is so little mail to me, and the reason why is perhaps not so interesting in my case - and the indexation of the units. But that is just when the addresses of Celan comes to be assigned such essential importance - being indexes for his spatio-temporal location. One could perhaps see the whole story as essentially linked to the interest in classifying Celan as an agent or SPY (and nervous).
Pushing in an 'e' - is that a goodenough reason? 'Argentine' turns into 'argntin[a]' with omission of the 'e', and in handwriting this looks like 'cu geta' or simply 'ku deta', which could be the political theme, or 'cupntur' which turns, by way of ambiguity or S-preposal, into 's-culpture' if the 'n' hops over the 'p' and turns into an 'l'. 'Culan', so to speak. In fact the name of the Oslo-sculptor from the days of 1982 could be a little interesting. It was in 1991 that I was asked to assist in an attempt to find out what was wrong with a 'boylar' - it turned out to be the fuses that were out, and my finding prompted a grabbing of my arm. But if the story is the Clan and the 'Ku Klux Clan', there is also the 'luchs 99n' scene from the US film of 1954:
The name 'Aung San Suu Kyi' reads backwards somewhat like 'juks-a vasken, hva?' and could refer to the kitchen tap situation with Laura Eidsvig in Labråten. ('Sanse-key' = 'sensorial key'). 'På juksa' is an expression of Norwegian fisherman talk which could be heard frequently on 'Notes about the fishing' on radio some years ago, with news from Loppa and thereabout. 'På stampen' was another expression which was used often in the immediate context of this. But that also means 'on the bucket-barrel' such as this one with '99' on it. The scene in the film is apparently modelled on basis of Laura Eidsvig's own living-room in Klipra. But that only means that the more references there could have been to this film, the more would it have been about a 'responsibility claim' = 'mitt ansvar' = at 42.666% = 00:47:58 to the fall (fall-scum, fall-clans) of the twin towers of Manhattan in 2001. And to the extent that this applies to me and my name, it could be about a strategy of a JOB-NEG-y kind. In particular, if all these things, including the reasons for the move-arounds and for the situation in Burma and the fall of the twin towers on Manhattan 2001 and many other things can be traced to the complex discussed here, one could conclude that the whole complex seems to be centered around my name - and that is when the JOB-NEG-y strategy could be the planned story. The world does not need another holocaust.
'Mangiare' for the Venice-Budapest connection could have been the reason for the Vietnam war, something which would make Italy vulnerable to a 'turbulent' legal system. The Hungaro-Austrian categories seem, in comparison, more 'outsawable'. For example, the international european health insurance forms (E-121) are typically to be forwarded to the relevant local health administration who are to sign it with a pen or comparable equipment and return one of them to the country of origin if only this signature is not dependent on another element which again is dependent on the insurance signature (an either/or-lock, that could be, or rather a 'both/and-lock' which perhaps could make an either/or-lock seem relevant to the neighbours of 'Bhutan'). The Cooley-Tukey and the Sande-Tukey algorithms differ mainly in terms of the directionality of the butterflies in the flowgraph, which means that the ink flowing to the nib of the pen for the signature on the document to be re-turned to Norway is a matter of order or directionality of circulation of the 'Tukey', be it at a Sande or a Mande table. My doctorate (not 'health insurance') - and thereby income possibilities - was rejected by Jens-Erik Fenstad, whose name perhaps can be compared with the formula 'benløse fugler' (bone/leg-less birds - it is the name of certain meatballs, not a turkey), which is not to be confused with 'fenløse bugler' (post deliverance, 'Bügeleisenlos', secret service etc). Ragna Grøver mentioned his name at the table already in the first half of the seventies, I think it was, or at least it was probably not so far into the second half of the seventies. 'Skeineløyse køyregreier' ('rail-less driving-gear', or simply 'fenløse juler') was a legislative category for 'car', according to Grøver/'Mengele' (I think the seventies). Norwegians are, as goes the saying, allegedly born with logs in/on their legs (not lorn with bogs in their begs - I notice that my official uncle Bjørn Eidsvig lived with his family at Bog-neset - cp. also 'bugne' about the 'frutta' and hence 'bogne-set' of a person who has seen the 'frutta' - outside Ålesund in the sixties - it can even mean 'soffitto'). Whether 'benløse fugler' is comparable to an 'Acute Volition Failure' syndrome (cp. also Manhattan 2001) or not, depends perhaps on whether the birds are lacking bones or legs, both of which are called 'be[i]n' in norwegian and the specialty of dr.Nygaard ('Jensen' was not 'Bensen', nor 'Fensen' or 'Pensen' etc). Clearly birds can fly without legs but not without bones. Flowgraphen, Flughafen. 'Flu-calfen' (cp. 'kalvekrysset') when at the view of the golden calf Moses had to go back for a second time for new tablets. The Falklands war was not the Balkans war. Dr.Nygaard's categories were probably 'outsawable' ('jens-erik benstad', that could mean, and I notice the name of the person who was responsible for the forced hospitalization of me in 1999 - which turned the 'doctorate' around for me - without the 'genes' but with an N/R in the last name). They even have a word 'muszaj' (can be used about order of things) in hungarian which could be about the Budapest-Vienna connection. If the system becomes turbulent, it may be important to keep in mind that the Vietnam war could have been a rather massive impetus to this Venice-Budapest connection and this pressure should not be confused with my person. There is an election coming up in USA. But clearly a Cooley-Sande-Tukey effect could be to return the 'nisse' (the 'St.Claus' person) - which even could be about the reason why people move to another country - to the home country while letting the foreigner in, which of course is a nice principle. This could even serve to split the reason off from the person, which means separating 'Aung San' from the 'Jensen' reason and thereby stop the confusion on the matter. Furthermore, this exquisite effect could lend a renewed basis to the evidential effect of the originality and authenticity of the San Pantalon painting and the assumption of its priority relative to Beowulf: That strengthens the italian system relative to the british. However, it has the by-effect that it also strengthens the american impetus to the Venice-Budapest connection from the Vietnam war.
To the extent that turbulence is the issue, from the oars in the oarlocks, there is a special situation for me in the sense of the 'jens-erik benstad' form relative to the phenomenon of 'Ernst Röhm' = 'er en ström' = 'is a stream/turbulence/current', which is contained in the replacement of the N with an R ('R-N-ström') in the last part of the name-construction, while the same replacement in the first part of the name-construction (or the whole of it) would constitute a reference to the form 'skeineløyse køyregreier' which Grøver/'Mengele' talked about. It means 'rail-less driving-gear' or simply 'fen-løse bugler' if 'bugler/bukler' means the wobbly turbulence which causes the smooth surface of the sea to become humpy or wavy and thereby drives a boat or gondola forwards. Bjartmar Gjerde was chief of norwegian 'broad-casting' (broadest of blades?), but that is 'many years ago'.
This analysis shows that the 'tukey'-turbulent system can find a good reason in Italy and particularly in Venice: It means that Fumiani's painting in San Pantalon regains (at least for some time, could be even permanently) its integrity relative to a possible british 'Beowulf' intrigue from 1731 (including perhaps the 'Maldon' story) and it means that the 'dentist' of San Pantalon is returned to his home country while the foreigner fleeing from the persecution is let in, which is a nice thing indeed. However, it also means that the force from the Vietnam war inevitably comes to integrate into the oarblades of Venice for a Budapest connection, which is what could lend another value to a 'Turkey' loop to Vienna-Paris - but that is outside Italy and the effect of this is not immediately perceived here in Italy. But that is why Manhattan 2001 comes to be an event which deserves some notice in this respect, not the least since it be about a 'landmark' which could come to associate Venice with the idea of 'the root of evil'. It must then be noticed that this effect would be due to the american warfare in Vietnam and not to the venitian gondolas - nor to my humble person . But clearly my personal history seems to have been integrated somewhat into the turbulence by way of names. Which means that although the thing looks right in Italy and certainly is, the american war in Vietnam turns the effect of it around for Italy and creates a spiralling turbulence in the legislative (and login-[is]-late-if?) field which perhaps could resemble the spinning suitcase (would it be 'valigia girando'? or 'vagina Rialto' for the Brinken-'soffitto' of Hitler = 'stat-ue of lib-erty'?) in the air of the essential moment of responsibility claim in the 1954 US film. But that only means that it ultimately could serve to dump the blame for the Manhattan 2001 terror on Italy and specifically the landmark Venice. This could also serve to make a 'bighellone' or JOB-NEG-y 'fannullone' out of me as a Brinken-'soffitto'. The 42.666% responsibility claim at 47:58 even contains a Venitian hat and a notable 'suit-case' in the slightly 'boneless' person 'Tim'. (Wasn't there some horrible stories from the Grendel-motherous region of Tirgu Mures? Something about football - or maybe that was elsewhere?) It is therefore even possible that the plan could have been to bomb Venice after having abused it for some time for creating the 'black sea loop' by way of 'the root of evil' which responded with a strike against Manhattan (Venitian hat?). Or the 2001 Manhattan could have served to turn Venice into New York for a 'rooting of the evil' there - which would have been the oarlocks of the twin towers, for 'driving the world forwards' with the 'World Trade Center'. If the massacre of Richard Durn in Nanterre was by a lonely hero and not arranged by political interesters, it could have its origin in the misunderstood justification of the US plans, and therefore 'Nanterre' = 'tanten' = 'U Thant' and 'Marilyn Monroe' at the end [ball]point of the black sea loop. I refer to my poem 'I read my fold' from October or November 1996 and to G.B.Tiepolo's painting of S.Lucia in Chiesa dei Ss.Apostoli in Venice (the photo is my own after permission) - the two artworks seem to be about the same, and then the 'metal in the body' is the mystery. From inside, from outside. Aspectual revelation mysteries. Blindernveien station, the Tangshan earthquake (I am no ceremonial cult man, although the painting of Tiepolo looks like a holy mass communion only, which perhaps is the very point). But that is precisely where the 42.666% responsibility claim in the film is an american misunderstanding - see even the painting and bookshelves in the background. I refer also to Derek Walcott's 2000 "Tiepolo's hound" (be it the work of 'von Herz' or not - I don't know when it was written).
If the norwegian 'case' (including Harlem and Nygaard and the 'Jensen' story) is that it feels right to be 'to the bone', then the easter 2002 mystery could have provided some tentatively permanent solution in terms of an 'english disease' of the queen mother, as an alternative to 'jens-erik benstad'. Is that 'the american misunderstanding' - that the alternative should be 'jens-erik fenstad'? The american misunderstanding becomes clear when comparing Tiepolo's bent mother or at least older woman 'reading her fold[ed hands]' behind the body of the main person with Frau Röver in erect posture behind 'Tim' - a posture which compares with the 'Heil Hitler' sign.
The idea of the bending vs. the upright posture is probably considered essential to british plans when one considers the alleged death of lady Diana in 1997: The word 'blaze' has a counterpart in greek 'blaisos' = 'curved outwards' (like the legs of the Eiffel tower) and in latin 'blaesus' = 'tongue-pressed', 'lisping', as in the venetian dialect. See below on See Anne Frank as Oslo Report #2, reading onset-trunacted on the 'affen of needle' etc. My official niece Camilla even had a speech error as a small child - she used a lax upper lip, a little to the side, for making a labial trill instead of the tip of the tongue for making a rolling 'r', and I recall Tone Gröver mentioning 'Chaplin feet' once when their son Sigurd was bathed as an infant. (Terje Westfoss's alsatian was called 'Chaplin'). 'Ve ne sia' is Norwegian for 'on the lower side', like the point in the curving tunnel relative to the Eiffel tower where the princess' car was 'crashed' = 'smadra'. This position could thereby signify 'blessed', as for 'God's chosen people', as could be the new self-understanding of the britons after the attempted coup of the jewish traditions and philosophy. 'Diana' is the roman goddess who sometimes is called 'Cynthia', cp. 'cyanide'. She is mentioned in Edmund Spenser's "The Faerie Queene", book I, Canto I, 39: "There Tethys his wet bed / doth euer wash, and Cynthia still doth steepe". There is even mention of 'Morpheus'. If the plan of Manhattan 2001 was to make a reference to the Oslo Report #6 in the sense of Duino or Venice as a lucrative business project on verboten principles in extension from the motion of the gondola oarblades, and thereby create a goodenough reason to bomb the place at a later stage (a prospect which in itself could have been enough reason to stop the verboten program in Europe - it's their choice), then one could even see the outlines of a 'ferry queen' philosophy. Edmund's penser, elmund's penser. Handwritten 'Mueritzsee' = 'Adriatersee' if 'The R is T' = 'Trieste', nordlich 'Berlin' = 'Duino'. That uniquely selects Venice as potential target for bombers - as a likely interpretation of Manhattan 2001. Oslo Report #3 = Gran/Harlem committee, as far as I have been able to decipher it. That was a committee at the university in Oslo when Jensen was there and had to go back to Ålesund. Could be that is the Harlem/Jensen story. The Oslo Report is clearly the template for the Eisenhower doctrine where my name seems to be behind #6. 'Rechlin' can be recognized as 'redrlin': "Som man reder, saa ligger man" means that one gets it as one prepares it, and making verboten in Europe is to get it verboten. "Reder-Lind" is the shipping-Lind, which can mean me as the organizer of the boats, which then can mean the gondolas of Venice symbolizing the program (and hence a reason for this idea of 1968 of me as a Dr.Verboten). It could even be contained in the form 'F-redrikstad', cp. F-Ingrid Betancourt etc. (There is also the story with 1980 Oslo neighbour Ragnar Söderlind who was trapped in the toilet cabinet when the lock went out of order and Moen had to call for a locksmith: That 'Södrlin' relates to the Oslo Report #6 'Rechlin' in a way which could lend meaning to the form 'sede trept-ember sittin next to [nothing]' for 3 September 1960, cp. the story under 'Celan in Odda' on the 'superman' and the 'gisele löst rangert').
One notices also the essential similarity between Tiepolo's painting and my photo of the revelation in the tree in Vilnius on that morning when I thought that my congratulations on the birth of princess Elizabeth of Belgium had arrived in 2001. As far as lady Diana is concerned, the news of her death appeared not long after I had sent a letter to the norwegian research council with an application, and I had noticed strange behaviour of apostrophes in the surrounding days. It seems that the interpretation of 'A-post-trofe' was not the case.
And although 'fen-stad' in this context could mean the 'iron cross' (cp. Bjarne/Braine for R/J) which Hitler also gave to Mengele, the real propaganda value is likely to be in the idea that Hitler was not right and even Frau Röver in statue of liberty posture is not right, and even Harlem is not right - and these were the three 'reasons' or 'causes' or even 'Kaas'es - but the 'bent Jensen' (cp. 'Bernt Eidsvig', the third of the Eidsvig brothers - I have speculated if it could have been Quisling but don't know about it - another guess is Karl Dönitz) is: Jensen realizes that he was wrong and his mistake forces him to leave the 'gene-sen' name behind and take a 'G-röver' name instead (or even 'in front' - cp. the concept of 'Jewish genetics'). Such a humble person is right, tells the folk mythology which listens to the propaganda, however much there may be a Mengele hiding behind the mask. This justification of Jensen could be the clue in the Klipra coup of Lenin's revolution, where the 'doctorate' seems to have an important role. And with the turning around of the name with 'G-röver' instead, there is the possible identification of Gröver/'Mengele' with Jewish genetics - for a continued hijacking of the poetic revolution in the sense of a Jewish revolution. And when this applies to the 'genes' of the elements of my 'doctorate' history, the forced hospitalization and the rejected doctorate degree, there are the elements needed for lifting the coup of Lenin's revolution over onto the coup of the Jewish-genetic poetic revolution. Clearly the solution is to liberate the poetic revolution from a Jewish basis and that would make it futile to continue the holocaust in order to coup the poetic revolution.
The end of my poem from 1996 (I had not seen the film at that time, and certainly not computed percentages) contains in fact this couple of names in terms of words resembling 'thesis written' or 'haspital' written, cp. Spenser's "The Faerie Queene". Is the host supposed to be transsubstantiated into a piece of metal (gold?) when it comes into Lucia's mouth? Apparently not, in Tiepolo's painting, but the person who requested or recommended hospitalization of me was in fact a businessman who was my 'host', the owner of the house where I was living. The airplanes that hit the twin towers (coin-sided, wall-on) in 2001 were anyhow certainly made of metal.
Afghanistan and Iraq can be seen to be about the same issues at least since the sixties: Both names can be seen to be about the erection of Harlem, Jensen etc. But an erection is not the same as a treason for a 'ku deta', although this particular story could suggest so. In countries where there is a threshold value for residence (settlement, cp. the settlers in Israel and the border issue) in the state, the 'Wexel Wexelsen' issue heightens the awareness of the concept of 'threshold', For this relative to the idea of 'reading the fold', there is the derivation from 'treasure' to 'threshold' which invokes the derivation of Greek 'thrix' with 'trikhes' (hair), which is the standard example of Grassmann's law. Clearly Hermann Grassmann 1844 is the one who is right and not wrong in this story, and the poetic revolution is naturally tied up to his mathematical model - as well as the etymological form which his historic studies are about. That is when Grassmann's law sounds like the right thing. Greek 'th' looks like '8' or 'B', for which reason 'thrix' looks like 'Bricks' or 'Bri-3' ('britons'?) and then 'trikhes' looks like 'tricks' or 'play' - hence 'Bricks Play' of 1980 in Fredrikstad. On the background of Afghanistan and Iraq and the visual matters, one can wonder whose 'prick' it could be about (by Grassmannian derivation or whatever). Now this 'threshold'/'treasure', which can be used for establishing a lower limit of capital needed for residence in a country (cp. the story of the 'Finanzierungsbeitrag' from Vienna), would also invoke the concept of 'treason' for a 'ku deta' - and then indeed the 'coup' (against the poetic revolution) - and the 'treason' - would look like the right thing from the viewpoint of just that poetic revolution - by way of a smart 'trikhes' which then comes to be accepted by the collective consciousness. Could this be a part of the reason for the progress of british Labour since 1997 when I was in London from February onwards - and Blair was elected PM a few weeks later? The 'threshold' would then also relate to 'the s[h]older' in the hebrew reading of the name 'Aukrust' - cp. also the conventional greeting 'yours sincerely'. (I notice also the placename 'Tresfjord' not so far from Molde - the norwegian guitarist/composer Terje Rypdal - cp. 'T-RJ-Rj-pdal' - is from Tresfjord - I did some part-writing for him when I lived in Voldgaten 1 in 1978-80).
It was after Kennedy that the Vietnam war was started - here assumed to be for installing the concept of 'mangiare' as an american concept into the Italian reality (it is, though, a little hard to believe that it could have been the entire reason) - and the twin towers were built about the same time as a representation of the gondola 'oarlocks'. Then 'man-JAR-e' means that movement of the gondola oars for the Venice-Budapest 'Jar' connection - assumed to be intended for the 'black sea loop'. The Vietnam war was a massive bombing of a country for nearly a decade, pure destruction, and clearly the 'mangiare' effect would be felt in Europe as well. 'Vajpayee' in India could be seen as related to the norwegian 'gjør-opp' (for paying after e.g. a meal in a restaurant) pronounced like 'Europe' on the background of 'mangiare'. 'Mida[s]' is norwegian for 'dinner'.
This means that the twin towers of the sixties along with the bombing of Vietnam created a pressure on Venice which forced it to the 'mangiare' in the sense of sucking the breast = 'bud-apest', and from there it went into the metabolism by the 'Veina'. That is the META-bo-L-ism. 'Bo' is to live in a house, such as by a 'host' - and the varieties of 'bo': Living in a house, domiciliation, residence, citizen etc., which constitutes a sort of bo-'ism'. This means that if there is 'bo-ism' in the story, and if the 'stream of historic consciousness' goes via Budapest to Vienna, then there is also an element of 'meta-l' (cp. 'Mida-s') involved. And if this metal is the 'golden calf', one could perhaps have ideas of turning the 'stream of historic consciousness' in the loop around - from Sande to 'Mande' Tukey, so to speak.
Do the international political intrigue-makers really believe that they can create a 'transsubstantiation' by way of such 'alchemical morphology'? 'Submorphemic signification' by administrative control of etymological form? Or is it the dream of making a golem, so that the administration can have lots of bodies in the freezer and pump oldtime historic souls into them? 'Charles de Golem'? The answer is much easier: We cannot make any progress before administration starts telling the truth and stops cheating people with pretext reasons. Then we can make a healthy poetic revolution which creates the possibilities for that sort of 'transsubstantiation'. For example, I could so to speak read the signature on Hitler's postcard through a historic telescope by way of poetry. Politics should not try and coup the poetic revolution for turning it into a power-game.
The strategy is not likely to be a golem: The goal is likely to be about extension of political interests in Europe. The golem could of course be just another term for 'Charles de Gaulle', and clearly the Vietnam war could have constituted such an enormous historic pressure on Venice that it probably is hard to withstand it. The current 'both/and-lock' I have experienced (insurance requires registration which requires insurance) could be a sort of Bhutan-gas-lock = Budapest-lock, and Bhutan (next to Burma) is after all some way off from Vietnam (with its possible 'either/or-lock'). I don't know if 'both/and-gas' could be about the problem that not all gases are combustible. I have been told that I nearly died from an asthma (as they called it) attack in Hammerfest.
I typed the last part of my TEQ, the little hat, into my computer on 1 August 2008 and now I see that a 'financial crisis' is on. I would not be surprised to learn that my computer is tapped. 20-26.09.97, 09.09.98, 09.06.00, 01.01.06. I see Olmert is soon turning 63, not 65, so maybe it is not tapped after all. I had predicted his age to 65 from my manuscript, and was planning some words on the topic, but the internet could not help me with more than 'turning 63'. It is anyhow very important that my work be not used for making the world even more 'soffitto' than it already is. If secret surveillance is used for tapping information from my computer and spreading it to political and/or business interests, for example on the top level of politics in a certain group of states, the world has a definite obligation to bring that 'Club Soffitto' to an end, and the names must be exposed publically. It is clear that participation in such organized crime is not in accordance with what democratic authority-relegation allows for. Am I supposed to come with my manuscript afterwards - and there is the number '65' and 'he has only copied from the news'? 'This poetry is written by the members of the Club'? Such tapping and organization and planning cannot be for any other purpose than for organized coup plans.
Cultural life must liberate from political control and intrigue. If secret agents infiltrating cultural institutions is a problem outside ordinary political control, then it is even more important that the world learns to be more outspoken than it currently is. The current 'slump' is a word which in norwegian means 'coin[cidence]' ('slump[ehøve]'): If Richard Durn was a lonely hero, it could be that his bullets were intended to be the COIN of the host in the painting of Tiepolo - it looks like a metal coin put into her mouth. That could be about the political role of English as a new KOINE language: If it is KOINe, then there is no longer a priority in the English situation. It seems that England, through the nazi intrigue since the mid 19th century, tried to convert its british empire into a linguistic empire, but that no longer obtains if it is a world of KOINe. This could even be the smart strategy which can elicit 'verboten' methods with heavy metals in the blood on the continent in a Black Sea Loop - in an attempt to take the british-linguistic empire by way of giving out 'transsubstantiated' metabolistic heavy metals, if that is what they use (I don't know if metals are used). The britons seem to have been culturally abused by the 'raw nonsense' of the myth-machine installed into their culture by just that administrative attempt to make a linguistic empire with attempted administrative control of etymological form.
Two final observations: I have earlier noticed that the first time I met Per Qvale it was in the home of Per Aanonsen in late 1973. It was Petter Enok Skau Jakobsen who took me there - he was a friend of Paal Aanonsen. 'Raa-nonsen[se]' ('raw nonsen[se]') can perhaps be taken to mean 'kvist' ('twig') in the sense of 'pure syntax without meaning'. But that is when it means Chomsky of today! And that is when poets may feel uneasy about Chomsky's grammar if it serves to turn etymological form into something political. That does not mean that 'Wexel Wexelsen' means 'Per Qvale', but if some take it to mean that, then Chomsky in the sense of 'pure syntax' is a link. Cp. also 'Hage'.
Venice is a place where the earth of the streets is water, and where the boats (the gondolas) plough the water like the plough of the farmer ploughs the earth. Which means that a name-conversion of Hitler into Eidsvig (via the 'Ernst Röhm putsch') could in fact have found its rooting in this special aspect of Venice. That is when the Venice-Budapest connection for a 'fer-boaten' program could appear to be a rather old construction - and when the oarlocks of Manhattan and the Vietnam war in that 'mangiare' sense of it could be an aspect of e.g. Kennedy which could be traced to Ibsen's dramas (Wild Duck, Eyolf Little, John Gabriel Borkmann) which seem to have a rooting in Fumiani's 'soffitto'. 'Fen-stad' or even more 'Fer-stad' ('Jensen, ik[ke] Berstad' = 'Jensen, not Berstad', so to speak - and if the latter form holds aspects of my authority at the turn of the millenium 1999-2000 - I had made Erik Berstad aware of a plastic bag ['plastikk-pose'] with white linen that had been left in the washing room for some time - it is what could lift my historic role over onto Jensen/Grøver/'Mengele') would then mean 'fer-place' (cp. 'fair plays'!) which would be the place in the water (plays off the broadway?) where the oar makes its turbulence for the movement forwards. 'We call the move now', could be the talk of the oar to the turbulence in the water. Cp. 'Vietnam'. 'Bo'orets' ('Barthes') would find a correlate also in my stories about OEVW in Vienna via 'borettslag'. The interpretation of 'mittohat' as 'Manhattan' could be the reason for Niklas Luhmann's death (cp. Adorno, Horkheimer, Gadamer etc) on 6 November 1998 (birthday of Maria Owings Shriver, the date is 'vier Monaten' = 'firmanatten' after Bjarne Eidsvig's birthday dinner 1969 when he went bankrupt, and it is the day when Celan met Ywan Goll for the first time - and the theme would be only small sums on the 'bank account', while Eidsvig of course well could have had much money on some foreign account even if he went bankrupt in Norway, in which case it could mean 'secret agent'). 'Barn-meier' and 'bæsje-meier' would be the story of the runners at the tree in Odda. Cp. the earthquakes of 'Bam' and 'Banda Aceh'. These things are what make the correlation of Hitler with Eidsvig relevant in any case, whether it really was him or not. One would guess that it could have been him.
If the plan is to make people feel that it is a pleasure and a joy to 'call the move now', to call for the ambulance to drive the neighbour away for possible 'verboten' methods, then the cruel abuse of human nature inherent in such a strategy would probably finds its one and only origin in that reading of the hebrew in this commandment against 'idol fitlers' in terms of 'wekol-temuwnoh'. That is when political administration has lost its rationale and basis in human reality.
Grassmann (1844 and later) was an attempt to make the foundations for a logic based on etymological form, but his work was ignored and administration seems to have supported work based on George Boole from about the end of the 1840's instead. His name seems to be a rewrite of 'Talmud Bavli' in Hebrew - including the form 'George Biole' - and one may wonder if he was a binary-logic joke from administration as a reply to Grassmann. Boole was born in Lincoln (not Lonciln) in the year when Beowulf was first printed and died in Ballintemple, Cork (not ball-on-temple, kirk), shortly after his 49th birthday. Quick math on this number gives 7x7, plus a little. 2πr comes close to 7: 3,14159 x 2 = 6,2838, divide from 7 = 1,11 = r, times 6 = 666 if 'John Grover' ('6-r') is the name. Is that 'Hermann Grassmann' in Hebrew spelling? 'John B.Grover'. Or does it rather look like 'Freddy Fjellheim' (or 'Freddy p Jessheim'?)? England should tidy up in all their old jokes of that kind, such as even Beowulf could be. 'Beiwulf' = 'bay-lwuf' (for 'a bluff') = 'Eidsvig'. ('Acute Pollution Bailure' = 'arin baylwuf', which perhaps can take a 'mande turkey' the other way - to Adolf Hitler, that could mean). So what are we supposed to believe about Rawlinson's decipherment of cuneiform? It is indeed a hypothesis of large interest that Boole could have been a construction with a name for the jewish-poetic revolution and with a theory of the most elemental anti-grassmannian kind, launched by adminstrative interests for couping his theory in the late 1840's - and the world let itself be cheated and has since then believed that the new information technology should look like Boole's theory, while everybody believed that it was Grassmann's new logic on etymological form which was in the development, while England couped the whole revolution in information technology by way of the nazi intrigue on Europe and two world wars. And everybody stretched their sympathies and confidence as far as they could for the sake of this new development. The cultural and technological damage from such a british plot 1845-1945 and the world's mistaken confidence in the british program may have been enormous. One may eventually have to wonder whether nearly everything of scholarly and poetic-artistic achievement from England will have to be considered in such a light - a bog of lies and fraud. That bog is not my book! These few stories from 1730-1850 are probably only the tip of an iceberg.
This story of the mistaken technology and the abuse of the confidence it was given had its representation in the form of 'John Grover' (1843-45, but there are probably no other reasons to believe that Grover 1843 was before 1844 than the year printed in the british document), and the relation between Harlem and Jensen/Grøver/'Mengele' was apparently lifted onto the next generation when it seems to have been applied somewhat to the relation between Harlem's daughter Gro Harlem Brundtland and me, although I did not discover these things before the millenium shift. Why was Grøver/'Mengele' at SAO in 1968-69, when that was Harlem's institute and he was the director of it? Could have been precisely the reason - that Grøver/'Mengele' had no choice and had to take this specialty in rehabilitation medicine. We children had been told in Molde that we had settled in Bjørnstjerne Bjørnsonsvei 7 and would not move again, but then it turned out that the hospital department where Grøver/'Mengele' worked would be closed down and he had to take this specialty in Oslo under the supervision of Harlem. (After which he got the job as chief doctor in Fredrikstad from 1970 on). These are things which people believe in, and they pity the poor Jensen who had no other choice than to take this specialty education at Harlem's institute and go there for a year with talk with the chief. People don't believe that this is theatre - it only serves to strenghten people's confidence in the authenticity and integrity of Jensen.
I recall also some talk about 'biulding' and 'boilar'. That could have been about "people's confidence in the authenticity and integrity of Jensen". It seems that not much novelty and creativity is needed before it attracts the attention of the secret services who quickly tries to get it under their umbrella of responsibility claims.
In 1992, I applied for a short-term stipend at the Centre for culture and technology (TMV, Oslo), after having been contacted (by Geir Kirkebøen) with a suggestion for a project there at the end of my MA studies. It must have been around the day when I got the phone from Torben Hviid Nielsen (cp. 'to ben ved trinsen', 'two legs at the pulley'), who was a co-leader along with Francis Sejersted, then chairman of the Nobel peace price committee, with the message that I had got a 2-month stipend from 1 November, that the son of then prime minister Gro Harlem Brundtland had suicided. An expensive offer for the otherwise (later) JOB-NEG-y. Jørgen Harlem Brundtland was his name. He had allegedly suicided while his mother was in Brussels and his father (Arne Olav Brundtland) at a NATO meeting at Kolsås - adding also up to a certain idea of 'NATO-Brussel' = 'nabo-trussel' = 'threat from the neighbour'. (I was not his neighbour). Cp. also 'taba trinsen' = 'mistake by the pulley'. I think there were no news about the suicide of the prime minister's son for at least a year (according to later reports). I arrived to the research centre as appointed on the first of November, but was told that Nils-Ole Finnemann ('Nil-Sole Finnemann' = 'no-sun hel-sinki', so to speak) had been on the place before me and wanted to extend his presence there with another week, for which reason I would have to tumble out again and wait for a week. At the end of that week, one or two evenings before I could start, Gro Harlem Brundtland announced, to everybody's surprise, that she would resign as party leader in the Labour Party, but would continue as prime minister. She continued in this position untill she resigned in 1996 and switched to head of WHO in Geneva, Switzerland, in 1998, where she was (as a sort of 'world chief doctor') while I was held at 'Sandviken sykehus' (hospital) 1999-2000. It was later told that it was the suicide of her son Jørgen which was the reason for her resignation as party chief in 1992. Francis Sejersted also had a son called Jørgen ('Jørgen Sejersted' rewrites into 'jeg er sørgenstedt' = 'I am put to mourning' but perhaps not necessarily 'to rest'): He went for a stipend at the university of Bergen when I went there in 1995. When I arrived there in Oslo after the week was over and Brundtland had announed her resignation from the leadership of the party, I found that there were another two people on conditions similar to mine : This Nils-Ole Finnemann from Denmark as well as Vessela Misheva from Sofia. She had been a student of Niklas Luhmann and asked me if I knew what 'bemannte Flugzeug' means. The expression exists in the Oslo Report #4 - which perhaps can bring associations onto 'Nickel Oslomann', but I did not get the impression that she could have been involved in the 2001 Manhattan terror. I did not tell the peripheral remark on to others, as far as I know, and I am fairly sure about that, but there could of course have been a microphone there. Luhmann's death on 6 November 1998 - if not for natural reasons - could even have served to create the impression that his death was on the background of my idea, for example due to this remark of Misheva in TMV in probably late 1992 or perhaps early 1993. That could even have served to create the idea that I could have been involved in the 2001 Manhattan terror.
I don't know if it could be 'harlemist interests' who could have surveyed me within the framework of the Schengen agreement - in order to keep the Harlem/Jensen mythology alive, that could have been. I discovered the Harlem/Jensen phenomenon so late that I have no idea how extensive the phenomenon can be relative to me. If the plan is to label me a secret agent (for example, sending my manuscript around to the 'club' - they can confirm that - before coming up with it publically), the whole apparent theatre with Harlem and Jensen could even have served to create the idea that my own story is theatre of the same kind. Which it is not.
The war against the intellectuals (the list is very long, it seems) would clearly be more or less identical with such a 'Club Soffitto'. There would not be one 'project' on me in that style and another one organizing murder of e.g. Luhmann for engineering suspicion against me of involvement in his death and in the 2001 terror on Manhattan. It would be the same program with a rooting in nazism. That war against the intellectuals is of course the same story as would include a fraudulent or at least Grassmann-hijacking Boole. And people still lend it confidence because they believe that it is something else! People believe that Boole is the poetic revolution! It takes time to develop such a new cultural-technological program as Grassmann's and therefore people still take confidence in the development and their representatives. At the time of Lenin, there was a world wide basis for a communist revolution for creating the basis for a poetic revolution. That communist revolution could well have failed because of such a Boole story. And what is left of the enthusiasm today? Film should have been a revolution in narration - and today is hardly more than a propaganda tool for that political program since Boole. This is the gap which opens under England and which one day will have to be discovered by the world's historic consciousness. And that could even have been what they made the 'octogon' project for. If e.g. Luhmann was murdered for creating the idea that I am a secret agent, it could have been for just that dumping of this historic catastrophe over onto me and my jewish-genetic background.
The role of George Boole in the political history is probably so massive that politicians have not even dared to let out the 'news'. The key is in the hebrew spelling of 'Talmud Bavli' (= 'Babylonian Talmud'), which looks a little like George Biole (one transcribes it from English, with alphas for 'A'). It seems that the role of Boole was to take the place of Grassmann's poetic revolution in mathematics and linguistics by the simple trick that the poetic revolution was identified as jewish and specifically talmudic, and hence 'George Boole' should be the key to the new information technology, while the political intrigue installed aspects of the talmud into 'world history' in the 20th century. A relevant example of how this was made is in the role of Mussolini in Italy. The key phrase is in Talmud Erubin folio 17a, which reads (in quasi-english transcription) 'sheloshah behamesh asorin beshevaH mutarin' = (roughly, word by word) '3 out of 5 fascies 7 surplus'. Here 'asorin' means that band which was used to tie up a bundle of twigs or straw or wine press gear, the symbol of Mussolini's fascism, and his name is in the 'mutarin'. Then remains the 3, 5, 7 which are in lines 3, 5, 7 of the 'terza rima' table, the structure of Dante's poem which never is presented in an analysis of his work simply because it is considered a political secret (which reduces literary analysis to a ridiculous game - possibly as a result of the war against the intellectuals):
| 1 | 1 | 1 | - | 1 |
| 2 | 4 | 8 | - | 2 |
| 3 | 5 | 7 | - | 3 |
| 4 | 8 | 2 | - | 4 |
| 5 | 7 | 3 | - | 5 |
| 6 | 6 | 6 | - | 6 |
| 7 | 3 | 5 | - | 7 |
| 8 | 2 | 4 | - | 8 |
Dividing 7 with 2 x pi leaves the surplus of 1,11 of line 1, which multiplies with 6 to line 6 = 666. Which means that the 'pi' or circumference of that fascies band is contained in this scheme. For the remaining 2, 4, 8 there is a logarithmic relation which contains the basic clue to the 'e'. This 2, 4, 8 seems to have been used for the postal codes that were introduced in Sweden on 12 May 1968, 2 years before the death of Sachs and burial of Celan in 1970, for indexing Tantolunden (cp. the Inga Brynolf 'Danderyd' wife of Harlem and the possible 'story' with Jensen) where also Sachs' Holmqvist friends (Bengt and Margareta) were living. Which means that if Sweden was 'e', Italy under Mussolini was 'pi'. These are probably secrets of politics. One can add to it that Churchill's V-sign seems to have represented the undelicate formula 'the noses are assholes', possibly for the idea of Hitler and his government in Norway after the war. The 'Azores' reads from the 'Bahamas', hence 'assholes' for the 'isles'. I recall Grøver/'Mengele's song-intro to his early cookery: "Nå er det mat å få, nå er det mat å få, ta med deg kniv, skje og gaffel', which could be contained in this 'på skiva mutarin asorin behamesh sheloshah'. 'Margarine' was introduced as alternative to butter - could be for this 'mutarin' ('Mussolini') 'på skiva' = 'on the breadslice'. I notice also 'benk[e]t' = 'at the table'. This construction with e and pi and the ancient 'norses' could be a background of the 'Kupseli' phenomenon of Greece. And currently Kosovo and Macedonia.
Now all this could in fact have no other reason than an indexing of 'Talmud Bavli' which hence could mean 'George Boole', which consequently means 'british hijacking of Grassmann's poetic revolution', or simply 'Kup-seli' or 'ku deta'. 'Ku ps-eli' could be short for the function of the conventional greetings (yours sincerely etc) before signature. Simply: Mussolini's fascism in Italy would have served the function of giving force to the british hijacking of Grassmann's poetic science by way of the trick of George Boole. It means that 'fascism = british', which seems to be a simple case of apparently historic truth. This is what continues today with the postal codes of Sweden and the Kosovo bombing campaign and all that. The whole history must of course be described in this way and not by way of 'political analysis' on a par with the literary science which never understands the structure of Dante's poem.
The assassination of Aung San was in 1947 and Marilyn Monroe started her career in 1948. According to Microsoft Encarta, she signed the contract with 'Twentieth Century Fox' in 1946. Her name could be a construction on basis of '7 surplus' (cp. the cigarette called 'Seven Seas' from the sixties - which came to my mind in Vienna when a certain situation invoked in me the idea of 'en stemning, et sted, en stil', a cigarette commercial from the same times) = 'beshevaH mutarin' = 'Mutarin' plus the hebrew of 'beshevaH' which graphically is not very unsimilar to 'Monroe'. Her role could have been to give an international basis for the Harlem-Jensen story. 'Aung San' is a form which can be traced to talmudic hebrew: Aun = to press, San = to tread (such as wine grapes in the wine press), Sain or Sian = clay, dirt, (cp. also 'Johng Rover') while Siaur (with graphic similarity of the last two letters with the final 'n') = 'leaven', the process which also gives alcohol in wine. This means that 'Burma' (or the current form 'Myanmar' which perhaps can be seen also in these forms) can be recognized as the place where Aung San tried to make wine from clay and dirt, such as the walking on the dust roads ('San[d]-veien') of Celan in Tabareshti during the war. But that means just this form 'asorin' = 'fascies', certain gear for the wine press, from this construction in Erubin fol.17a. It means that with Marilyn Monroe added, there is only the 3 and 5 left of the construction, for the 'pi' or rather '666'. 'Shuuh' is hebrew for partly the same concepts as 'Aun' ('be bent', cp. 'Bengt' for 'Aung'), while 'qui' = to circle, to gather, heap up - as for Mussolini's fascism and the 'pi'. This makes it likely that the role of Aung San in the story from 1947 could be due to his daughter's name, possibly also his political program, on the background of the probably engineered fascism in Italy. It could have served to lend a false image of progressive politics to the intrigue-makers for swapping their own fascism with more interesting political programs elsewhere on the globe. It would mean to pump political and cultural resources from Burma over to UK/US - not the least by way of the power resource in the holocaust which lent much pressure to the construction by way of the role of the talmudic hebrew.
Did George Boole exist or was he a construction presented after his death? He could of course have existed as a concept of self-taught 'math professor' even in his lifetime, although he could perhaps have tended to be out for a cuppa or polo (or both!) when people came around to see him. He was 'professor' (whatever that means - could it have been about a 'propp-presser'?) at Queen's College in Cork. Corking the wine and the bhine etc. His math is a simple construction which looks as contrary and opposite to Grassmann as one can get it, and it is based on the art of manipulation of symbols on a paper. For example, in his 1854 "An Investigation of the Laws of Thought" he replaces 'propositions' with simple symbols (a, b, ...) and moves them around with rules of symbolic manipulation. The innovation of Boole was the use of a binary 'lock' ('lås') of 0 and 1 (with BIOLE vs BOOLE as a british correlate to Grassmann's etymological logic). He is considered the father of the modern computer, and modern informatics science and computer technology are built on his science of manipulation.
If it had not been for Boole and the political program on his character, we would probably not have had a digital type computer today - and not even a war against the intellectuals - but rather a form of differential continuous computer which could take natural language as input and compute on its poetic logic in a way which would not have been in conflict with cultural traditions and spiritual aspirations. Boolean logic can replace any noun with any noun, and today shopping centres and banking complexes and schools look almost the same all over the world. The digital computer is a sort of 'war against the intellectuals' in this sense of it. Academic institutions are in a tragically pitiful state for the time being.
This story tells why THE NAME has come to get such a prominent position in politics. It is soon enough to analyze the names of a certain political complex to get an overview of what it is about. That has two reasons, which probably are one and the same: 1) A new emphasis to names due to the role of Boole is inevitable as long as this continues. 2) There is the aspect of England's neglect of truth and concern for the state of other nations. "But do you really mean that we should restrain ourselves because of the NAME of the mathematician?" Since it is still a little difficult to claim that England is not truthful because they do not come out with the hebrew-written similarity with Boole's name, politics has started to lend more and more emphasis to the name in order to reach the state wherein it one day can be possible to claim that, yes indeed, England must be considered UNTRUTHFUL untill they come out with the story about the trick of the name in the case of Boole. But that is difficult to claim before the name has a defining role.
Untruthfulness it must be called if the progress of the Boole-based program is driven forwards by the holocaust attack on the Jews - and if the holocaust was arranged for the interests of England.
If Boole is only the top of the iceberg of british scholarship and culture generally, one can just take another example out of the air and see if it makes sense. I tried 'the Rosetta stone' and conjectured: This is certainly a candidate for british 'falscum' if it has come via british sholarship. I looked it up on internet and found indeed what I had suspected. It was allegedly found by a frenchman with the telling name Pierre Francois-Bouchard in mid July 1799, which means 100 years before the birth of Bjarne Eidsvig on 6 July 1899. The report on the internet supported this by a british source, when telling of the french army when they were presented with the news of the finding that "it halted by itself and, by one spontaneous impulse, grounded its arms" (Robert Claiburn is the quoted scholar) - which reads 'Eidsvig B-jarne'. The stone disappeared but was later brought to England by a 'Tomkyns Hilgrove Turner' who claimed that he 'had got it from some arabs in a Cairo backstreet'. There is even a William Hamilton involved! They never get tired of this story? One can probably leap to the conclusion right away that the Rosetta stone can be a british 'falscum' of rather impressive dimensions - which indeed could have cost the world a couple of centuries of wasted work. A briton called 'Thomas Young' ('Young Rover'? 'Aung San'?) claimed to have deciphered it in 1823, but Champollion is normally credited with the solution. A pity if it was chiselled in a british ministry. Is all we know about ancient egyptian based on this Rosetta stone? Indeed, 'Toot and Comin' means something like 'Bjarne Eidsvig'. We must only hope that the famous egyptian death mask of 'venetian' design and all that tomb gear were not made by some british sculptors. A walk through the British Museum is really impressive. One solid swindle is enough to take the bottom out of the confidence in the entire museum, of course, and I think the britons should come out with the explanation to the 'jokes' they have. The sphinx seems to be original, though, and the pyramids. 'Anne Frank starry' is likely to come out as the FEmily Dickinson (I notice also the previous tenant in Paxon, Kupseli, Athens, cp. FE turning into greek AX, cp. also BA38, leaving 'FEmily Dickinson' = 'Axel Jensen' + 'my dick' / 'mytisk', cp. even my phimose of 1963) when Otto Ville Kuusinen after the death of Lenin and Otto 'briton' Frank in theory could have been a version of Anne Frank's alleged father. See Oslo Report #2. Grigorij Evseyevitsch Zinoview, Otto Ville Kuusinen and Arthur MacManus were the signatures on the false british letter of 1924, names which easily can be read as a british responsibility claim on Anne Frank's diary relative to Emily Dickinson's work as a part of the coup of Lenin's revolution. Merit is history, buried is history. My official cousin 'HFN' (Hans Frode Nedregaard), cp. 'HAN' or 'HAV', played on a Moeck recorder before he died. Is it really the case that everything which comes from british sources must be potentially discarded as fraud and nonsense? There are many people all over the world who work with egyptology and cuneiform sciences.
To take one example of the power still left in the Jensen/Harlem theatre: Joergen Harlem Brundtland allegedly suicided when I got the message from Torben Hviid Nielsen that I had got a stipend at their research centre. 'Recep Tayyip Erdogan', current prime minister of Turkey, is a name which rewrites from Sachs' poem 'Die Stunde zu Endor' from the time when I must have been conceived from her egg: 'Die Stunde' handwritten upside down looks like 'Ayyip Retsep' and 'zu Endor' rewrites to 'Erdo-ga-n'. Reception of something is often credited with a 'thanks' which often is 'takkskrua' ('takk skal du ha') in Norwegian. (I became aware of the effect of the expression after having been concerned with the phenomenon through a longer time and then a response of that kind elicited the discovery). Now 'ERD' = 'takk' and something the opposite or not to 'Jörgen', in particular if the issue be about political-Hebrew genetics, 'O' = 's' in Greek (with a little flag) and relates to 'Harlem' via a GRAFIC similarity which can be traced also to 'G-Rafik Hariri', who also applies to the spelling of (Talmud) BaBLI for 'Boole', while 'GAN' relates to 'krua' in a way which combines in handwriting to 'kruagan' = 'brundt[l]and', latin writing. Hariri died in a car bombing in the traffic, hence 'TRAFFIC har RIRI' when the double hebrew B or V turns a quarter around the clock to ri-ri for constituting an O and a Greek S. This name-relation of 'Erd-o-gan' to 'takk-s-krua' is furthermore rooted in the letter of Sachs to Celan of 13 December 1967. I have tried to compute when I met my friend Geir Hagbö in Molde for the first time. We were in their summer house on Buggestranda in the summer 1968 and hence I knew the family well before that. I recall that it was late autumn or early winter and hence it must have been late 1967 that I met him. His name is a rather precise reference to 'Beowulf' (Grendel and his mother), and maybe his parents' names (Oddbjörn and Liv). The story of 1967-68 seems to be that when I met Hagbö it had some influence on my relation to Sachs. She wrote to Celan about the golden light from Zuerich and Paris. I have computed the name of his father Oddbjörn Hagbö to be a representation of the name of Paul Ancel-Celan and Ingeborg Bachmann 'oppå magen' (on top of the belly) from the situation which could have produced a condom with sperm - in the sense of she over him = 'high position in Loppekassa'. If Bachmann left a memory on top of Celan's belly in 1947, it would have been a proof for him that she was an agent, but that could just as well have been guesswork on basis of their names. Why is the word 'TOP' redundantly on all doorbell buttons in at least Austria? Does it mean this 'on top of the bellybutton' - in 1947? The name of Petter Enok Skau Jakobsens's grafic firm 'BONTON' (in the eighties) could also relate to such a bellybutton 'on' something. However, the story is all about the problems which were created for the genetic parents when biological material was stolen from them for making children in environments hostile to the genetic parents. Celan's letter from Stockholm to his wife of 5 September 1960 (shortly after he had been in Odda) refers to Sachs making the symbol of a camera lens and telling of the white gloves she got from Bachmann that they were 'proof of falsehood'. This is likely to be the FALSCUM of later intrigues, and it is likely to be about a possible proof made by Bachmann herself, for example as an unambiguous reference to the situation in 1947. But Celan wrote that Sachs said this not for proving falsehood but on the contrary for telling that I was not rejected by my genetic parents. Which means that Bachmann could of course have made such a proof for precisely the same purposes! Both she and Celan had perhaps seen the film "The third man" (ending with the scene from the burial-site of Vienna, with a long alley with leaves falling from above, at a cart 'holding the wood', cp. 'Arne Treholt' - Celan and Bachmann had a relation in Vienna in January 1947 and Graham Greene travelled to Vienna (to 'Hotel Sacher', cp. 'Sachs') for finding material to the script to the film only a few weeks later, which suggests that a condom could have been found in the mean time) and to make such a proof on basis of the film would have been easy. If a political intrigue on 'falscum' refers to this 'preuve de faussete', it is likely to be about this aspect of the story.
This is also contained in the form 'durchsichtig' in Sachs' letter of 13 Dec 1967, in the sense of 'd-URS-hichtig' = 'Odd-björn Higbö/Hagbö' plus 'Li Vagbö' (I think 'Liv Solveig Hagbö' is the full name). This means that Sachs' letter would have served to attenuate the suspicion which Celan could have nourished that Bachmann was an agent who thereby held the authority to the source of the contents of the condom - if the situation under/over really was like that. A caretaker ('The third man') could have found the condom but could not have had knowledge of these details (see 'Celan in Odda' on the 'superman' and the 'gisele löst rangert'). This means that the names of the parents of Geir Hagbö represent the genetic origin of me. I notice that while I could have needed to have my jaw regulated somewhat forwards in the sixties, he got that equipment installed although it seemed unnecessary. It could have represented 'Cafe Kleber' at Trocadero where Gisele Lestrange wrote her first letter to Celan on 11 December 1951. 'Klafe Keber' was perhaps a description of the metal bow behind the neck at night and the gear for holding it to his teeth and jaw. 'Ka fek leber' could also be about his name, while 'Trocadero' means 'stepped around even there' (could mean Hitler's rape). Sachs wrote about Gisele's 'hand' which could be what held the pen in those first lines, if they were already at play in norwegian contexts, and clearly Celan knew from his inner experience of the reading that she was not a secret agent however much intrigue-makers tried to create the impression. It is about Gisele's hand and Sachs' 'Augenlicht' which is what skips the intermediate level of alphabetic representation - precisely the level which is activated in the name-relation of Erdogan to 'takkskrua' (and Harlem's son). Sachs writes 'Der Marc gehört auch zu uns. Durchsichtig!' This seems to have been a reference to Marc Chagall, hence 'm-Ars Hagall' for 'Geir Hagbö' as the 'Beowulf' Grendel who was the genetic son of the name-references to Celan and Sachs. It is not relevant to this interpretation whether Geir Hagbö was the genetic son of his parents or not since the letter seems to be about the parenthood of Sachs and Celan. Now if there was a genetic sister of mine born in 1967 - also for the idea of a niece in the school dentistry in 1970 - it could have been the function of Geir Hagbö to be the representation of this in his relation to me which was the background of Sachs' letter. The idea would have been that the sister could have been conceived before me (at the time when Sachs wrote 'Die Stunde zu Endor') but born ten years after me - and that could have been the origin or purpose of the Eichmann case in Jerusalem. Now 'durchsichtig' would have meant that the genetic parent-relation of the Hagbös as activated in the time of 1967 would have gone through the decade and years back to May 1953 when she wrote that poem and the eggs could have been removed from her ovary. "Es war so lange schwarz für uns beide, fühlte mit Dir durch alle Länder". Then the Eichmann case would have been about that 'durchsichtig'. It is a likely part of the political intrigue to lend emphasis to the conception and not birth and to take this to be about the conception of ideas which are under the control of administration who controls etymological form, for which reason the control of the relation between a sister of mine and me could be in the interest of administrative intrigue. The name-relation of 'Erdogan' to 'takkskrua' is in fact contained in this 'durchsichtig' such as it relates to 'Oddbjörn Hagbö': Durch/takk gives d-URS-h/ERD/Oddbjörn-h, furthermore S/A/O (= SAO of Gröver/'Mengele' 1968-1969, Harlem's institute), plus ichtig/gan/gbö. The GANe means the ceiling of the mouth, the hard and the soft palatum, and it reaches from the T back to the H or therabout, hence (durs)HICH-TICH. This relation is also contained in ICH und DICH/TICH, which could be about grua/krua in 'takkskrua'.
After Celan had returned from Odda to Paris in 1960, he visited Martin Buber on 14 September. He seems to have deposited for him in his hotel on the evening 13 September some books of his and some poems of Mandelstam in his own translation, but when he came to meet him on the 14th there was no real meeting or dialogue, as seems to be the case. Celan seems to have been an enthusiast of Buber from Czernowitz but this meeting changed his views on Buber. Felstiner in his biography on Celan refers to personal communication with Bollack and Demus, however relevant these comments could be to the story. Bollack could tell that Celan had kneeled down in front of the 82 year old 'patriarch' Buber in the hope of a blessing, which failed, it seems, and it is natural to compare this with the story of a squatting Celan in front of me as a 3 year (8 split in 2) old 'patriarch'. Demus had told that Celan had brought a book of Buber which the author signed, but Celan gave it away (to Demus?) after a few days. I don't know how much Celan could be the source of these data or if it could be intelligence sources.
A possible interpretation of the role of 'my art in buber' only a few days after Celan had been in Odda could be taken to be about his art in his son or at least young boy ('Bub'), but it is likely that Buber is not that sort of story element and it seems that Celan's disappointment about Buber has nothing to do with me or the visit to Odda. Buber is known for his theories of dialogue or communication, with the ICH-DICH relation in contrast to an ICH-ES relation which by Microsoft Encarta is recognized by an 'indirekter, zweckmäßiger Beziehung', words which echo 'Ronny Zweck' as onset-truncated from 'Aron Eidsvig'. Buber's work is from 1922. The contrasting ICH/DICH could then be about 'doll fitlers', and the two concepts meet in a theory of 'communication' = 'toot-and-comin' = 'Bjarne Eidsvig'. Buber could have had these data in 1922. His 1908 'Baalschem myth' is perhaps even more impressive: It is about the socalled "Hitlahawut", what he calls "Die Inbrunst der Ekstase", the very "Entbrennen". This is the aim of all good jews - to be consumed in the fire of 'Hitlahawut'. This was after Ibsen had written his 'Eyolf Little' but before the appearance of Hitler on the historic stage of Europe. It is the piety of chassidism to be which was developed in Europe from about the time when Beowulf could have been written in the first half of the 18th century, as a counterpoint to the socalled 'intellectual' talmudism of e.g. the Vilnius Jews. Perhaps this socalled chassidism can be traced to the later war against the intellectuals. Buber is said to have created a revival for chassidism and was a zionist who worked for the establishment of the state of Israel. It is likely to be the same movemement which today is installed in most european states in the form of secret administration, the socalled international secret service project which is more or less identical with what created nazism and what keeps it going as an international coup of democratic power. International secret service is the enemy of the people at least in this sense of it, not the least because they never tell what they are doing or why and therefore the people do not get the chance to stop them. They seem to have a complete fixation on the details of the lives of Sachs and Celan - and the biographies of these two poets do not contain a single mention of such interests, as far as I have been able to find. These secret services work for the priority of administrative logic over poetic logic and probably do not understand much of this themselves. Buber's nose was slanting like Gröver/'Mengele's.
Celan seems to have left Paris for Stockholm on 31 August 1960 and come to Odda on 3 Sep 1960 and from there continued on to Stockholm, either by plane or train. He seems to have returned to Paris on 8 September. The clue to the story seems to be in a letter which Buber wrote on 7 September. It is written in Zürich and addressed to a 'Simon Schereschewsky', a name which means approximately 'ronk jarnegg röver' ('simon cut-aslant'), the key to the mystery of Celan's addresses in Paris relative to Gröver/'Mengele's morphine-shaped career. The letter is reproduced in Martin Buber, Briefwechsel III, Heidelberg 1975, pages 512-513. There are the following lines at the end of the letter of 7 September 1960: "Eben erhielt ich einen Brief von Golan, in dem er mich dringend ersucht, doch nach Florenz zu kommen; die Ägypter legten, sagt er, besonderen Wert darauf. Ich hatte zwar La Pira abgesagt, will es aber letztlich davon abhängig machen, wie ich mich nach der Pariser Anstrengung befinden werde. Es wäre mir sehr lieb, für unsere Sache noch etwas tun zu dürfen. *Ner habe ich nicht bekommen, weil mir Drucksachen nicht nachgeschickt werden". This fragment clearly leaves the impression that Buber, by ordinary 'understatement' talk, makes the hint which the reader is invited to catch that Celan (La Pira relates to Paris such as Ancel/Angola relates to Celan/Golan) had asked him to come to Paris after the visit to Odda not the least because of the concerns of the 'egyptians' (= Nelly Sachs?). One notices the african map. Is it likely - on this background of old Buber due to the wish of Celan and Sachs undertaking the stress of a trip to Paris - that Buber, when he eventually met Celan on 13 or 14 September, rejected him in the brief meeting? Then it would have had to be because of bad mood of Buber or surprise behaviour of the poet. If that is not likely, which it is is not, it means that Celan's 'deep disappointment' must have meant something else. One could guess, as one wisely does, that the reference to Golan is not about Celan at all but rather about Israel, and the 'egyptians' is not Sachs but the neighbour. The question is who asked Buber to write this letter and to go to Paris. My guess is that it would not have been for sending a telepathy message to me or the world, but rather that it could have been Israeli or comparable interests, who by Mossad or similars could have got hold of the information (for example from Gröver/'Mengele') about Celan's trip, and who created this story with Buber.
The form *Ner is likely to indicate 'on yar ner-over' (the star is in the sky, 'on yar over'), onset-truncated from 'John Bjarne Grover', mirroring perhaps his own 'arti nuber' ("Es wäre mir sehr lieb, für unsere Sache [cp. 'Sachs'] noch etwas tun zu dürfen") - 'arti[g]' means 'funny'. When it is Martin Buber who wrote to 'Simon Schereschewsky' = 'Ronk Jarnegg Röver', it is about the morphine career of Gröver/'Mengele', which an old humble chassidist could not have known about. But this career scheme is nothing but an insinuation that Celan must have been informed about Gröver/'Mengele's career in advance since his own addresses were chosen in Paris while the hospitals in Norway could not have been built that quickly. Rather the hospitals were there first and Celan moved around in Paris thereafter and that could be an insinuation from the old humble chassidist Buber carrying loads of sympathy from Jews all over the world bordering onto an alleged proof that Celan worked on behalf of the secret services. A spy! Outside the house! That clearly would be to swap roles. A line from Buber's letter supports this interpretation: "Daraus kann nur eine postulative Folgerung gezogen werden: dass uns die Chance zur Rückverbindung mit den Vätern und Urvätern gegeben werde. Dies denen, an deren Adresse es geht, schmackhaft zu machen muss ich mich bemühen". After which follows the above quote about Golan etc. (Venetian dialect does perhaps include some 'smacking of the tongue' - 'schmackhaft', that could be, a little retroflex, and I think I have seen handcuffs symbolizing things which perhaps could be relevant - was it about the zoo in Vienna?)
In short, it seems that Buber's letter served to create the impression that he was me articulating the suspicion that Celan worked for the secret services and thereby was my enemy, and when he ('I') was invited by 'Golan' to go to Paris and this Celan came around, he was shown the way out very quickly. This would have served to create the impression of an efficient rejection from me of Celan: If he had believed that he was welcome with me in Odda he had better think twice. Hence Celan's disappointment did not mean anything else than a disappointment by Buber, a person he (like many other Jews) formerly had been enthusiastic about. Buber's letter and possibly even trip to Paris could to have been quite simply for creating a wedge between Celan and me, not the least since Celan's visit to Odda would have been of immense importance for my understanding that I was not rejected by my genetic parents.
Therefore, perhaps, even Sachs wrote a letter on behalf of me (she was my 'secret agent', so to speak, here due to this 'Buber phenomenon') to a 'Celan' friend, on 28 September 1960, to her friend Gudrun 'Duchen' Dähnert in Germany: "Mein geliebtes Duchen, ist es wirklich wahr, dass Ihr alle wohlauf seid, dass ich Deine stimme am Telefon hörte, Deinen Brief, Deine Karte? Ich lebe nur in Gedanken an Dich und die Deinen. Wie es Euch geht. Du hättest doch längeren Urlaub haben können. Ich bin so verzweifelt" etc. This certainly is a better letter from me to Celan than the one from Buber - which on a closer inspection seems to be from 'Israel' to a 'ronk jarnegg röver' - who even could be representing Gröver/'Mengele's hospital career.
I don't know if Buber still enjoys the confidence of the Jews. This story with Buber and Odda still seems to be the focus of much 'international secret service' interest. I have stopped following the news since it doesn't take me anywhere anyhow, but happened to spot in a newschannel that a group of italian tourists were abducted in the egyptian Tabbat Schadschara some days ago (second half of September 2008) and transported to the border of Sudan. This 'Tabbat Schadschara' could represent 'Simon Schereschewsky' = 'Ronk Jarnegg Röver', with a further allusion to Tabareshti where Celan did forced dust road work during WWII. It was in the first half of the eighties that a person told me the word 'sapsara[m]' - meaning, as he said, 'they took it all'. Israeli interim PM Olmert announced on 29 September that he believes that Israel must give up all its occupied territories. It was in the newspaper Yediot Aharonot published in the same morning as the hostages were freed by egyptian and sudanese commandos.
'Martin Buber's name contrasts a 'Beelzebuber' riding the broom. If I resemble Buber somewhat, it could be that the intrigue did leave some marks on me. In fact it is likely to be a part of my memory of the 'rathunt' which is norwegian 'rotte-jakten' which rewrites from 'Ronny Zweck'. It can be noticed that a better explanation to this memory from Odda is in the two poems ('Chor der Waisen' and 'Chor der Steine') by Sachs which Celan sent to Sachs on 7 May 1960 a few days before they met in Zürich, and precisely 4 months before Buber wrote his letter. This could also be the background of the role-turning character of Buber's letter of 7 September - in fact it seems that the intrigue could have been copied - subconsciously, that would likely have been - from Celan's letter of 7 May. This could even be the reason why this story still attracts interest. My 'rathunt' memory - me and my friend 'Allal' = 'Harald' going for a rathunt behind the house with me hitting a rat on a paw with a broom, leaving me with a terrible conscience afterwards - would then really mean that Buber had borrowed his 'smartness' from Celan, probably without even knowing about it. The memory could tell that the intrigue served to lend to me the role of the broomhunter of 7 September and to 'Harald' the role of the letter of 7 May, with 'vier Monaten' inbetween and with Celan in the role of the visiting rat. The bad conscience could then mean that the jewish-genetic diaspora does not want to give up the inner image of Buber as a patriarch for the jewish culture. I made mention of this letter of 7 May 1960 as the background of my rathunt memory on the internet on probably 12 August 2008. Could be this could be a part of the background for the abduction of the italian tourists in Africa recently. The secret services never tell the people what they are doing and then they cannot be corrected and cannot be brought to a better understanding of the situation and then they continue making the same mistakes - apparently with much independence and extensive powers - for decades untill there is nothing left. The secret services are the enemies of the people, that means, and the tool of the historic forces which try to re-establish an upper class with totalitarian power. Did Buber work for the secret services? The letter of 7 September suggests that this is not impossible.
Now it is a part of this story which certainly deserves to be told that Buber's letter was a reply to a letter from Schereschewsky of 8 August 1960 - the reply a little delayed, though. Schereschewsky writes because he had read in the newspaper that Buber would be present at a conference in Paris in September. Schereschewsky was the editor of the periodical * Ner - I don't know what sort of periodical it was or if the name of it even could have had some relations to my 'Borkmann' name (such as even the editor's name had). He asks in a PS: "Bekommen sie unser * Ner". This is the question which Buber answers in his letter. There are, therefore, natural reasons independent of Celan or me (the name, though) for Buber's letter of 7 September. However, that does not make the story easier - rather it makes it more difficult to decipher. It makes it of course easier to rescue the integrity of the patriarch, even if his attitude to Celan on 13-14 September could have been strongly influenced by these 'coincidences'. Whatever be the explanation, one can assume that the story can be politically active today - and the rathunt memory has been living in me since Odda, as far as I can remember. One can guess that if 'blazed' is the secret keyword for the death of princess Diana, then it could be systematically related to just that 'Hitlahawut' of Buber - and even the following three basic chassidic concepts in his sensible mysticism could be part of political intrigues for a continued holocaust: Awoda, Kawwanna and Schiflut. 'Padova' close to Stra and Venice (but on the other side relative to Duino, about the same distance from Venice as Duino at Monfalcone is from Trieste, about the same distance from Venice as Porto Falconera on the other side, cp. 'Falchaasen') is pronounced in quasi-english like 'bedöva' = 'anaesthetized' in norwegian. 'Lackawanna' = [two] 'like one' was one of the two basic concepts (along with the other which was 'Mannahatta', cp. 11 September 2001) in a poem of Goll which Celan translated. 'Li' = 'Sachs' was subjected to electric shocks in hospital. 'Schiflut' could be about the traditional norwegian ski wax 'Swix' which perhaps can be traced to 'Eidsvigs' and from there even to 'whistle-blowing'. (Vibeke Gröver played a flute in her youth). These could correlate with 'Hitlahawut' = 'blaze' for a verboten program. ('Blaze the flute'?) And then the plan could be to assume that Buber was an agent since at least his 1908 book, the year of Visthouse. However, his mysticism appears generally healthy and not nazi, as was my impression when I leafed another few pages ahead in the book.
Could Buber have been in the newspaper and Schereschewsky have written to him because it was known already in August that Celan would go to Odda in early September? That is not impossible since Celan and Sachs could have appointed this when they met in Paris in June, and if he needed a standin who could take the train to Stockholm in his place while he went to Odda, there would have been at least some arrangements. It is therefore not theoretically impossible that just this Schereschewsky wrote to Buber because Celan would go to Odda and contact Buber on his return, but it is perhaps not very likely.
The ES of the ICH/ES relation recurs in the french formula of Sachs which Celan sent to his wife from Stockholm, on the underlined form 'preuve de faussete' which in norwegian reads 'prövde å få sett det' = 'tried to have a look at it'. What 'it' = ES could it have been? The child? I suppose Celan did not write that sort of norwegian, but rather meant the simple idea that the falseness was the one of 'pröver' or 'Gröver' who had used illegitimately acquired biological material from her - as the view of a photo of me immediately told her. The expression in Celan's letter serves to lift the burden which the intrigue should have put on her by way of my existence over onto Gröver/'Mengele'. If 'prövde aa faa sett det' should have been the meaning, it is not likely that Celan would have sent it to his wife from Stockholm, unless it were about his failed attempt to get in contact with 'my art in buber' when he arrived in Paris a few days later, after stops in Hamburg (Hammerfest?) and Köln (Oslo?), as the counterpart to the ICH-ES communication form, hence an ICH-DICH in Paris or non-Stockholm. But that would have implied that he knew in advance that the meeting with Buber would be failed and hence that the failure was planned - and hence that he had appointed the failure with Buber in advance. If so, the failure would have been about an attempt (in collaboration with Buber) to send a 'communication' to me that he had tried to meet me in Odda but had been forced to give up his attempt to meet Martin Buber, and was deeply disappointed by the failure. This could of course also have been a convincing way of telling that the meeting was not within the business of the nazis, although this sort of meaning-assignment put onto Celan seems less and less likely the more one understands of the story. Or had he arrived late on the 3rd, left a postcard telling that he wanted to meet the child outside the house the next morning and then the meeting did not come about? That would be 'mach atte türa zu' - which clearly can have its origin in "noch etwas tun zu" in Buber's letter with the line "Es wäre mir sehr lieb, für unsere Sache noch etwas tun zu dürfen". 'Sacher-Torte' could be about Hotel Sacher of Graham Green, but also 'die Sache ist Torter'. But then there would have been no basis for the version with the squatting Celan and all the significations around that situation - a posture which, though, as seen from the window could have been described to represent the form '[m]art in bub-er'. If Erdogan in Turkey relates to this, then it could be about a durchs-ICH-DICH of 1967. Nelly Sachs probably had no knowledge of the background of the Hagbös but explained in her letter to Celan what it was about for herself, and then the word solved the problem. It certainly did not state a political program but rather it served to lift a fraud of 'Beowulf' off the relations. The conclusion is likely to be that administration has no certain knowledge of what happened in Odda. The revelation in the tree in Vilnius could suggest that he (or I) did succeed in seeing it - or at least the correlate to the book(s) and the poem(s) which he had given to Buber. Hitler's postcard was sent nearly 80 years ago when I found it.
In short, Erdogan as prime minister in Turkey can be seen to be representing an element in a political intrigue on the 'anglo-saxon' history. These stories seem to constitute the backbone of the political reality but they are nowhere available to the public and one has to conclude that there are tendencies in this matter which allow for the conclusion that there is an attempted coup of world control inherent in them. It is likely to be about the aspirations of the once british empire to convert itself into an empire with total control of the 'mental contents' of the world's population via a control of the mythology which controls the development of government. The foot-and-mouth (cp. 'toot-and-comin' = 'Bjarne Eidsvig') epidemic in England 2001 could have been about making a 'falscum', with K-insertion in the 'falsum', cp. 'fals-c-um teeth/tooth' and the opening lines of Spenser. All that seems to boil down to the control with the fraud of Beowulf, anglo-saxon poetry in general, Rosetta stone, Behistun wall, Boole's binary logic, Anne Frank as a way of throwing doubt on Emily Dickinson who did not want her poetry to be under the control of the publishers, as if it were Dickinson and not Frank who could have been fabricated by british administration, etc. ('Otto Ville Kuusinen' behind the Zinoview letter of 1924 - believed to be a 'fals-c-um' - suggests that the jewish father could not control his pedophilia and therefore helped himself with his daughter after which it was easy to write her diary and have it published as a big success, a real bestseller, while the witness herself was gone, which could suggest that the Zinoview letter was 'written-by-a-briton'). One can probably leap to the conclusion that the ancient rock carvings not far from the alleged childhood home of Oddbjörn Hagbö could have been chiselled into the rock some days or even hours before they were discovered - not far from Visthouse in Vistdal, built by the british lord Freemantle in 1907-1908. An empire of lies and fraud, it could be about. The Jensen/Harlem story seems to be in the middle of this. The list of fraud is probably long, but the list of victims of the war against the intellectuals could be even longer.
As noticed in Introduction to the poetry, I read a story on the internet about Erdogan who by accident was locked into a car on I think 17 October 2006 (or some other year thereabout) when he had an attack of some disease which made it necessary to break the car door open, if I understood it right. This echos partly the lines in Spenser (I,I,40) following immediately after the mention of Cynthia-Diana, [I,I,40: "Whose double gates he findeth locked fast, / the one faire fram'd of burnisht Yuory, / the other all with siluer overcast; / and wakefull dogges before them farre do lye, / watching to banish Care their enimy" etc.], partly the story from Bergen when I on 17 October 1995 called from a telephone box for the address of a person whose name resembled much that situation with the car and later sent a letter to that address. I had printed the letter out on my computer and was on my way out to post it when I found a letter from the humanities faculty administration dropped in through the postslit in the door - somebody had apparently come down from the nearby administration with it after having printed it out on their computer - which called me to a meeting which later turned out to be a meeting of dubious character [they were worried about my health] after I had criticized the distribution of names in the office building, including the apparently fictive name 'Per Bjarne Raune' which was on the door along with 'Jörgen Sejersted' next to my office. On a floor above, there was the real person 'Per Bjarne Ravnaa', a collaborator on the project of 'Oldervoll' (not 'Ole Devold'!).
This means that when the Turkish Tourism ministry recently (2007 onwards, perhaps it started in late 2006) ran an ad campaign with big outdoor posters all over Europe with photos apparently resembling the three first titles (1-2-3) in my Endmorgan Quartet, it sort of means that 'Turkey takes order' = 'Torben Hviid Nielsen' (handwriting) = 'Turkey takes Odd[ess?]a' if the situation in Odda included the meaning of the name of Brundtland' father Arne Olav Brundtland. If the case is that I am Celan's genetics, and if Hitler raped me, this could also mean that 'Turkey takes Hitler' if it takes 'Odda' (or even Odessa round the Black Sea?). But that could be used for propaganda for turning the public opinion around - to make people vote for the opposite of what they believe they do and that it is right and 'anti Hitler' if Turkey takes order. 'Tukey takes order' in the trivial sense of the Sande or Mande tu[r]key. The Times wrote after the resignation of the NATO general after the bombing of Kosovo that it was 'the unthanked general' who resigned. JOB-NEG-y etc.
For this story and the assassination of Rafik Hariri (with 'ri' turning into hebrew 'B'), one can observe the peculiar relation between the swiss chocolate Toblerone' ('doubles one' etc) and its contents with the name of 'Raoul Wallenberg' as a 'Beowulf almonds' or even 'elmunds'. (There are honey and 'almond nougat' in the chocolate - and I notice the name of my friend 'Jan-Egil Nygaard', the son of the 'shooting doctor', as similar to that 'almond nougat'). Gröver/'Mengele' returned from Oslo-SAO once in 1968 or 1969 with such 'Toblerone' chocolates to the children. Raoul Wallenberg was in the sweets business before he entered diplomacy in Budapest. Sachs was el-shocked in the hospital in her late years.
For the other name from that autumn 1992, one can observe that K-insertion can be interesting for the name of 'Vessela Misheva', Uppsala (not 'Kupseli'!). Although the norwegian author Axel Jensen's name looks interesting from the viewpoint of the Wexel Wexelsen phenomenon relative to Jensen from Klipra, I would not believe that neither Axel Jensen nor his wife Pratibha were agents, although they met and bought their 'Shanti Devi' boat well after I had got a game of chess at the hotel in Trondheim when official uncle Per and aunt Marte married and well after I was donated (by Ragna Gröver) the book on physics by Olaf Devik in the late sixties (1968 or thereabout), when I was in bed with some flu or bronchitis (cp. 'broomhunter') sort of disease (same bed, same situation, although not same time of the day as 'o bide with me' - and there was a third similar occasion with another case of flu or bronchitis when I got a puzzle map of Africa, 'political' I think it was, one jigsaw bit per country, following borders). Nor do I believe that he represented e.g. political interests in his last years when he suffered from respiration paralysis ('Amyotrophic lateral sclerosis' - much worse than my bronchitis, however 'tropic' that africa map could have been) - cp. Ariel Sharon's condition - whatever 'bronch-lan' ('put him in bronch[itis]'). The beginning of Spenser Canto I book I goes as follows: "A Gentle Knight was pricking on the plaine, / Y cladd in mightie armes and siluer shielde, / Wherein old dints of deepe wounds did remaine, / the cruell markes of many a bloudy fielde" - echoing Boole's paperflat symbolic logic for 'my dicked' = 'mitt dikt' = 'my poem'. "A Gentle Knight was playing on the prick, [...] Wherein old dints of deepe wounds did remick[s]" = 'b ronk-lan'. (Cp. 'Bricks Play' of 1980). The following lines takes it through history to "But on his brest a bloudie Crosse he bore, / The deare remembrance of his dying Lord, / For whose sweete sake that glorious badge he wore", which could be about the 'sternal punction' when a test was sucked from my breastbone (sternum) by dr. Nyquist in 1975, as a counterpoint to the spinal punction when a test of the spinal fluid was sucked from Vibeke Gröver in probably 1968, in the room next to the bath/toilet 'party'. I remember how she in her bed did sitt, leaning the upper part of the body forwards for the punction in the lower back, facing the bathroom etc - 'o bad with me', sort of. Are the opening lines about a 'pub lic'?
I notice also that Buber was chairman of an 'Ichud' society, according to Microsoft Encarta. Buber even had a sightly slanting nose - like Grøver/'Mengele', and was he even a little similar to me? Jensen died a few days after I had found Hitler's postcard in early 2003. Cp. also the Rosetta stone from Cairo, Jensen's 'Ikaros', Allen's 'Red rose of Cairo' etc. I can add the story from the late seventies or if it could have been early eighties when Magne Rudjord told that he had visited the Jensens in their boat in Stockholm and his wife seemed to be somewhat in control on a certain occasion - they were having a drink or something - the situation may perhaps have been something similar to one with Trygve and Brigitte Madsen in the mid seventies. Then it could also be about 'das Mädchen' as a case of neutral grammatical gender (ICH/ES) used for a female (ICH/DICH). (I stayed overnight and Madsen said I had better sleep with the window closed to avoid waking up like a 'Findus fish', cp. 'findusfiskeren', 'vindusviskeren'). There is the situation with over/under in 't rygg ve Mädchen'. I have observed a shop chain called 'Praktiker' (which exists in at least Austria and Greece) selling utensils for the house. I don't know if there could have been a background in this story with Rudjord on basis of the phenomenon of K-insertion, in which case one can observe the possible function of name: 'Bajensen' gives 'bakensen' (bakerware, cp. 'rolling pin') by J/K, cp. 'Jörgen', for which reason a 'bronchlan' interpretation of his disease could have had some effects even for the background of the political situation of today. 'Bikensen' = 'syklisten', the bicycler, but also 'sykelisten' = 'the list of sick people', the waiting list for treatment etc. Cp. the five election pledges of british Labour at the end of the article on the role of Celan in administration. Indeed these five pledges could seem to be about 'dirty beast in the revelation' in 1-2, this 'bikensen' in 3, the JOB-NEG-y in 4 and 'takkskrua' (here 'the taxscrew') in 5. It is easy to see that there could be political profit to harvest from intrigues relating to the concept of 'Jensen's wife'. Then it would really be about the Jensen/Harlem story. The list of fraud is probably long, but the list of victims of the war against the intellectuals could be even longer.
The question which reasonably presents itself is whether the whole story since the 19th century - including Hitler and world wars - was supposed to converge on 'my art in buber' as a case of authorship under the control of the administration and this program was installed with Anne Frank's diary, 'british history', 'buried is history' etc. I think the britons should come out with the list of their dubious historic cases rather than throwing doubt on Dickinson and other decent poets who are trying to bring the world forwards to a state which makes it possible to construct the poetic logic which is inevitable if we are to create the new information technology.
It was in 1997 that I went to the british library and there was an event with a fictional author called 'Enoch Soames', which read backwards tells of a situation with Eva Csato [= 'eva tshato'] who said in a hungarian course (late eighties, I think it was. or was it mid eighties) that 'felcipö' ('feltsipö') corresponds to 'halvsko' in norwegian and I said it is so called in norwegian as well, meaning 'småsko', definite form 'småsko[e]ne', but without me correcting the imprecision in 'halvsko' for 'småsko'. I was not precise there, and felt the vibrations in the air, and when I later returned from Budapest and talked with Csato, I am sure she could report that "he is not the least good at talking hungarian". Here is the part from my 'pilot study' 1997 about this event in the british library, and I recognize the imprecision in my description of the crowd which was perhaps not so 'huge' after all, and it was under, not in, the dome:
Then I went to the British Library after lunch. There was a huge crowd of people in the centre of the high dome, and a feverish athmosphere. I asked one of the librarians what was on, and he explained that a ghost from the previous century was expected to materialize himself under the dome closer to two o'clock. I did not believe him, and he handed me a paper, issued by The British Library, which explained the thing. Reading through it, I immediately recognized the elements I had been concerned with in the recent writing of this paper: There was mention of the two editors Henry Harland (= HERBERT HARDY) and Aubrey Beardsley, as well as William Rothenstein (= WILLIAM), and Max Beerbohm (= MAX BRAMER, the data miner = CHARLES with his metal mining).
After two o'clock, the crowd dissolved. Some looked disappointed, some claimed that they had seen him. I finally got the explanation from a frank librarian: This was all made up by the British Library, based on a fictional story from 1919 by MAX BEERBOHM. This is also what the paper said: "...so little is known that it almost seems as if he did not exist".
In short: They expected that a poet would be materialized around two o'clock, when I entered the hall. I had a funny feeling that almost everybody looked like somebody else I knew. I felt quite 'moved' afterwards, and could perhaps have given in to a new laughter attack produced by the British Library, but chose the silent path instead.
It later turned out that this fictional poet probably was me, a sort of 'art in buber' perhaps, representing the 'John Grover' phenomenon in british library. I think there was talk of somebody having seen a figure in gray raincoat ('J on, Gr over') running through the room and disappearing out through a door.
Today I can recognize the situation with Csato and her hypothetical testimony on the lacking abilities of the later disability pensioner, including that proof of his imprecision. If 'Max Beerbohm' should be about a pitiful situation in the home of Anders Beer with me helplessly being pushed onto a piano, it is the same situation as could have been recognized in a CIA chief some time ago (I think it was 'John McLaughlin', cp. Oslo Report #6 on 'Rechlin') whose name and/or look reminded me of the situation at Per Qvale in the context of a record with Max Bruch's violin concerto after me on the piano. The theme would be that "this is my art in buber" - helpless attempts in the field of art. The refrain - including the one in British Library - seems to be that 'he is totally incapable of producing anything valuable in the field of arts'. That only tells of a total lack of self-understanding - how can anybody produce anything valuable in such nazi environments - and the real cause of their despair: That the reason for the world wars and holocaust persecution perhaps even could be traced to the simple assumption that UK/US could not have produced Grassmann's poetic logic themselves. But this is perhaps even their own strategy - with a 'Wexel Wexelsen' appended to it. England is perhaps incapable of understanding my TEQ = The Endmorgan Quartet and could have been so since long before it was even written. If Anne Frank's diary in the sense of the Zinoview letter of 1924 means that the 'art in buber' in the sense of my art could be predicted in advance to be nonsense and worthless remains of administrative activities, then their program has failed. My work goes beyond etymological form, in particular such as the administrative variant of eccentric eid-svig forms, the two that are a round ('Frau Röver' that 'eccentric' phenomenon could mean), and if UK/US poetry is controlled by administrative logic it has no chance to understand it. Hopefully that is not right. Could be that is how it was around the mid 19th century as well, at the time of Grassmann and Boole. How do you 'explain' the hebrew parallel to my poem 'Deunch' (from my recent 'Estunates' book) in parallel with the music at 07:15 (really the two seconds 07:14-07:16)? The hebrew parallel says just 07:15! where my poem says 'quindici' and where the music is on the milliseconds of the theme. It can even be proven that this is not the art of Mengele. Some would perhaps be inclined to explain this in terms of 'fraud', as if I had first consulted the hebrew, then the music and then written the poetry, but the fact is that I wrote the poetry first, heard the music thereafter and found the hebrew third. That is because it is revelational poetry which an intermediate layer of administrative control with etymological form cannot let through. And it has nothing to do with Mengele or administrative methods, as also can be proven.
It is as with Celan's addresses in Paris, or with the general phenomenon of poetry that it captures semantic elements which the poet could not have known. That does not mean that the poet is a spy: It rather means that it is a case of revelational poetry. And then it is not fair play of secret administration to use such elements to construct 'proofs' that the poet is a spy.
It is the same sort of phenomenon as in the similarity between Tiepolo's painting and my photo of the revelation in the tree in Vilnius, and other parallels to the same, such the beginning poems of my "The slades with the only turn" (TEQ 2), with the six surrounding persons on Tiepolo's painting in poem 3 (which I wrote long before I had seen the painting). It is a sort of new form of rhyme on a higher level - as inexplainable as the alphabetic-phonological rhyme once was: If you want to say something, it would have to be a miracle if it comes out rhyming. But with this sort of long-term planning since 1924 and with the large administrative structures built around the preprogrammed idea that my work is nothing worth, I hardly even get a response if I send a letter. And my economy is in a corresponding condition. That program on me and the quality of my work is not in touch with reality.
I sent my 'Estunates' book to legal deposit in England well before 20 June 2008 (not long after it was completed in the end of April, which probably means that I sent them in May) and inquired some time ago to british library if the book had arrived, to which the answer was that it had arrived on 20 august and would be registered as a donation. Which could be telling of just this story. I don't know what could have happened in the mean time - from its expected arrival in June to its registration as arrived in August.
Henry Harland and Aubrey Beardsley ('shaved') could be about 'Ronk Röver' as me = 'Ronk Jarnegg Röver' = 'Simon Schereschewsky', and when that be about editors, it could be intended to insinuate that I am only the editor - not the author - of my works. Would 'William Rothenstein' (if not the 'pote' = 'poet' of the 'art in buber' of my rathunt memory from Odda) be about the hebrew word for mixmax, sunset in the west, arabs and the woof of weaving? Then it could be about dumping 11 September 2001 on me by swapping east and west. An 8mm film strip shows me clapping my hands together with snow in the mittens - the hand that beat the sister.
And so the british plan could be to use this situation - a case of minimal imprecision on 'felcipö' or unhappy performances on the piano - 'Bruch & Piano' could even mean that Wexel Wexelsen and I are or are not the same person, in which case one could be left with the impression that the only thing of importance for the UK/US project through the last 200 years is that one can be able to end up with the conclusion that, well, this John Bjarne wasn't good at anything after all, and that is what lifts the burden of the unjustified victims of the wars off the shoulders of England and USA and allows them to continue as justified victors of the wars - and if I were to send a manuscript to a magazine or publisher, the answer is likely to be some tacit form of 'unfortunately we have to reject this for reasons which we cannot tell you' - for turning the roles around for dumping the whole story of historic british intrigue with the aftertaste of swindle including Hitler/Eidsvig over onto me - could be that even was intended to be on a yet higher level than ich/du and ich/es - onto the name of the author of the book. The son of Beelzebub? That could of course have been the plan since the twenties - when Buber published his 'Ich und Du' in 1922 and the Zinoview letter was sent to a british newspaper before the 1924 election. 'Eugene Paisseau' could perhaps be called a sort of 'Ø-piss og', which means that 'felcipö' backwards could be about that little bullet which hit Lenin. Cp. the story of how I learnt to read by Gröver/'Mengele'. British Library was untill 1997 (with the Soames story) in the building of the British Museum with the high dome and all their historic treasures before they moved in early 1998 to the new building embellished with the giant sculpture in front - which probably does not mean the environmental conference in Stockholm where Axel Jensen met his wife Pratibha in 1972, according to internet sources. It could simply mean 'Ronk Röver', apparently the secret formula of 'Beowulf' and 'George Boole' and much other 'precious treasures' of 'british history'.
Conclusions
1) The world of today is characterized by a bizarre dependency on names. This seems to be due to the hebrew variant of the name 'George Boole' and the british hijacking of Grassmann's poetic logic. Why is the world dependent on names? Because the world wants to believe that the poetic revolution is the binary logic of George Boole and that everything is fine and we are on the right tracks into the future.
2) The british empire seems to have developed a series of fraudulent works which are assigned the status of defining exemplars of culture. This means fraud and untruthfulness as defining parametres. At the same time, there has been a serious war against the intellectuals. These are two aspects of the same program of preventing the discovery of the difference between Boole and Grassmann by bending reality off truth. And then they are not right. It is this which England perhaps has planned to be the blessing of God's chosen people, in the sense of 'the britons' bending the heads in front of the divine. The only problem is that they seem to do that blessing themselves! Hence even the program of the political pantheon. The idea of these 'bent heads' associates with norwegian 'dåm' bending into 'dawn' for a turnaround of west-east, cp. 'sifted'. I think Ragna Gröver used the rare word 'maroder' (I think it means a sickness or bad condition of some sort, such as me in bed with flu) once or twice, and 'barhoder' could be these 'bent heads'. But that initial M/B (cp. 'Baruch Obama') invokes also 'Merit/Buried/Married is history' of 'Anne Frank starry' as well as Martin Buber / Beelzebub-er.
3) It seems that Bjarne Eidsvig is a figure of immense importance for british administration, with a rooting in Toot-and-Camin and things like that. How come? It is not him, of course, it is his brother Aron Eidsvig. But he was apparently somebody else - he was 'his brother'. This means that Bjarne Eidsvig simply means Adolf Hitler, a person engineered in british mythology since the time of ancient Egypt, since at least about 1799 in british administration. It means that british administration wants to move the discovery of the difference between Boole and Grassmann over to the 'discovery' of a difference between Hitler and Eidsvig.
4) The historic truth seems to be this: Boole is not Grassmann but Hitler is Eidsvig. That is likely to be the answer to this riddle. Could be that is the phenomenon of 'Frau Röver' and that it is related to the two horseshoe circles in San Pantalon.
Click here for a photo of Tiepolo's painting with better resolution - I took the photo after permission. The low quality of the photo is due to poor equipment.
My poem 'I read my fold'.
© John Bjarne Grover
On the web 15 September 2008
Last updated 2 October 2008
