About my literary work

About my literary work

John Bjarne Grover

1. For additional information, including contents overview to a part of volume 3, see this file .
2. Further information is contained in the files on 'The verboten poetry' and on book 16 in vol.2.
3. On the issue of manuscript submission, see the article 'Why I myself cannot submit books to publisher's review'.
4. On why publish now rather than later, see Why my books should be published now
5. Some interesting observations on the relation to esthetic logic in arts, see the article TEQ and arts.
6. On the important work and current state of the blue-metre PEB, see The blue metre
7. The most recent addition is to a hypothetical vol.4 with my new poetry book 'Og lønn vi fikk avstanden fra'
8. The fundamental theorem of linguistics defined by me - and its relation to the political problems deriving from the question of the territorial rights in America

From 2013, after I completed 'Poetic semiosis' in january 2013, I have reorganized my work into a three-volume edition which now has been released to legal deposit on 25 february 2013:

Volume 1 = 1266 pages
The Dreamer (1994-1995) - a novel (some 630 pages)
POLAKK English Bloggi (2008-2010) - poetry (some 370 pages)
My mention e Anna (2010-2012) - poetry/prose (some 240 pages)

Volume 2 = 1881 pages
The Endmorgan Quartet (1997-2008) - poetry (1881 pages)

Volume 3 = 1264 pages
A waist of time (1992-1997) - scientific prose (some 610 pages)
Poetic semiosis (2012-2013) - scientific prose (some 650 pages)

(The four first are abbreviated TD, PEB, Anna, TEQ). The edition I have made has 50g paper in volume 2 which means that all three volumes are the same thickness:

This reorganization creates a totally new impression after 'Poetic semiosis' was completed. It is a work of more than 27 chapters studying the structure of the four literary works with particular emphasis on volume 2, and it contains a detailed study of some of the poetic functions (as I call it) therein. Volumes 1-2-3 are in fact closely resembling functions 11-12-13 and that is the reason why the whole work in total gets a very new and strong poetic force - wich perhaps could be thought of as a revitalization of the mood before Schumann lost his mind.

The literary work can be seen to be of a poetic-philosophical character, studying the relation between the historic-time physicalist reality and what I call the poetic reality. The thesis is that the poetic reality is prior to the historic reality, which means that if a logic can be developed for the poetic reality, a new physics can also be constructed: That will study the relation between states and events in the poetic reality in order to describe the relation between states and events in the historic-physicalist reality. That clearly can mean major progress for science. And for poetry.

I am also planning a forth volume on 'the form of being'. See below.

I am making the 3-volume bound version myself, with laser printer etc. I am contemplating a 'pocket' edition - which, though, cannot go in that thick volumes but will have to be divided into 9 volumes: 1a, 1b, 1c, 2a, 2b, 2c, 2d, 3a, 3b. That is a matter of numeral on the spine only. Could be they should be enumerated on the spine in chronological order, but it is not important.

VOLUME 1: The Dreamer. POLAKK English Bloggi. My mention e Anna

The Dreamer (1994-95)

is the title of a novel of diary kind about the status of genre, prose. fiction, reality. It is a study of the form of place. The narrator can be seen as an envoy from heaven coming with the suburban line for making a report from earth. He soon starts being haunted by strange car numbers and hears voices speaking to him - as if an alien intelligence tried to get in contact with the human society. From a technical viewpoint, this story can be seen to be found in the narrative tension between 'autobiography' and 'auto biography' (the 'linebreak' phenomenon being a part of the theoretical study in vol.3). This is Schlegel's 'arabesque' program in his 'Brief über den Roman' - suggesting that a theoretic element is essential: "Eine solche Theorie des Romans würde selbst ein Roman sein müssen, der jeden ewigen Ton der Fantasie fantastisch wiedergäbe, und das Chaos der Ritterwelt noch einmal verwirrte". Voices, visions, car numbers... There are some 1200 car numbers in the novel - the same number of cars as the number of ships in Homer's catalogue of ships in Iliad 2. Even more fantastically, the number of soldiers in Homer's catalogue are about the number of words in The Endmorgan Quartet (vol.2), some 100.000 words or so, and this correlation seems not coincidental.

The architecture of volumes 1-2-3 tells of this novel-theoretic function in the wings of the angelic body of volume 2. An important 'theoretic' aspect of the novel is the understructure from some pages of the Talmud tractate Erubin. It shares these folio pages 14-17 from the end of the tractate's part 1 as parallel with TEQ. These pages contain also the fragments which seem to have been used to launch Hitler. Briefly, british spiritualism seems to have turned the archetypes around from normal to homo in a basically mocking format, with 'J-on Locke' as the founder of modern british empiricism being launched at the time when the Swift-Pope lock was made and Heimskringla was written. One can from this viewpoint see Locke and Heimskringla as two sides of the same coin or 'lid'. Could it even be the reason for his name - that there is a 'lokk' = 'lid' on 'heimskringla' = the brown curl in the 'kettle' on the top, and when one puts a J on top of this again then it feels right somehow? It was this apparently profound insult against human spirituality - or call it reduction of high-dimensionality to the binary-dimensional paper flatness of the symbol - albeit with a smell of three dimensions - which was the pretext when launching Hitler under the concept of 'sodomite salt' up to the collapse of Wall Street and Walt/Volt Disney launched his cartoons - this is a bundle or 'fasces' of concepts which hang well together - a doll fitler, salt sodomite, walt disney, wall street collapse etc. Hitler's job for UK/US interests was then to run the 'jewish revolution' as well as he could, on behalf of all those who felt that human spirituality had been stepped under foot by the british mock-lock, and after the war everybody were happy that the 'archetypes' had silenced and people did not want more of that nazism - and Donald Duck was spread as nazi propaganda among children all over the world for ensuring that the lid was kept well over the 'heimskringle' of mystic archetypes. Since then the world has been rather flat and dimensionless. HITLER CORKED THE ARCHETYPES - could be this is the contents of the third secret of Fatima, assuming that the cork-oak cross in the vision represents the british 'John Locke' variant of the nose-trunk archetype. The hebrew fragments to The Dreamer and to TEQ contain these essential parts which were abused for launching Hitler. The purpose of the novel is to get that Hitler-corking out again - to re-open the inspiration from the spiritual world, from the divine.

I discuss some examples of this phenomenon in 'Poetic semiosis'. The understructure of the hebrew has the same role as the two angels in Caravaggio's "The seven works of mercy" - the two are nearly but not really symmetric. In the novel, the hebrew fragments run forwards from beginning to end and backwards from end to beginning which means that each date entry will have one forwards and one backwards undertext which together constitute a 'hebrew-conceptual' grid that lies under the text. In effect, this grid constitutes something resembling a net of archetypes. Due to this formal aspect of the novel, one cannot evaluate it without reading it through to the end, and perhaps it can take some days before this deep structure is recognized by the reader.

In the first version of this page, I mentioned the peculiarities which perhaps I should repeat here: The novel is written on keystroke level and all typing and linguistic and narrative errors are retained and are intended. These are on the surface of the text and do not apply to the deeper formal story.

POLAKK English Bloggi (2008-2010)

This book can probably best be called a study of the form of writing. It is one integer work more than the collection of 365 sonnets plus one leapyear poem which it also is. The book can be used to date literary texts, to study the details in the semiotics of the hebrew alphabet, and to study the relation between etymological origin of written forms of words and historic artworks. See the article on poetic logic for details.

My mention e Anna (2010-2012)

The blue PEB is 'the cold metre' to which I have added the fourth book of the 'red metre' under the common title 'My mention e Anna'. This book could serve to get people up on their feet and on good terms with fellow beings. It consists of three independent books - and they are really somewhat different in character but are held together by the joint philosophical theme of 'the form of ontology' or 'the form of being':

1) 'Caruso' (poetry) - a booklet of some 69 pages
2) 'And hang under the Justcan keys' (prose) - some 76 pages
3) 'Labyrinth 101' (101 poems, bound form) - some 110 pages

There are two versions of TEQ book 5, one with 48 poems and one with 48 quasi 'sonnets', roughly the same text but they differ in linebreak and other aspects. This version was originally included as the 16th book in TEQ. It could also be included as a fourth book in 'My mention e Anna', but I have put it in as chapter 19 in 'Poetic semiosis' in parallel with sonnets of Rilke and Shakespeare. If it were included in 'Anna', one could assign to it the archetype 'recursion' and then the four books would be the four basic archetypes - which also for type 2-4 precede each book and can be recognized in the literary form of the works:

1. Recursion: 48 sonnets
2. Dogs paradox: And hang under the Justcan keys
3. Nose-trunk: Labyrinth 101
4. Man-on-wagon: Caruso

It can be seen that this means that volume 1 in its form constitutes a sort of 'function 11' (from 'Poetic semiosis') whereby the foldover along the middle (that is precisely along the beginning of PEB) makes the book 'catch up with itself' (= man-on-wagon with boy ahead) for creating the normal chronological-historic reality in the grid of two function 11 forms. This could correspond to the novel with one forwards and one backwards reading and one could think of the archetypes as having their original rooting in these principles. Volume 1 could thereby serve to open up for an understanding of what is beyond the archetypes, what conditions the human organismic conditions of reality.

Philosophically, there are the concepts of arbitrarity, border and linebreak for the idea of 'the form of being' contained in the three books of 'Anna'. 'Arbitrarity' means that the 'autobiography' does not decompose into psychotic car numbers and whispering voices, and indeed one can feel much better after having read through that 'inner biography' of Enrico Caruso: It straightens the spine and people get very friendly after one has read through this book. 'Border' and 'linebreak' are related themes - all three can be seen as relevant to the main philosophical theme in The Dreamer - as it is written by an envoy from heaven who in the form of a human reports on the attempts of the humans to understand the attempts of the divine to get in contact with the humans. That is how the three books in volume 1 naturally constitute a unit.

The three books in 'My mention e Anna' could also be published independently, but they constitute perhaps a natural collection of archetypes.

VOLUME 2: The Endmorgan Quartet = TEQ

Please notice: There exists a 2007 edition of TEQ in some libraries - this contains 16 books but book 5 is in two versions differing in linebreak. In the 2008 edition this linebreak variant was replaced with the new book 16 "I tell you, Estunates" - which also is 'about' linebreak but with a different conception. In the 3-volume edition of 2013, the first linebreak variant of book 5 is included in volume 3.

This is the main work and the two wings of volume 1 and 3 mainly serve to support it. The book is a study of the form of time - in tentatively 16 'poetic functions' studying the relation between poetic and historic time. It consists of four main parts which are in parallel with traditional holy texts. Part I ('The Endmorgan Quartet', the title part) is in parallel with the greek Luke 21-24. Part II ('Birds to Saladin') is in parallel with the hebrew Exodus 13-16. Part III ('A saga Hume') has various parallel texts (Xenophon, Matthew, Exodus, Genesis, Acts) while Part IV ('Wine 2*', pronounced 'Boston 2 Wine') is in parallel with Talmud Erubin folios 14-17, the same hebrew text as is the parallel to 'The Dreamer'. Each of the 4 parts contains 4 books of poetry (book 5 was originally repeated with edited linebreaks as a book 5a on a sonnet format between books 8 and 9). The poetry is written chronologically from beginning to end, with almost no editing at all after it was written into my notebook - same principle as for the typing of 'The Dreamer'.

The philosophy is the idea that there exists a poetic reality - a poetic elysium - of absolute existence and that the historic reality is a projection from this into linear temporal format controlled by what I think of as 'poetic functions' regulating the relation betwen the two realities - the poetic being primary and the historic secondary. This poetic reality is beyond historic time, but maybe one need not postulate a fullfledged eternity for it. A little into eternity from historic time is also something and maybe one day it will be possible to send information faster than light through this poetic reality, when only the poetic logic comes to be developed. In my work, I postulate some 16 poetic functions in 16 books, and assume that these are the character of the relation between poetic and historic reality. But I do not believe that they can be reconstructed by way of ordinary historic comparative method - that would be administrative logic - rather I think that one must first understand the poetic logic and thereafter one can say something about the functions that connect the two realities. I have written the work on basis of my poetic intuition, but I have not really formalized the 16 'functions' afterwards - which is to bring it down to an aristotelian level again. TEQ book 14 (about word level semantics) is the simple and good example, since it is easy to count and verify: See the article on poetic logic for some details. In 'Poetic semiosis' I have touched upon a number of the functions, without making too far reaching conclusions. There seems to be one global and one local function for each book in the work, and these should in principle boil down to 'the same'. In 'Poetic semiosis', I study also the local function 14 in terms of universals of poetic structure across poetry works - and the interesting aspect of this is the idea of this being 'the same' as the distributional semantics of the global function.

The 16th and last poetic function is the relation between the poet and the muse - perhaps the most important function for the development of a new poetic logic which can reach the level of information transmission through eternity beyond the limitations of historic time. The full work starts a little out in book 1 ("Hammerfest") with a poem I wrote at the time when I was to a concert with Midori in London - a poem of 15 lines which sum up the first 15 books, and I sent her the poem a few days later - and it ends in the 16th book (called "I tell you, Estunates") with 155 poems I wrote in the years 2005-2007, up to approximately the day when Midori released her new recording with Bach and Bartok sonatas. I found this in march 2008 - and there was the solution to the mystery: The recordings were in parallel to my poetry in these 155 poems and I could make a detailed parallel line by line, second by second, for a study of the relation between the muse and the poet. When I released book 16 in the spring 2008, I was convinced that it was completed, since the writing stopped totally in march 2008. However, in the course of the late spring and summer, another 16 poems came in addition - which turned out to be one poem for each of the 16 books in the full work. These 16 last poems complete the full TEQ and takes the parallel text to the last line in book 1 of the talmudic tractate Erubin.

TEQ consists of more than 1700 poems. In the summer 2012 I numbered them from 1 to 1719 and the new edition has a new page for each new poem which makes it 1881 pages. I also annotated the poems with the parallel texts in original greek and hebrew: After 'Poetic semiosis' was completed in 2013 it is easy to see why this is not unnecessary vanity but an absolutely necessary part of the edition. The many examples in 'Poetic semiosis' include essential studies of the details of the ancient languages. The best example is book 11 for function 11 which lists 1719 poetic articulations interpreting the essential aspect of the relation between each and every poem and its parallel greek or hebrew. An english translation is normally totally uninteresting. These 1719 poetic lines constitute the main part of the book 11 in this Endmorgan Quartet, which means that this book 11 ('Winter Princess') is about this relation between the poetry and the ancient texts and how that contributes to constitute the cultural-historic body of the individual and its perceptual constraints.

An example of function 11 relating english and greek: The example is TEQ poem #858 for which the function 11 line = "the russians must get help". Poem 858 has the parallel greek Acts 10:11 And saw heaven opened, and a certain vessel descending upon him, as it had been a great sheet knit at the four corners, and let down to the earth (king James tr.)

Balsam
her [...] of water,
to describe the book.

And now I'm eating your underclothes to marry -
and Japan:
"If I only could survive". 07.07.01

The essential forms in greek of Acts 10:11 is 'skeuos ti hos othonen megalen' - some utensil like a giant cloth. This SKEUOS can also mean 'armament' = RUS-tung. There are links to water nymph Ophelia and other aspects of this story - a RUS-alka is both a water nymph and the spirit of a woman or child who has suffered an unnatural death. See story #10 in chapter 24 of 'Poetic semiosis' - of how I one day found that some books in my bookshelf of ancient contents = 'tessarsin arkhais' had developed a strange dust on the spine and felt strangely humid when they rested in my palm - as if smeared with some balsam. The poem describes how the book, bound in some suitable cloth around the four corners, is lowered down on the table in front of the reader, and how it opens like heaven - allowing for the reader to read the white 'underwear', the white pages inside. 'Japan' is then likely to be about the nose-trunk archetype, the light of the world going in and out of the perceptual face of the reader - who now can read the line: "If I only could survive". If one tries to render this in greek and russian, one finds (according to my limited knowledge) that the main difference comes out as the the greek personal ending MEN, also meaning one MONTH = 31 days, and the russian particle BY looking like '661'. The difference is then 630 - which means the 600 'folders' of the book with the '30' over the spine - as explained in the hebrew of Exodus 14:7. The story could be about the 'Day of Atonement' for the christian russians - here in the role of the jews escaping from the egyptian pharaoh. The reader can study the relation between the greek, russian, hebrew and english involved - and it is likely that the conclusion is that not only is the alignment of the english and the greek optimal, but also the enumeration of function 11 which assigns this line to poem #858 seems right. Does this line 'the russians must get help' tell of something essential in the relation between the english poem and the greek version of Acts 10:11? That is an interesting question. I emphasize that the story 10 from chapter 24 of 'Poetic semiosis' is a piece of hard empirical fact. In addition to these elements, the greek via the SKEUOS contains also the opposition of an inanimate thing vs SOMA as well as the idea of a body conceived as a vessel of soul. The example could therefore be interesting for function 11 and 'how that contributes to constitute the cultural-historic body of the individual and its perceptual constraints'.

With the new edition enumerating all the poems from 1 to 1719, it is also a very large increase in complexity which can be accessed and the full work now looks like a detailed study in principles of semiotics. For example, the 693 poems of books 1-10 find a counterpart in the poems (almost one to one) to the 693 hebrew fragments of books 13-16, and this lends new weight and meaning to the phenomenon of parallel texts. When these again apply (hebrew of books 13-16) to the novel The Dreamer, it is opened for more detailed studies of the relation between place and time.

VOLUME 3: Scientific prose: A waist of time. Poetic semiosis

It was when I completed 'Poetic semiosis' in january 2013 that I could conclude on the function of 'A waist of time' from 1997, the concluding chapter of which now naturally went in as a chapter in 'Poetic semiosis'. The book of 2013 analyzes the four literary works (above) with main emphasis on the 16 books of TEQ which is conceived in terms of four main functions called blue and red metre plus redaction and revelation function. These are recognized in e.g. Caravaggio's "7 works of mercy" and can be seen to be the contents of Ungaretti's 4-poem 'Apocalissi'. The revelation function applies from function 11 to function 12 as the angelic body of the work, the redaction function as a butterfly across functions 9,10,13 where the wings are attached, while the blue and red metre are constituted by the bigger butterflies from books 1-4 onto book 14 and from books 5-8 onto books 15-16 in TEQ. This is summed up on page 686 on the form:

BLUE METRE
1) Phonology by the semiotics of the alphabet ( see under 'A waist of time' and the semiotics of higher orders of time')
2) Semantics by distribution (function 14, see under 'The Endmorgan Quartet')

RED METRE
1) Phonology (acoustics) by isomorphic function
2) Semantics by global mystic archetypes

The blue metre is based on the interval of 1000 years and the red metre on the interval of 2 seconds - the two metres meet in the attention of working memory of humans not the least by the linguistic principles of human cognition. The two elements of the blue metre are thoroughly discussed in the book, while the semantics by global mystic archetypes is more groundbreaking work which is discussed in some detail and it is shown where it can be found. It includes the innovative analysis of chomskyan formal languages in terms of cyclicity in my quasi sonnets based on TEQ book 5 compared with the Orpheus sonnets of Rilke and the 48 first sonnets of Shakespeare. These sonnets are aligned in chapter 19 in 'Poetic semiosis'. There is a lot of work to be done in this comparison and I have only shown the principles. In fact all the 154 sonnets of Shakespeare go into a comparison with the structure of e.g. 'Anna', and it is fully possible to sell the book to english philologists for that one and single newspiece that the sonnets of Shakespeare can be seen to be 'solved'. The final conclusion is that the analysis in 'Poetic semiosis' makes sense on basis of the 'isomorphic function' of the concluding chapter in 'A waist of time', a model of acoustic analysis based on the two main acoustic parametres - which are based on the essential difference between the acoustically based Halle/Jakobson/Fant features from the late 40's and the articulatorily based features of Halle/Chomsky of 1968, in my definition of 1997 as follows:

1) Mid point vs. average of total in spectrum or time dimension of signal array
2) First half vs second half of time or spectrum transform

This means 1) the revelation of function 12 relative to the global scope of function 11 - Rafael's "Triumph of Galatea" can be used as example, how the three bows are three versions of function 11 and Galatea herself is the revelation of function 12 - and 2) the two halves of the redaction function (9-10 vs 13) which is what I call a philosophical definition of thought. Or consciousness or conscious thought, quite simply. This means that the isomorphic function takes on the same formal shape as the work in total, and that is why thought can be used for understanding reality, so to speak. This is why the concluding chapter of 'A waist of time' from 1997 is included for the isomorphic function in 'Poetic semiosis'.

In addition, the preceding 4 chapters or books of 'A waist of time' account for other aspects of the total structure, such as book 1 'Submorphemic signification' which studies the psychological and linguistic basis for the arbitrarity, the linebreak, or even the essential bifurcation of TEQ book 3 where the title of the work ('The Endmorgan Quartet') can be found in the mirror point to the border between books 15 and 16 in the other end. This bifurcation can be understood as the point where history falls out from the poetic reality - and it had an interesting interpretation of probably nature in the Beachy Head landslide in 1999. Book 2 of 'A waist of time' discusses the historic basis for the assumption of a 1000 year blue metre - when I wrote the book I had not yet articulated this metre but the historic study of such a millenial interval is the theme of the book, the first half of which is from 1992-1993. Book 3 in 'A waist of time' has a counterpart in the chapter with the study of the 23 photos from the Danube island in 'Poetic semiosis'. See e.g. the 'Beachy Head landslide' with title TEQ 14 'If you're going to Köbenhavn' and the title 'POLAKK English Bloggi' in photo 2. This chapter studies the architecture of the visual world, the MAYA of painted plywood and cardboard running on rails and hanging in ropes in the world of illusion wherein a photo of random character in a semi-dark grove on the Danube island can hold the whole secret. A small breath of wind could have changed it completely. This is also the theme of chapter 7 in 'Poetic semiosis' which studies the phenomenon of written word etymology relative to the visual modality: Take some central historic artwork and read a concept or word out of it, sometimes the title to the artwork is telling it, then look up this word in a dictionary for its year of first occurrence in english language, compute the interval to the year 2009 when I wrote the PEB and multiply this with 0.366 and you get the number of a sonnet in PEB which often seems to tell the most essential graphic or visual elements in the artwork. This comes as a third property of the PEB, in addition to the phenomenon of dating of literary works and the understanding of the graphic form of the hebrew alphabet on basis of the principles of semiotics. There are close affinities between the PEB and books 1-4 of TEQ.

Book 16 in TEQ contains 155 poems which go in parallel with Midori's recording of Bach and Bartok (with MacDonald) sonatas published in 2007. The parametres suggested for the theoretic analysis in volume 3 should probably suffice for a theoretic account of this correlation. These parametres are utterly semiotic and do not involve any 'political' abuse factor. Which could come to constitute a major step forwards in politics - and important progress for information technology instead, including the idea of transfer 'faster than light' without short circuitry in neutrinos etc. The riddle is probably solvable, as is my conclusion, but it would take a lot of work and to solve the riddle could take much work from many readers. It could of course be that CIA has solved this with donald duck archetypes already, but that is probably not interesting.

The cover to volume 3 shows the vision from p.157 (under 9.10.94) in volume 1 - the wheel from outer space crashing into the intersection of 'Eventyrveien' which now can be recognized as 'A waist of time'. It intersects or parallels with 'Poetic semiosis' - and there could be a comment to this phenomenon in the first lines of the novel - the envoy from heaven. (After the enumeration of TEQ in the summer 2012, the signature to the mid poem happens to be 'Newton').

Conclusion on vols. 1-3

The 3 volumes - written in the years 1992-2013 - constitute a unit which can be called a poetic-philosophical study of the human reality or poetic psyche. There is one literary prose and one scientific prose wing to the main angelic body of volume 2 - 'The Endmorgan Quartet', which thereby also can be seen as the title to the full work. It is likely that it stops there at 3 volumes. If there should happen to come to a fourth volume in the quartet, that would be many years from now.

This work must now be published. It is the most disgusting form of nazism which wants to keep it unpublished or which wants to spread the main ideas via the research and cultural networks controlled from the central power as if these ideas were common goods or had been vibrated to me from the central power. The strong inner structure in the work suffices for proving that this has nothing to do with remote control of mind or propaganda influences. The 20th century has been a war against the spiritual values of the individual and its relation to the society, not the least by way of the insane war against the archetypes by way of Hitler and western propaganda, and it must be considered a sort of crime against humanity to try and keep the work out of reach for the public. To expect me to spend my pensions savings for making copies of these 4400 pages (it is a little expensive, in fact, even if I make the copies myself, and it is quite a lot of work) while others are making themselves fat on the work I have done is disgusting and a case of abuse.

There are lots of such enemies everywhere and they have lots of resources. Where are the friends? I am convinced that the world is full of friends - in contrast to these few powerful and money-strong enemies - but where are they?

I am not waiting for somebody to buy the rights for a nice sum: Even if I should have got 1 million euros for the whole thing for a 5 years contract, it is self-evident that UK or US secret services would have made a fresh Adolf Pitler Verlag who would buy the rights from the publisher I sold it to for 10 million or whatever sum is needed - and then there is nothing I can do to prevent it. As far as I have understood, buying the rights to a work means necessarily also the rights to sell them on to a third part, or the contract can be sold on if the publisher goes bankrupt. Pitler could probably launch it with Hitler on the front page, with swastikas and black eagles and so forth, and after 5 years of such propaganda it could have been out of the story.

THEREFORE I would prefer a commission contract of the simplest 'no nonsense' type: The contract will tell that the publisher has the right to make prints of a certain maximum number per reprint of copies for selling out before a new reprint, with a certain fee to me for each new reprint (no need to ask for permission to reprint, just send the fee, as long as integrity holds and the contract is not terminated), and publisher and author can terminate the contract at any time and then the publisher has the right to sell out the printed copies, up to the max number preappointed. No initial sum is paid to me except for that fee for the first print. This is to take no chance at all for the publisher. If this contract type makes it difficult to sell the copies, that is not interesting: The work will sell to those who are interested and not to those who are scared by the propaganda terror. It is a serious work which will sell to serious people - hopefully there are a few left after the century of Donald Duck and Mickey Mouse as prime archetypes. The commission contract should be at a socalled serious publisher. Could be a university publisher could do it - but is e.g. Carl Winter of today comparable to what they once were? Or Otto Harrassowitz? Or maybe all once serious publishers have come under the control of UK/US secret services? There are those publishers who can publish Proceedings of the 9th international congress of transcendent logic, a 2000 page volume which they hope to sell in 110 copies for 500 euros per copy. Such a publisher should also be able to publish my 3-volume work, I would suppose. The three volumes are more or less finished in design work and there should be very little extra work which must be done.

I prefer to okay the design of the edition before it is printed, in order to prevent wrongway propaganda. The cover photos should perhaps remain as they are now - some of them are somewhat essential - but maybe it is not so important any longer.

When this commission contract has been running for a few years and/or if the work thereby is well established as the serious work it is, then of course one could sell the rights for a bigger sum to a serious publisher, but I would not do that before it is 'safe' against that sell-on to Pitler, the straw publisher for Downing Street or the White House.

See the article 'Why I myself cannot submit books to publisher's review' (referred to also at the beginning of this pag) for the reason why I cannot send my work to peer review in the form of applications or letter to publisher. I am making copies by hand and donating them to libraries - I am a book AUSGEBER/IZDATEL' etc in this sense of it, but I am not a bookseller - and publishers who want to review the books by peer review can do it in such libraries. If a publisher wants to ask for a contract, they can contact me - but not for asking me to submit the books to their 'peer review': Just forget that stupid game.

Then remains the question whether such a letter will reach me by post. I hope it will but I am not certain that all connections always function as they should.

If you are a private person who reads this and agrees with me, you could of course try and tip a suitable publisher about this URL. However, I think that the books should be published not west of France - I mean UK and US are not so smart (at least this is how I write it here) - and neither is Norway a good alternative for me due to the background history. It cannot be translated into other languages. It must remain in english with greek and hebrew parallel texts. I would have believed that many european countries should have been happy to get a chance to publish it, not the least because of the clean political landscape it opens, but there may be much propaganda tumults around trying to create the impression of the opposite.

Volume 4 (in progress): On the form of being

The first thing I must say is that I am far from certain that I come to complete the theoretic parts of this volume. The literary part (nearly 500 pages for the german poetry and some 100 pages norwegian) is finished (and most if it is self-published in its smaller parts to libraries) and waits for a publisher (whom I hope can contact me). The norwegian poetry is discussed in the article 'Og lønn vi fikk avstanden fra' - it adds to the following german part:

'Der Dornenstrauch' (for a planned 'Volume 4')

(formerly 'Die Dornbusch Trilogie' - before the fourth part was completed) is a work in german language - a german correlate to 'The Endmorgan Quartet'. Most of it is written in viennoise coffeehouses. It consists of four parts:

1. 'Kinderhilfe' was written between 17 december 2009 and 22 november 2013, most of it in the years 2010-2011. It is in four parts (Hunde, Grenze, Baum, ROP) which lends to it a certain Möbius-strip character.

2. 'Unter Gesellschaft' was written through a few weeks in 2013-2014 - between 22 november 2013 und 15 january 2014. Even this has a certain möbius (of another type, though) about it in the way it was written. 'Unter Gesellschaft' can be considered a mirror to 'Kinderhilfe'.

3. 'Linien die prägen die Sterne über uns' was written between 18 july and 26 september 2014, relased to legal deposit on 21 november 2014. It has the subtitle 'Aufgestellt in tiefem Staube'.

4. 'Die Schönheit der Welt' was written between 13 december 2014 and 24 april 2015, released to legal deposit on 7 december 2015.

An important part of this poetic study is in the relation between relative and absolute enumeration in part 1 - a total of 294 poems enumerated from 1 to 187 with several subgroups.

Part 2 contains 64 'shakespearean sonnets', so to speak, plus a foreword and afterword. Part 3 is another 64 poems of 16 lines each, and the fourth part is 16 poems of 20 lines each. In total there are 440 poems in the book.

An important aspect of the text is the process of 'reduction': I wrote some 75 or so 12-line poems and then I reduced these to 64 and distributed the remaining poems over the 64 which gave me 64 poems of 14 lines, sonnets, so to speak. Similarly in part 3 I wrote some 77.3 poems of 14 lines each, same style as the 64 already completed in part 2, and at the end I reduced these 77.3 to 64 poems of 16 lines each. This is what caused the grandiose mystery - the formation of the 'lapis philosophorum' which I found in my kitchen at the end of the writing of part 3. It is highly interesting to find that poem 78 in Kinderhilfe (part 1) - or more precisely down to poem 77.3 - are the following lines:

Leben fährt fort
eben wenn die äußere Bedingungen
die innere Erscheinungen
wiederspiegeln. Hier
sind wir plötzlich versteinert,

It means that having written 77.3 poems of part 3, the writing suddenly stopped and an apparent 'lapis philosophorum' was produced probably ex nihilo, such as described in poem 77.3 in part 1. That is by relative enumeration - by absolute it is poem #111.

In the mean time, during the summer when I wrote it, the salt in the kitchen had gone just crazy and seemed to produce a lot of humidity - it even rose far beyond the top level of the salt - like Noah's flooding - before it sank again and the salt attained a strange hard quality. It is probably essential to this story that the poems that were reduced in both the 2nd and the 3rd parts must have been written with this structure in the subconsciousness, even if it were totally absent from me when I wrote it.

The fourth part (it was a bird who told the title to me) was written independently of any such ideas - but when it was finished I discovered that the poems seemed to encircle the points of each book in TEQ where the global and the local functions coincide (by ratio). When in addition the 64 poems of part 3 seem to be about these same 16 functions - function 1 = poems 1, 17, 33, 49, function 2 = 2, 18, 34, 50 etc - it follows that there is a continuity between parts 3 and 4 - such as there is between parts 3 and 2 - and there is an ontological coherence between parts 2 and 1: When I wrote part 2, there occurred an abundance of 'recursive matter' which seemed to relate to part 1. A good number of these pieces of recursive matter ex nihilo seemed also to correlate somewhat with the subgroups of the relative enumeration of 'Kinderhilfe' - conceived of as 'phrases' in a phrase structure grammar.

One can fancy that such phrase structure is the same as the reduction from 77.3 poems to 64 - and that this creates matter ex nihilo like the 'lapis philosophorum' at the end of part 3. Therefore phrase structure grammar could be a relevant conceptual framework for understanding the ontological form of the world. Part 4 can be seen to interpret the 16 poetic functions of TEQ - which can be seen to be situated in the metaphysics beyond the division of epistemology and ontology. 'Der Dornenstrauch' sort of gets it down to earth. If form = matter and matter = form, hence 'recursive matter', it follows that it is the phrase structure which is the form which determines the matter, but clearly this cannot be recognized without lexical identification - hence it takes its form beyond the distinction between epistemology and ontology - that is, in the TEQ.

See also the article Anomalism in a new esthetic space" on the book as seen from a historic viewpoint.

For the 64 poems of part 3 relative to the 16 books of TEQ, the english TEQ and the german Dornenstrauch approach each other from two sides. In the middle, between them, one finds the old intrigues of international secret intelligence services who have intruded with divide-and-conquer to pump enthusiasm and beauty out of the poetry and convert it to power. This means that reading the 16 poetic functions of 'Linien' against the 16 poetic functions of TEQ is to squeeze the power of intrigue out again - like squeezing a tube of toothpaste. It gives a very pleasant feeling - and it can be evidenced in e.g. the revitalized experience of music which it can lead to. Read e.g. TEQ book 6 and then the poems 6, 22, 38 and 54 from part 3 - and listen to e.g. Schumann's trios. It is essential to these 64 poems that they contain extensive mirror symmetries - in the half of the book 1-32 vs 64-33, in the quarters and perhaps even in the 8ths of it - something which lends much interesting explanatory value to the understanding of the deeper structure of the 16 poetic functions. (I discovered the symmetries only after the book was completed).

The work is about 'the form of being' in this sense of it and constitutes a natural and substantial part of the planned vol.4 - but it can clearly be published independently as well. It is essential that the discussion of vol.4 is planned to rest on empirical data and not is only theory. 'Der Dornenstrauch' probably proves that the four HOTARAMs of the first 424 verses of Rig-Veda mean not 'burnt-offering' but rather 'archetype' - which probably also means (not surprisingly!) that the holocaust was a big mistake. As such, it could be that the book takes the problem of nazism at the root - in particular if the church of St.Peter in Vienna should be a locus of essential significance for the construction of the nazi paradigm.

DDS part 3 - 'Linien die prägen die Sterne über uns'

It seems that 'Linien' - a piece of esthetic-poetic logic - is not only a miniature TEQ containing the 16 main poetic functions in quartet format but also an interesting model for the innate linguistic competence. It is also characterized by leading up to the finding in 2014 of the apparent lapis philosophorum. In the light of this, it is interesting to observe the close affinity with some aspects of the work of Caravaggio - although it is likely that his is not the only examples one can find. I wrote poem 5 of 'Linien' after having seen an exhibition with Caravaggio's painting "St.Franciscus receives the stigma" - which I recognized when I saw a poster for an exhibition with his 'Sleeping Amor' in Vienna recently - september-october 2015. The two works are quite similar in important respects - and the first applies to poem 5 from the beginning while the latter applies to poem 5 from the end. Aha, I thought, my work follows Caravaggio's in its symmetries. I soon found that it seemed that my poems by their titles refer to the peculiarity of some aspect over the head of some character on his paintings. I found this when I studied his 'Judas kiss' and there is a round lamp over the head of a soldier helmet and I thought: Are all my titles of part 3 about some aspect just over the head of such Caravaggio characters? I have not studied it in more detail but list these as interesting:

5 Die sprechen eine fremde Sprache - St.Francis receives the stigmata
10 Hinter der Mauer, doch, die graue - The martyrdom of Matthew
21 Unter dem Marmor-Bund - Jove, Neptun and Pluto
37 Gegen das runde Licht - The Judas kiss
44 In des Türkises Stiel - Rest on the flight to Egypt
46 Auf dieser Ecke Rand - Burial of Christ
60 Schlaf überkommt mich, Schlaf und Schlaf - Sleeping Amor

#21. 'Unter dem Marmor-Bund' is on the web on this page and has a special reflex in Caravaggio's ceiling painting in being above the head of the spectator. It has a mirror reflex in #44. 'In des Türkises Stiel'. For 10, the grey wall is just above the head of the central character while it is probably believed that the peeping face in the background is a self portrait of Caravaggio - could be the only one he made. He seems to look at something behind the wall, invisible to those who see the painting. For 46, the mystery hand at the corner of the face above the Christ seems to point to a 90 degrees correlate of the group relative to the platform they are standing on. Cp. also the last line of part 3, poem 64. For 5, one could think that the slightly 'alien touch' in some of the poems of part 2 ('Unter Gesellschaft') could be about a guiding role of angels.

The phenomenon could probably be called KETER - the Crown - in accordance with jewish mysticism of the sefirot. It is noteworthy that this could be about the 64 poem miniature version of the 1719 poem TEQ.

Notice also the obvious link to the socalled 'indian' with the hair knot on his head that seems to be the crystalline form of the original image of 'James Joyce' reading in relaxed home environments.

Der Dornenstrauch and music

One of the great moments of my life was the day after I had completed part 3 ('Linien') and listened to Schumann's trios. Could be the sensational acoustic experience I had of particularly the piano (the recording with the Beaux Arts Trio - including piano quartet and quintet) could find an explanatory format in e.g. the poem "Unit and harper emend". I later tried to find correlates to the other three parts of the work. However, even if these seem less 'acoustic' in that sensational sense of it, I could refer to Händel's opus 1 (violin sonatas) as suggestive of the mood of the fourth part - the joy and ease with which Händel wrote his first work, and he was just happy to write yet another sonata before supper. For parts 1 and 2 it is less easy to find something relevant - I considered Bach's mystic Kunst der Fuge for part 1 and Brahm's chamber music with clarinet (string quartet and quintet) with its 'ex nihilo' wooden sound - could be these are less strikingly relevant but they are a little interesting.

On the day when I had completed the first edition of TEQ book 16 in 2008 I went to a music shop and found Midori's recording to the 'red metre' and its 2 second's interval. This time I had just delivered the completed Dornenstrauch to legal deposit in Vienna on 7 december 2015 when I later in the day went to a music shop and found her new Bach record. This magnificent recording is how art life of a healthy society should be - it brings interesting and stimulating response to your own work without interfering with it. I am not going to measure seconds and lines this time - it is not there, but indeed it can be seen as a positive response to this work of mine if one wants to.

(Is the 'indian' playing a violin?)

Since TEQ has been issued in two versions - 2007 without book 16 'I tell you, Estunates' but instead with book 5 repeated in 'Sonnets' as well as 'Yes, there is no need for any such attraction' with the only difference between these being in linebreaks and hence this 2007 had another understanding of the linebreak function, the books in 2007 and in 2008 had different enumerations from book 9 to book 16. In case you should be consulting a 2007 edition, I therefore bring the titles to the books in the 2008 enumeration here - it is this which counts as 'functions 1-16' (lefthand column) for the quartets of 'Linien...':

Part 1: The Endmorgan Quartet
1. Hammerfest
2. The slades with the only turn
3. Cat-Rufus' earth
4. Cardiff/Harding

Part 2: Birds to Saladin
5. Yes, there is no need for any such attraction
6. Orphan and the angels
7. A sister of Toukhraud
8. Diplomadary and descendature

Part 3: A saga Hume
9. ...to be an emperor...
10. A deep ratch
11. Winter Princess
12. Lead lushions in a bowl

Part 4: Wine 2*
13. Has the next millenium praxis?
14. If you're going to København
15. Gentlemen
16. I tell you, Estunates

'Time and the sonnet'

As part of a theoretic discussion in volume 4 I could come to include also parts of my book 'Time and the sonnet' from 1999. This small book of some 160 pages explains the crux also of much 'politics' on basis of the permutational algorithm which I call 'the keys to heaven'. It goes back to the new poetic forms developed in the high middle ages and is the basis for modern signal analysis in the Fast Fourier Transform. It is likely to be an old 'freemason' secret. Terror-based administration has been waging a war against poetry and intellectuals, and the political invasion and occupation of poetic structure is particularly well illustrated by the annexation of the bound forms of sonnet, terza rima, sestina and others. The book has independent value in explaining some formal aspects of bound literary forms and how these relate to aspects of the philosophical concept of historic time. This book explains the literary forms and the principles that unite bound poetry, administrative logic a la event structures and signal analysis. I wrote the book in 1999 and have added a short postscript to it. The book is easy to read and has high explanatory value for many fields of study and could of course sell independently as well.

ABC of politics (2004-2010)

This is the 'ABC of politics' which I have put out here on the internet - and which of course can call for a publication in book form as well if only it were in a better shape and were more informed about facts as distinguished from imaginations and speculations: There is too much still lacking for being an up-to-date account of the situation. However, it contains some local news from Norway etc which could be valuable. Could be I could try and complete it one day, but for the time being I am very tired of struggling with political ideas - which I understand little of - and I suppose that I am not going to continue with political ideas.

Technicalities

I am the authentic and only author of my works.

'The Dreamer' was written in the spare time when I was a job seeker in Oslo, and a part of 'TEQ' was written while I was a research fellow at Bergen university, but mainly at night. There was a clause in the employment conditions - or rather the surveillance agreement which was a precondition for the employment - that the university had the right to make copies (for education purposes etc) of all written material produced in the course of the employment period, but that cannot apply to poetry written at night. 'Time and the sonnet' contains some material (mainly one chapter) written as part of my work with the PhD dissertation which was the task of my research fellow job at the university, but I don't think the university has the copyright to these works even if they claimed the rights in the employment contract (or was it in the supervision contract) to make copies for their own education purposes without having to ask me for permission. It was not permitted to work without a formal supervisor, but the supervision was limited to quarterly reports from me which were accepted by the supervisor. As far as I know, with these provisos, there should not be any copyright limitations to any of my works.

The first half of book 2 in 'A waist of time' was written at and published in the research paper series of the 'Centre for culture and technology' in Oslo in 1993. I wrote also a postscript to an edition of Geirr Tveitt's 5th piano concerto (late 80's) and a research report (late 1989 or early 1990 - 300 pages it was) at the university in Oslo with studies of rules for positioning music notation in an automated music editor - these works, the last two mainly for earning some money, are published in normal ways and they qualify me for membership in the organization for norwegian authors of non-literary (non-fiction/drama/poetry) works (what's it called, scholarly and so forth - 'Fachbücher'). Hence I can call me an 'author' from that point of view, although these two works of mine are not in my current field of interest.

I must admit that I have speculated on possible illegal borrowing from 'The Dreamer' in some cases. It could have been subjected to extensive plagiarisms, although I know little or nothing about this. If such plagiarisms have taken place, it is they who have plagiarized me and not the other way round. The situation could of course theoretically be much worse than this - that the western powers have put microphones into all my surroundings and tap my work and turn it into plagiarisms more or less constantly, such as by top-down control from research and cultural and networks and 'innovative' wirtschafts, but I have no overview of anything such. It would have been a matter of raw abuse of my work and person if that goes on - and I would certainly never have given my permission to anything such.

Corrigenda: I delivered 5 copies of "A Waist of Time" to legal deposit in Vienna on 10 march 2011, and it was only afterwards that I found the printing error in the fifth part of it = book 5 - where the reference to 'books 1-4' in the same work - the four first books before the fifth - is misreferred to as 'chapters 1-4', which could lead to some confusion with the chapters in book 1. I originally started rewriting the whole work with the books referred to as chapters , but left the plan. I forgot that I had made these changes in book 5.