About my literary work
John Bjarne Grover
Except for some scientific-semiotic books I have written and which could be published, I have so far completed four interdependent literary works which call for publication, ideally for joint publication: 'The Dreamer', 'The Endmorgan Quartet', 'POLAKK English Bloggi' and 'My mention e Anna'. These are really to be considered volumes 1-4, although they can of course be published and read independently. I had been planning a volume on theoretic-semiotic matters related to these things - this does not have high priority, though, compared with the poetry but may perhaps eventually get a form, could be even as a final volume in the series of scientific-semiotic works (if I am going to continue that work at all - I really feel that the period of science, which basically served to make it possible for me to have an income, should be finished by now). I refer to the article on 'Higher-order poetic logic' - it is important to read this article to understand the work. I sum up some interesting aspects here, without being exhaustive at all, and repeating things from the article (or vice versa).
For a very brief summary of the literary work, see this file.
The books I could sell, by self-publishing or via an ordinary publisher, preferrably on a 'commission' basis:
1. The Dreamer - a novel (some 550 pages)
2. The Endmorgan Quartet - poetry (some 800 or 1900 pages)
3. POLAKK English Bloggi - poetry (some 380 pages)
4. My mention e Anna - poetry/prose (some 250 pages)
5. A waist of time - scientific prose (some 640 pages)
6. Time and the sonnet - scientific prose (some 160 pages)
7. ABC of politics - scientific prose (some 320 pages)
There is a thematic unity in the poetry and the first of the theoretic works - and indeed one could see them all as part of one single project of constructing a poetic logic.
1. The Dreamer (1994-95)
is the title of a novel of diary kind about the status of genre, prose. fiction, reality. (Around April-May 2009, I think it was, I started contemplating a new title "Years of revolution" for it - the title is from the end of the second part of "A deep ratch" = 'TEQ book 10', but I have discarded this title for this book). One can call it a study of the form of place. It is about the author who struggles with making a coherent whole out of the jungle of illusion he lives in while writing a diary which is the novel. The illusions are the political intrigue character of the real world (and indeed I wrote this diary novel soon after the Rwanda genocide), while the story is the quest for a deeper reality. The author of the meta-novel is struggling with understanding the difficult language of car numbers (for a while the author really believes that he has discovered a hidden pattern in the numbers and he even succeeds in predicting a few of them) and the voices and visions of ghosts and spirits and angelic beings in his quest for something more real than the political world of 1994-95. There are some 1200 car numbers listed in the appendix (although the author discusses only some of these 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 the number of words in The Endmorgan Quartet, some 100.000 words. The novel can be seen as a catalogue of theories of the novel, each date entry (there are some 200 date entries) constituting a more or less independent theory of the novel, as is my hypothesis. This is Schlegel's 'arabesque' program in his 'Brief über den Roman': "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... I discovered the parallel to the talmudic tractate Erubin in 2008 and the parallel to the Pentateuch in 2010 - which then can be seen as a novel (the Pentateuch as the ultimate novel) and its theory (the Talmud). It is a novel and a meta-novel and the story progresses in terms of the development in the text of this deeper poetic reality. There is a sort of happy ending (not the complete madness but a sort of 'freedom of the spirit'). I have even retained typing and other linguistic errors which my fingertips pressed into the keyboard of the computer when I wrote the book in 1994-95 - an aspect of the work which I think is very important. I have not gone into deeper studies of the work but have understood that it probably consists in a series of parallel stories and 'novel functions' - where Schlegel's theory of 1800 exemplified by Hölderlin's 1799 'Hyperion' (is that the source of his theory?) constitutes one of them.
I here discuss three interrelated date entries in the book - over a theme which runs like a criss-crossing theory through the novel even if there are other styles and 'theories' inbetween - these are short entries with transparent 'theoretic' structure but there are many long and complex ones in the book (average length is close to 3 pages per date). It is not so easy to determine how the novel would parallel the Pentateuch, but I have found one parallel which looks interesting (I am counting lines, not words, and assign much meaning to a linebreak which means that a line can be one word or twenty words but these count the same - with 3.5 such novel lines per hebrew verse throughout) and mention these parallels here, although it should be kept in mind that the segmentation is perhaps not precise. Here is first a short date entry which can serve as an example for the concept of a novel-theoretic novel with a hebrew parallel (tentative Pentateuch correlate is Genesis 47:24-27):
12.10.94: Late evening: Having worked all day, I went down to the kiosk in Nordbergveien to buy some eggs for supper. I met three cars in Nilserudkleiva. As I was about to step into the kiosk, the car with number BN 66777 passed in Nordbergveien. They had only packages of 6 eggs in each, so I found one and brought it to the counter. The young woman working there said that they cost 13 kroner, and then she opened the package and touched all six eggs - 'just to make sure they're intact', she said. On my way back, I met two cars.
Apart from this, I have been out twice today. Once, a quick visit to the library at the university to borrow McNeill 1970. Then after dinner to the kiosk at Krinsjå to buy a newspaper. On my way back from there, I saw the car with number DE 96770, and then had it confirmed that these were the letters on the car with number 96770 which I observed on the 8th of October.
The telling elements are 1) buy some eggs for supper, and 2) borrow McNeill 1970, and then one has to notice also 3) BN 66777. After the author had borrowed the book earlier in the day, he met the car DE 96770 on the way back from Krin[g]sjå with spelling error, as if a '6' had fallen out. This fallout of symbol is represented in the former occurrence of the same on '8th of October' = 'ate of egg-to-6-er' which explains why the '67' fell out and left DE970 = 1970 by ostensive 'de' = '1', the year of the book of McNeill. This fallout of 67 makes for the dramatic background of the entering of the kiosk in the moment when BN 66777 passed, and indeed this seems to be the reason why the young woman at the counter had to touch and count the eggs just to make sure there were 6 and not 7 eggs in the 6-package = 'eggs for supper' = 'six for seven'. 'I found one and brought it to the counter', but there it turned out that the eggs were still only 6 and not 7. Hence the dramatic fallout (of the egg?) is the causal nexus between McNeill 1970 and the eggs for supper in the story when the woman reaches out and ostensively touches the eggs soon after BN 66777 has passed and 'touched the story'. This means that the story elements provide the theory which can explain its own form - it is its own theory. This theory is what makes this a fragment of a novel, and then one can tentatively apply the theory to the novel also in a global scope. The date adds another theory of the novel to the catalogue of novel theories (theory #46 or thereabout it could be). One can study the example in much detail and take it into the minutest parts of it (in the evening hours, as is the theme of the story). The comparison with the hebrew parallel (from Talmud Erubin) which I found in november 2008 is particularly interesting:
That is why this fragment contains the hebrew parallel in the recursive theoretic interpretation. The story told on this date entry is true: This is what happened on this day 12 October 1994 which I found interesting for this diary project. The car did in fact pass in the street in the very moment when I stepped into the kiosk - that is also why I had to write it down. The novel is from my last days in Oslo 1994-95 - perhaps one could call it 'the Oslo accord'.
The above way of reading the fragment is formal and 'grammatical' and theoretic and in line with the inherent style of the fragment, but one can certainly also read it in other and less formal ways which can be equally interesting - even from such a novel-theoretic viewpoint. Another example of a very short date entry can be telling of another possible novel theory - related to the first but different - which one could establish on basis of this recursive property (tenative Pentateuch correlate is Exodus 28:16-18):
17.11.94: The following strange story: I was out walking. A woman passed me and told my eyes, and later through a voice, that she would go home and take me. As I was in the telephone booth, something happened. I later walked to see the district of a flat I hope to get. On the way, two men passed me in strange behavior, and voices told me afterwards: 'These want to have you as well. You should have shown them off more clearly'. As I returned after the walk, while approaching the telephone booth, DE 77705 passed in the street. I felt quite distressed, and people looked at me with pity. I tried to call for another announced flat, but nobody answered. So I went up to Kringsjå, to let the time pass a little. On this walk, I started freezing, and a voice said: Now you catch a cold.
This is of a different kind compared with the one of 12.10.94. A closer analysis of this will show that it is about how voices - or generally thoughts - are created by the social interface. In the closed telephone box, there is silence only. The parametres is the social gap and the order of events, but not really with any causality imposed on them: The car number appears before the telephone box in the story but after it in the story-telling - that is a standard element in novel theory - but the subject goes up to 'Kringsjå' (a sort of high outlook ring, it seems) to let the time pass. The gaps are in time and place, mood and temperature, between persons and gender, vision and hearing. The story is about the 'strange following', as if the shadow of the woman follows after she has passed, as tells the first line with strange order of words. A closer analysis can certainly establish a theory of how the social interface generates voices and these voices tell the novel-story of 17.11.94 - in the way that it tells it, such as by the gap between reader and writer, the writer and his own writing when he is reading his creative or revelational ideas. A voice is here a 'theory' - a fantastic thought - situated in the gap between the categorial symbols of boolean 'nazi' logic. The present theory could be #71 in the catalogue - in a story which progresses throughout the book from the one theory to the next, like progressing through a series of talmudic lines which in fact existed as essentially oral theories before they were written down around 500 AD or a little earlier. Could be that is why one could call this work of mine an 'essential novel'. Here is the talmudic hebrew (Talmud Erubin) to this date entry 17.11.94, so people can decide whether it is of any relevance to the essentials of that particular date entry - or, more specifically, if it even can be considered identical with the essentials of the novel theory for that date entry:
Finally, the theories of these two date entries - 12.10.94 and 17.11.94 - run together in a third date entry (with tentative Pentateuch correlate Leviticus 26:36-41 possibly including 26:42):
25.1.95: Today I have regained myself. For a period, say, an hour or so, I was completely regained as the one I was some years ago. As the voices recurred by the return of the woman next door, I understood that these voices were not hers, although they played the same tunes as I have thought that she has done previously. Maybe she has had housed similar thoughts from time to time, but I now clearly felt that these voices belonged to a realm different from the one she represented as she came in. I do not know what it was.
Yesterday, the number LY 41111 occurred in Pilestredet, close to Fagerborggata. Today, as I stood in a telephone booth and had a conversation, a car witth the number CC 41111 passed in the middle of a very interesting passage. As I took it down, something happened again. The man in the other end sort of lost his concentration, and he subsequently had to cough and concentrate to regain himself.
Late evening: I have looked through some of the car registration number occurrences, and again viewed a curious patterning. The following idea occurred to me: The strongest tendency so far was found in the period when I lived in Nilserudkleiva. I now think: This is the observation of a space which will occur, and which emerges through the vision in the 'channel' in the low prefrontal cortex (as it felt) which I have described above. The yellow or golden light stone may have been a vision into this space. The most serene visions I have had later, with a featural quality, may indeed be the nature of a future space.
This is a form combined from the two other ones: Both car numbers and voices have equal status. The theory which arises from this date entry is the theory that the mind on the other side of an impenetrable wall - such as the wall to the neighbour or the skull around the brain - is of a similar kind as the narrating subject himself. That is the fundamental presumption for escaping the enclosure of solipsism and for entering into a meaningful communication - and clearly it must be the presumption for a technology which tries to communicate through eternity. Which probably is the real theme of this date entry. The author is 'regaining' in the first line - then tells of the person on the other side of the wall and the car number LY 41111 and then CC 41111 and then the person in the other end of the line 'regaining'. What happened in the mean time was that the author wrote down the same car number as 'yesterday' or 'years ago'. It is the act of writing this number CC 41111 which makes the story here - the fragment of a novel, a fragment which contains the formal theory for the whole novel. There are two telling errors: One grammatical - 'has had housed' - and one spelling error - 'witth'. The first remote contact is with the woman on the other side of the wall in the same house, and the second is with the man in the telephone in the moment of writing. The two errors tell of the unreal or rather surreal character of the voice - which in the case of the interlocutor is subjected to a 'cough', as if it passed the border to eternity, and a new 'concentration' thereafter, as if he stood in a telephone box in heaven and tried to obtain contact with earth for telling what happened. Could be the man in the telephone for a brief moment believed that he heard 'voices' in the telephone? But he did! And so did the author when the woman next door returned and 'voices' could be heard as they passed through the normally impenetrable barrier. It is the theory of the novel - which means simply the novel itself - which tells that there is a reality in the voices - a reality comparable to the car number which seems to be the secret code for the message communicated in the voice. This is what the author studies in the late evening when he looks over or rather through the numbers recorded so far, and he finds a strange pattern with which he believes that he can see into the future. Which means into the other side of time. But that means that the numbers he sees through are the impenetrable wall - the 'arbitrary' symbols - which he paradoxically can see through by way of this alchemistic formula in the strange pattern which lends meaning and reality to the voices - and eventually to the novel itself and its genre. In the beginning line, he sees years backwards, in the last line he sees forwards into the future. This perspective unites the two parts - the first story and the one in the evening - of the date entry. It is the mirror symmetry in the fragment which makes this reading of the voices possible. Could be Blankenburg's early theory could be of some value for understanding the quality of this phenomenon - if this is not only about a naive identification in the fragment of the Turing machine tape with a reading-head running over unary notation - 1111 - with blanks - here 4 - for the spacing). The author is reflecting on himself when he is understanding the mystic vision in terms of his own brain and its enclosure through which he apparently can glance through - the mystery of vision - as if he sees into the wall and there is a grammatical error there which makes him believe that he sees a neighbouring woman when he sees himself in his contemplative enclosure. But that is precisely the interplay of novel and novel theory which is the character of this novel.
The fragment can be seen to be 'arabesque' in the sense of 'persian' in the sense of 'formation of script' - around which the mirror symmetry takes form. Arab script was introduced for writing iranian language at the time when the Talmud was fixed in writing. The date entry of 25 January 1995 can be seen to study the mirroring of voices in car numbers and vice versa and hence combine the other two date entries.
In the enclosure of the telephone box, the author or 'person' is in oral-theoretic communication with another being outside but something happens when he writes down some information in discrete code observed outside through the window glass of the telephone box. Then the oral character is interrupted and the roles are turned and this creates the voices which are the same as he hears in the receiver - the oral theory - as if it were about a talmudic quality for a heaven-earth relation. This role-swap is therefore, in this box-like solipsistic Turing-machine-oriented theory, equivalent with the communication of voices which break the formal Turing-isolation when they are heard 'through the wall'. The two errors (search for 'There are two errors') seem necessary for making a difference between I and THOU and one can postulate this difference as the formal character of the gaps of 17 Nov 1994 - which, again, is the crisis when the theory is formal and based on discrete arbitrary symbolism. The fragment tells of a meaningful signification behind the cold and formal arbitrarity. Could be this difference is what makes it possible to construct a model of communication without signal waves, a sort of 'telephone to eternity'. Could be the 'channel' mentioned in the text is a sort of 'chain' such as the the Talmud text tells of, more than a typical discrete-symbolic Turing machine of boolean type. If so, the vision in the 'channel' is about the understanding of technical time - beyond which one can glimpse into an eternity beyond history.
This series of car numbers in the last part - studied in the 'late evening' - thereby constitute small windows through which the author can look in to a loop which runs in the first part of the text - a short story about the self and the other, the LY 41111 (the subjective cognition looking in through the window) and the CC 41111 (the communal historic consciousness, it seems, looking back) and how they interact and communicate. That makes for a basic story or 'novel'. Then one continues to the next car number and the loop is run once again with a new story but principly on the same theoretic format. This constitutes a formal theory on nesting loops in the sense of a series of car numbers which makes for a catalogue of novel theories (or rather ships in Iliad II) - and the progress from the one theory to the next constitutes the progress through a catalogue of theories like the ones which constitute the present novel "The Dreamer". Therefore this date entry constitutes another theory of the novel, in fact the structure of the present novel.
The hebrew for this date 25 Jan 2009 is the following from Talmud Erubin:
The poet said: I want to write a poem (TEQ). But then I need a pen. And so I wrote this pen. I wrote the reed. I wrote the feather.
'The Dreamer' was released to the public (some libraries) from me on 27 July 2009. There are some errors in the hebrew of the first copies which I distributed to some libraries - mainly scrambled word order. I apologize for the inconvenience (and any unfortunate meanings that could arise from the mistakes in these early copies, certainly not intended). For correct forms, one should look up the corresponding parts of the Mesorah edition or similar.
There are reasons to believe that the UK/US administration could be interested in stopping the spread of this novel in particular if they have based state terrorism on it since the late nineties. There is therefore a certain danger that copies I have made by hand and donated to libraries could be quite simply stolen - by private or public thieves, british or international secret service. James Bond breaking in at night and replacing the copy with a similar one with much nonsense inside - such as memories of uncle Aron. This is another reason why it should be published in original version. Maybe a chinese publisher could find it interesting - and so there could be the chance that at least a few copies could survive in chinese attics?
'The Dreamer' should have contained 3 letters which I got from other people when I wrote it - from a psychiatrist who wanted to offer me a consultation, a book reviewer and a publisher who sent me their rejections, but in the current version of the book these letters are reduced to almost nothing since I do not take the chance of being burdened with claims of economic compensation if the law is not crystal clear on the point. Use of these short letters in the book probably counts as legal citations, and it is probably better to quote the whole short letter than only a reference to its contents, but this is a literary and not really a scientific work although the ambiguity of genre is an important part of it. A publication of the book should try and find out if these three letters can be included.
In its present form, the book has contained an elaborate apparatus at the end, with car number lists, hebrew fragments, poems and discussions. Could be the best, after all, is to narrow it as far down towards the text itself - and leave the theories to theorists. When I read the book, I come to the end and I am not much convinced about its literary qualities when I put it away. Then some 2-3 days elapses and suddenly a sort of 'revelation' starts which has its origin in this book but which a normal reader probably will find difficult to recognize as related to the text (if other readers read it like I do). One could speculate on a 'resurrection' function in the book - which perhaps even could be related to the christian story. Political abuse of literature will typically deny any connection between the book and the subsequent 'revelation' which they rather could be inclined to try and hijack. Conversely, a non-administrative attitude to the text will try and recognize the revelational character as related to this book and not to some other book which one has read in the mean time. It is this interval of 2-3 days of silence or nothingness between the closing of the book and the emergence of the 'revelation' which is puzzling - and which could be something new literarily. I don't know to what extent other readers experience the same, but I would believe that it is a quality of the book (or the total project - including the 'updating' functions of TEQ) itself and not some extra-literary phenomena. It is anyhow probably best to publish the book without so many theoretic pages at the end. I fancy an additional 'theoretic' edition with the text annotated with running Pentateuch chapter-and-verse numbers plus corresponding Erubin fragment references. This could allow for a study of some 200 'nominal functions' of a character comparable with the 16 poetic and 'temporal' functions of the following TEQ, but that would be another project and I think the text is best read as the novel it is.
2. The Endmorgan Quartet (1997-2008)
is a work of poetry, more than 1700 poems in 16 books. It is a study of the form of time. Naturally a sort of 'Odyssey' if the first work is an 'Iliad'. 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 - before I found the reason for this in terms of 'POLAKK English Bloggi', see below). 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. However, a few things can perhaps be said: I think of the first four books (the title part of the work) as concerned with poetic etymology (see also below on 'PEB'), books 5-8 as being on poetic metre, books 9-12 as being about the realities, and books 13-16 as being about the articulated linguistic forms. As such, one can think of the books 1-16 as constituting one more or less continuous bridge from the poetic to the historic reality - ending with the articulated revelational-acoustic format in the last book. Each book is a unit which defines its own 'function' both in relation to itself (locally) and in relation to the rest of the work (globally).
TEQ book 14 (about word level semantics) is the simple and good example, since it is easy to count and verify: The full poetic work 1997-2008 is a corpus of about 100.000 words annotated with date of writing for each line or articulation. If one studies the temporal distribution of a word in the total TEQ (or the first 15 books) one finds that it distributes over a certain interval of days and normally will have a notable interval somewhere in the distribution which assigns to it a certain ratio. A simple example is the word 'considerable' which occurs three times in the full work - on 02.11.97 ('a [phonetic] considerable consequences'), 01.02.99 ('a considerable trait') and 16.07.99 ('a considerable curb') which means intervals 456 days + 165 days = 621 days. There are 207 poems in book 14 (or 208.71, depending on how one counts). Computing 456/621 x 207 = 152 which then selects poem #152 - which is a three-liner wherein each of the three lines corresponds to each of the three occurrences in their contexts. Here is the poem which hence also corresponds roughly to the first third of the diary-novel entry for 25 October 1994, according to the analysis of the parallelism in my book:
One of the [greatest] British politicians
Fi-net is another dog or similar
referendum.
Zhym
The first occurrence (02.11.97) corresponds to the first (title) line, the second to the second, and the third to the third. This is no coincidence, believe it or not - it seems to be the rule for the distribution of the words in the work and it is indeed easily verifiable by simply counting occurrences and computing intervals - I have tested some dozen occurrences which all confirm the hypothesis with only minor deviations and have ventured the hypothesis that it in fact applies to all the 100.000 words in the work - all the 'heros' of the golden age, so to speak - which thereby receive an updating of their semantics for a revitalized poetic language: It is the semantic principle of book 14 which thereby assigns a formal semantics - a work-internal semantics - to each word in the total work. For example, the word 'referendum' (line 3) will have its semantics updated by the context-sensitive 'a considerable curb' (the third occurrence) - plus of course many other occurrences in triplets which distribute over corresponding temporal ratios. The resulting meaning is not 'lexical' - it is poetic by this distributional function. But this book 14 in this way - and in fact in several other important functions within the same book 14, such as phonological form - defines only one of the 16 poetic functions in the full work - which all of them will work upon each of the 100.000 words - and which similarly are defined in the intersection between a global and a local scope of definition. These 16 poetic functions of course share the same basis in the 100.000 words, which means that it is an immensely complex structure which is a self-contained semiotic-linguistic system (and not defined by any sort of political intrigue). Now this complex web of TEQ (interfacing with 'The Dreamer') could, at least in theory, or at least for one single out of the 16 functions, have been generated by a computer - if it were not for the phenomenon of 'the rainbow', which must count as a discovery of mine in literary theory, as far as I know: If one - as an example - takes this ratio 152/207 and looks it up in other canonical works (books) from the history of poetry, one will often (depending on type of work) find that the poem selected in this way is in parallel with the poem in my work. That is a matter of type - if the two works share type, then they will share important poetic aspects in the same ratio. And then it is no longer anything which a computer can generate but it has to be a poetic phenomenon beyond the reach of the machine. For example, there are 105 poems in Celan's 'Fadensonnen': To find the parallel to my TEQ 14 #152 - which corresponds linewise to the three occurrences of the word 'considerable' - the rainbow principle selects 152/207 x 105 = 'Fadensonnen' poem #78 which is his "Kleide die Worthöhlen aus", which indeed is a good parallel. Celan was indeed concerned with similar poetic structures as I am in my TEQ, but the phenomenon is in principle universal and not particular for Celan - the reader can test other canonical works from the history of poetry for the same ratio. I pick somewhat at random Mandelstam's "Stone" of 81 poems - and find 152/207 x 81 = 59.5 = poem #60, which makes for a nice parallel, one stanza for each line of mine, even with last word 'throng' = russian 'teleg'. Or Petrarca's 366 poems gives 152/207 x 366 = 268.75 = poem #269 ('Rotta è l'alta colonna') which is an interesting parallel to the four lines of mine in the four parts of the sonnet. There seems to be a certain rainbow 'typology' which can be established, and of course one can guess that there are 7 'types' or 'colours' of poetic logic on work level (shadings over some 3-4-5 basic types). This phenomenon - a giant discovery indeed it must be called for the theory of literature if it is found to be a valid discovery (and I have not heard about it before) - is what I call 'the rainbow' - it situates poetry and poetic logic in a highly universal knowledge-space and removes it from the realm of administrative logic: It is free poetic thinking which gives rise to such universal 'rainbow' forms when the poetic logic projects into history - and of course such parallel texts are totally uninteresting if they are constructed bottom-up with administrative logic. My hypothesis is that the more a poetic work tends to be considered 'canonical', the more it approximates this standard of the 'rainbow' - which only means that there is a correspondence between the universal and the 'canonical'. My two literary works can in fact be seen to constitute data in support of this theory - which I would believe hardly could be discovered without this work of mine since one cannot just start comparing works without such a common basis - comparing for example Celan, Mandelstam and Petrarca would not take it anywhere without my particular poem in this position as the fundamental poetic theory. But that is because my poem is in a book which is one among many such interrelated poetic functions in this work which defines the poetic semiosis on a deep universal level - here a book on word-level semantics. And, of course, this phenomenon could means simply that my book is 'good poetry'. (I think political = administrative interests should not be allowed to block for a publication of it - it is all too easy to understand why they could want to stop it). An example of 'the magic of poetry' can be found in the new revelation in Vilnius from 2006 relative to a poem of mine from TEQ #13 - the book about how poetry interacts with physical matter. It tells of the jewish basis. The poem is #60 from the 213 poems in book 13, written on 26-27 November 2001 (a date which marks the end of the first book 'Hammerfest' of 1997):
So long!
Thus, what it ever banned:
.................ars
chaim atsudi,
atsudi tars.
........tendon
knok. (1NK)
But for this, come ye inside! We have the blottiest,
has attempted to be wrong.
This poem contains 20 theoretical iambs, which means 4 lines of Shakespearean blankverse (iambic pentametre). Those are the four ordinary lines - into which the "I BAN" intrudes in the 'I AM BIC' metre. If this sounds ridiculous, it seems that it is not. For once, the hebrew tells that it is about precisely 4 'hundred' plus another extra 'hundred'. The background of this iambic metre could be in the 'Troy-car-ic' 'metre' of 'The Dreamer' - and when this 'troy-car-ic' is the basis for the 'i-am-bic' metre, the fact is that there was about a good metre - a troy-car-ic metre - and then some width of the sidewalk between the car parked on the righthand side of me and the brick wall with the opening on the lefthand side - when I passed it in the evening on my way up to the railway station for getting my luggage - and the bricks quite simply jumped right out from the wall in the moment of my passing. I had travelled north - via Stockholm - to this Jerusalem of the diaspora and had just rented a flat behind the synagogue (where Chaim Burstein is or at least was at that time the rabbi) when the tree was shaken.
It seems that that this is what the 'IBAN' in this case is about - the poetry regulating the historic reality, here inbetween the 4-brick regular line structure telling the story in the metre. The trembling earth of Bam and Banda Aceh. It won't be blankverse (iambic pentametre) if the mid lines are not there, and it won't be blankverse if there are more than 4 lines. It is the hebrew which is the key to this mystery - the same hebrew as holds the shared reference between the 'troy-car-ic' novel and the 'i-am-bic' poetry.
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 precise 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. Bach is abstract universal semantics, the language of the universe, and as such the basis for the even higher level in Bartok which takes it into the level of recognition of the human reality. On top of these 155 poems are another 44 poems which unite the muse-poet part with the rest of the work. 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. The Endmorgan Quartet is thereby ended by this 16th book and there won't be any more 'surprise additions' to it.
On book 5 - a former discussion of the below 'PEB' told of its character for the metric.
On book 12 - see the article about book 12.
The last four books of TEQ have parallel text shared with 'The Dreamer', which means that the whole work is a complex literary unit. A catalogue of poetic functions, a catalogue of theories of the novel (or 'nominal functions') - which means a study of the literary functions which can come to provide the basis for a poetic logic.
These are some out of the 16 poetic functions in the work - and the assumption is that each of the 16 functions are found in the intersection between a local and a global scope - in a web the complexity of which transcends normal computability and hence is telling of what I call 'revelational poetry'. It is thought of as being about what guides the relation between the poetic and the historic reality. A deeper knowledge of the poetic functions can thereby even take us closer to an understanding of a poetic logic which can come to form the basis for a technology for sending information through the poetic reality, faster than the speed of light which travels through the historic reality.
It is this priority of poetry over the historic reality which has caused western politics since about 1850 to wage war against poetry in an attempt to get control with that realm which seemingly controls the historic reality. Political administration has invaded and occupied poetic cognition in an attempt to turn poetic logic into administrative logic. However, it is self-evidently futile to try and reconstruct the poetic reality and the poetic functions on basis of data analysis of historic signals - and this futility is probably what has led to the administrative war against poetry. This war is probably related to the historic processes behind the holocaust 1933-45. The following work PEB is also about re-establishing a basis for poetic cognition.
TEQ consists of more than 1700 poems. In the edition I have made myself, these are pressed into 832 pages with 9 point types. Clearly it would be optimal with one poem per page, but if the book thereby gets too thick it is of course possible to publish it in four volumes. But a book of some 1888 or 1900 pages should not be so difficult for modern printing techniques. Several of the poems are more than one page.
Added in June 2012: After having completed the new version with ancient parallel texts only and new page for each poem, the work attains a totally new and immensely much better character. Books 11 and 13 on the role of the original greek and hebrew are about recreating the presence of the historic revelation which the holy texts are about, for understanding the form of time in the historic interval, and then it is of vital importance that it is in the original language so that it is not King James or Henry VIII who is announced as the divine revelation from heaven. The difference is felt very notably.
With the new edition enumerating all the poems (tentatively) 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 the 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 - could be even in the sense of a large 'rainbow'. 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.
3. POLAKK English Bloggi (2008-2010)
This is a book about the form of authorship. It is the third part of the series (I think 'bloggi' is pronounced like 'bloggie', if I have understood it right) and it follows after my novel 'The Dreamer' (1994-95) on the form of place and my poetry work 'The Endmorgan Quartet' (1997-2008) on the form of time. It is one integer work more than the collection of 365 sonnets plus one leapyear poem which it also is. It is about the relation between poetic and historic reality and tells of how these two realities turn with unequal speed. I mention here one aspect of this form of authorship: This book of poetry, which is written without any sort of algorithm (beyond the rhyme structure) or view to other works, seems to interpret this essential relation between poetic and historic reality (forms of place and time? - quite simply the sentence level?) with enough precision to allow for a dating of authorship of literary texts. The assumption is that my 366 poems (365 'sonnets' and a leapyear poem) encompass 1000 years before they enter a new turn for the next millenium. Which means that one can test the year of writing of a known work by way of this property. If the work was written in 1909 (or 909 or even 91 BC!), which means 100 (or 1100 or 2100) years exactly before the present work which I wrote in 2009-2010 (I moved to Vienna at the new year 2010) after having drafted all of it in Venice (in Calle Pedrocchi - the day I left Venice in early 2010 was the first day the fog was so dense that one could not see from Zattere to Giudecca) in 2008-2009, there will be one tenth (100/1000) of 366 poems, that is 36.6 = 37 sonnets, as a gap between the two works. Segment the text into 366 equal segments and align them with my book with a 37 sonnets gap - this alignment should make sense if the work really was written in 1909 (or 909 or 91 BC). Then segment 1 correlates with my sonnet 38, segment 2 with my sonnet 39, and the last segment with my sonnet 37 (having leapt over from 366 to 1).
I tried to date the Odyssey in this way and found that it was written between 833 and 780 BC. The mapping was quite impressive and rested on the need for moving the last 665 lines forwards to land between songs 18 and 19 - that allowed for a rather perfect mapping and it meant that the year of creation (in this transform) was 833 BC. (It was a horse in downtown Vienna which told me about this in terms of a joke on the difference between 'the cowlip' = 'kulepen' = 'the ballpoint pen' and 'the horselip' = 'hesteleppen' = 'he's telephone' when only these are considered sufficiently 'groß-zügig'). It also suggests that one can assume that when the epic was given a final form in writing in 780 BC after having taken form through half a century as oral poetry, it would have been felt as appropriate to have these 665 lines in the end (or rather they had gradually been slipping over there in the course of the five oral decades) since that was the form of authorship in that year when it was written down. As an example of a good correlation, Odysseus builds his raft for leaving Calypso in what corresponds to my sonnet 132 at Od.5:227-259. The first lines of the Odyssey start at sonnet 58 and it ends (666 lines before the end of the 780 BC version which is the standard version today) at sonnet 57. Isaac's blessing has an interesting correlation in 190-191 (Od.9:389-455).
As an example of prose, Flaubert in his late short story 'Un coeur simple' seems to be concerned with the two realities - the poetic and the historic - and the relation between them. On the one hand, the short story segmented into 366 equal units can run in parallel from 1 to 366 with mine without displacement, on the other hand it can interpret the 134 years between the year when he wrote it in 1875 and the year when I wrote mine in 2009 in terms of the corresponding 49 sonnets gap. Which means that his text starts on my #50 (and on #1) and it ends on my #49 (and #366). That is Flaubert's transcendental parrot - in particular in the last line of his text which finds its interpretation in my own line 'Library Zhikorsky Mourner' in sonnet 49. When Felicité for a brief moment believes that she can see horses in the sky, it corresponds to my sonnets 156 and 205 interpreting the two realities in Flaubert's gap. There could be many ways to segment prose for such purposes, and a mechanical count on word level takes it to my sonnets 157 and 206, which suggests that the count should perhaps not be too mechanical, since there is no doubt about these correlations. It helps a little to count 365 days instead of 366, or to move a leapyear day, but to count alphabetic letters instead of words makes the mapping a little worse. Could be one should count phonemes - and that is what a phoneme is? Or syllables? Gogol's 'Nose' starts on #63, suggesting 2008 and not 2009 as reference.
It is in this sense that the present work is about the form of authorship. In principle, it could apply to any literary text and should allow for a dating of it. Interestingly, when I correlate the present work with my 'The Endmorgan Quartet', which is about the form of time, I find that the beginning of authorship was around the year 3760 BC - which is the year when the jewish calendar starts!
I looked a little at Sophocles' 'Oedipus Rex' (approximately 430 BC) and Strindberg's 'Miss Julie' (1888) which seemed to confirm the theory relative to the present work. I have not tested the old norse sagas, the authenticity of which has been questioned, but that could of course be interesting.
Clearly the theory on the form of authorship which the present work constitutes in this way (although I have here discussed only one aspect of it) is a bold theory indeed, and if right it has potentially far-reaching consequences not only for dating issues but even for the possibility of making a poetic technology which can transmit information through the transhistoric poetic reality.
I should perhaps add the story about the earthquakes. I wrote the four sonnets 177-180 on 12 january 2010 in the bus from Villach to Venice whereto I arrived in the afternoon. A few hours after my arrival in Venice, there was the terrible earthquake of Haiti. 180 is a sort of half way through a year. The mention of 'Maula' in sonnet 363 (183 sonnets later - this 'half year' interval relates many of the sonnets in this book) was made in my draft before I left Venice, which means well before the magnitude 8.8 earthquake outside Maule in Chile on 27 february 2010, in the sea outside the small place Chovellén. Poem 242 was written the day before the quake. These Maule, Haiti, Mestre - and the metre - have a correlate in the Menturihaut of the earth of sonnet 70, which could be telling of the generally centripetal (rather than centrifugal out towards the reader) semantics of this book - a sort of bicycle wheel in the air which I saw at the turning point in the end of february 1995 - 15 years earlier - when I wrote the novel 'The Dreamer'. The quake of Haiti seems to be the fifth deadliest in known history, the one of Maule the fifth strongest since measurements started. See #90. Moses is assumed to have written the Pentateuch around 1240 BC, which suggests that it starts on #91 = 1238 BC.
The book was handwritten in notebooks and even registered in handwritten form on 7 june 2010 before I typed it into a computer while taking much care to avoid possible tapping. In the beginning of august it was reported in the news that Martin Schlaff had assisted in helping israeli photographer Rafael Haddad out of libyan prison - see sonnet 48. In late september 2010, british Labour elected new leader Ed Miliband the name of whom perhaps could be traced via the poem 183 of my 'The Endmorgan Quartet' book 14 entitled "74/128" to the two poems 212 (= 366 * 74/128) and 321 (= 366 * 183/208.71 - there are some 207 or 208.71 poems in TEQ book 14) in the present book. I have no opinion as to whether these correlations could be due to chance but refer to my 'ABC of politics'.
I add that in the course of the summer and autumn 2010, I discovered that books in my bookshelf of latin, greek, hebrew (in particular those of etymological relevance) or mathematical contents attracted a strange sort of dust or 'schimmel' down the spine, while other books did not. It has remained a mystery which I found somewhat interesting. This sort of 'rime' must probably be ordinary house-dust of some sort but I found it hard to explain anyhow.
Here are some clickable photos - the spines are from a greek edition of Homer's Odyssey, from Calvert Watkin's 'Indogermanische Grammatik' Band III/1 (see also another detail of the same book), from Tom M.Apostol's Calculus vol.1 on Xerox (another angle) - vol.2 is totally free of fungus - and from Frisk's greek etymological dictionary - for the latter only vol.2 from 1970 is affected but not vol.1 from 1960 (same binding from Carl Winter Verlag, though), and even the side cover of vol.2 is affected although it cannot be house-dust since it has rested tightly against the bookshelf. The two volumes divide between 'kopsikhos' (blackbird) and 'krabbatos' (low bed). Walde-Hofmann's latin etymological dictionary is also in two volumes - both of them from 1965 and both of them covered with the 'shimmel' - and they feel so humid when I touch them that the could have been pulled right out of the Atlantis International Library. Georges' 'Lateinisch-Deutsch Lexicon' and Talmud tractate 'Berachos', Mesorah edition vol.2, have the stardust. The phenomenon obtains also for Gesenius' Hebrew dictionary which was pressed against a plastic-cover book on 'Die Kabbala' - some of the fungus on the side cover of Gesenius had been pressed onto the plastic of the neighbour book but there had been no open air between them. A little spectacular is the partial and differential cake which has developed on the spine of Weinberger's "Partial differential equations". It is a book I bought after having read vol.1 of Apostol (vol.2 I have not read) and I planned to take a course in differential equations, but I never read the book (nor take the course). But the title on the spine I know, and I suspect that the field could be quite interesting for the idea of a poetic computer.
The sonnets are written totally without any 'mechanical' procedures. Here are three evenly spaced samples from PEB:
|
#100 The letter reads: "...so I'm ending this music from these ancient lyres. With love from one of thy standing longstanding true admirors". And as I reach my hand out for this bottle of indistinct script with label washed, there's on this shore another bottle next to it! These bottles form a girdlefield on nickle where we're stretching out to race over this hurdlefield. The fluid has been re-installed by measures far beyond our doubt of lockings. Or it's preinstalled. |
#200 The sun is bright. Three young men sit in dazzling light by table-fit. One at the end, two at the side. Three are these men that here abide. One of them has a tartan shirt. He shades his eyes. With tangled legs and stares that hurt at me - they're eggs. |
#300 I see her far away: A woman in a brown- red coat, if so I may describe her overgown. It is this distant view I recognize as mine: Cylindrical and new, and spherical and fine. Well that is what it is. What is it more than mine, if I may emphasize? It is what's known to us untill the african tells it with a blush. |
As far as Homer's Odyssey is concerned, I mention that in my correlation study, #100 is correlated with Od.4:15-48, #200 correlates with Od.10:154-186, and #300 is aligned with Od.16:266-298. These seem to be quite representative of the correlations generally, which then are telling of the relevance of this dating of the text.
(In an earlier version of this web page, I made mention of the parallelism to Petrarca's Canzoniere with an offset of 256 or 110 poems relative to mine - notice the plus/minus offset of poetry/prose).
The Bhagavadgita seems traditionally to be taken to have been written shortly before the death of Krishna on 17 february 3102 BC, or in another tradition around 300 BC (Glasenapp 1955). In fact the oldest dating makes most sense here. The Bhagavadgita seems to run in parallel starting with my PEB 43 and ending on PEB 42. That means that it would have been written between 3102 and 3107 BC, or in the millennia thereafter (2102, 1102 or 102 BC). If I take the year of completion 2010 AD as reference point, I can press it to 17 february 3102 BC by putting the reference point after 20 february 2010. The book was completed on 29 May 2010, which means that I just get it into that date of the death of Krishna. That is probably also what this tradition means: The hindus have intuited this poetic transhistoric reality with great precision long before the britons discovered their corresponding 17:309. (Cp. Panini and Chomsky).
There are 700 double lines in the Bhagavadgita, over 18 songs. With this dating and enumeration, PEB 100 = ends on (100-42) x 700/366 = 110.929896, hence when there are 47 double lines in the first song, the PEB 100 ends on 63.93 in song 2 which means that it parallels Bhag. 2:62.02-63.93 (the first element is zero, hence 62.02 starts a little into element 63), PEB 200 = Bhag 7:20.22-22.19, and PEB 300 = Bhag 13:2.53-4.44. Could be better parallels could be found (I have not studied the work in detail), but this offset of 42 sonnets looks interesting.
If I send my kitchenbenched books (I make perhaps a few dozens of them) to a library, it can of course happen to be the world's most important book and I hope it does not go in the garbage only because it hasn't got an ISBN. (The function of the ISBN is to make it easy to find the publisher, who thereby becomes responsible for what is in the book, but for once austrian ISBN does not forward the new publisher address if s/he goes abroad and secondly it may be that my person can be tracked by administration anyhow). Would they throw an old Gutenberg bible, a donation from a collector, in the garbage only because Gutenberg had not put on an ISBN? People seem to have difficulties with understanding this and the conditioned pavlovian reflex seems to be "you must send it to a publisher yourself". This is the waterproof censorship principle of western democracies which can stop just any book (I have used nearly a decade for trying to explain why I cannot send it to a publisher but somebody else has to do it for me). Wasn't it Feltrinelli who were the first to publish the 'Zhivago'? Etc.
I emphasize that the problem of democracy seems to be in the fact that all the voters cannot read all the documents in the parliament. But this book of mine, to the extent that it contains 'all books' in itself, means that if people read my book then they have read 'all books' - and that solves the problem of democracy. It probably means that the problem of democracy is in the halted poetic revolution (stopped by british logic around the mid 19th century, releasing mass protests around the world) which turns secrets into power, hence the role of secret service in mythos-politics, and if people read my book, then they probably start talking truth. Which could solve the problem of democracy.
Were it possible to find a decent publisher for this work of mine? Could somebody please help me with that? (I have tried to explain on this web page why I cannot do that alone, and I think there are good enough reasons to find a publisher for my work). I mean, a dating of the Odyssey. In fact, and in particular in my postulated transformed version of it (ending on line 666 counted from the end), the Odyssey can even be seen to be about just that: The certainty of the dating of Odysseus. He had in fact two datings - Calypso and Penelope - see the cat in Vilnius for 'Apo-Calypso' and 'Penel-ope'. The 665 lines at the end of the Odyssey were probably what made the bricks jump out of the wall in Vilnius in Geliu Gatve 6 = GG6 - in fact between 18 and 19 in the evening when I was on my way to get my luggage. This probably tells even of the role of the Erubin for understanding the Iliad. Even more: When there are other and smaller local transforms than this big one of 665 lines, a closer study of my work relative to general universals of narrative structure could even allow for a reconstruction of the original oral version of the Odyssey. Which is something. Not the least for such reasons do I think that one has to realize that the work must be published. It is too primitive to continue the british rejection of me only for tragic mythological reasons.
4. My mention e Anna (2010-2012)
The blue PEB is 'the cold metre' - chilly poetic logic which perhaps could leave some readers out of shape for some time, could be 'convergence damnation' is a relevant concept - to which I have added the fourth book of the 'red metre' under the common title 'My mention e Anna'. This red book could serve to get people up on their feet and on good terms with fellow beings again after the blue one. 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', but it may be that the theoretic aspects of the philosophical inquiry = human self-consciousness are included):
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) - some 110 pages
There are some 4 + 3 structures in TEQ which could find a correlate in the combination of the blue and the red metre. I notice also TEQ book 5 which I in the original version had to write in two versions - one of them being on a quasi-sonnet format. This can be understood only now - when the sonnet version corresponds to the blue book and the plain version to the red book - and then the 48 poems seem to correlate with the 3 books of 'Anna' (3 x 16 in backwards order).
Philosophically, there are the concepts of arbitrarity, border and linebreak for the idea of 'the form of ontology'. There are clear traces of female sexuality in 'Caruso', male sexuality in 'Justcan' and the combination of them in the 'Labyrinth'.
(I found very clear support for these ideas in a poem by PaavoHaavikko, reproduced in the translation of Gisbert Janicke in the collection 'Herbstland' on Residenz Verlag 1991: Verzweiflung ist der Männername / Vogel der der Frau / Waagerecht: Dunkle Erde / Waagerecht: Auch die Gräber / etc. I tried to find the original finnish version but it turned out that the book of this great poet is found in only a handful libraries in Europe and hardly is available on the book market, even in antiquariats. I headed on foot through the streets for the single copy in Vienna with the yellow-covered 'Herbstland' half way into my jacket pocket but the library was closed. The next time the book was borrowed and I finally had to register formally at the library of 'universe'-ity - cp. a reduction of the red metre to the blue - for making a reservation, if the book ever be available to me, but it seemed to be too late and a massacre on roughly 101 people, including children, in Houla in Syria when Dalai Lama was in Vienna could even have been for the possibly angloamerican reasons (reports vary but China and Russia seem reluctant to admit that it was syrian forces) of blocking my access to this book - and one could guess on 'finske & franske' for 'VRINSKE & VANSKE-lig' as being the possible background, as if it were 'difficult' for me to let the TEQ (with the 'horse' on the front page) go without enough hidden money to stuff into the pocket. It is not 'difficult' but I think a commission contract is better than the sales of the rights since otherwise my work risks being sold on to some Adolf Hitler Verlag who could offer giant sums for the chance to sell it with the swastika on the front page and a photo of a visionary Hitler on the back).
In sum, the literary work can be seen to be of a poetic-philosophical character:
1) The form of place (TD)
2) The form of time (TEQ)
3) The form of writing (PEB)
4) The form of being (Anna)
This suggests also a gradual expansion from the divine origin (1) of etymological creation (2) via the cycles of historic time (3) into the cosmic harmonies as a basis for the human existence (4).
Each of the three books in 'Anna' is preceded by a small story or scene which is told by the form of the book - or vice versa, the 'form of being' is told in the small scenes. For example, the two sonnets contained in 'Caruso' can be seen to constitute the spectacles of the introductory story or scene.
Clearly the three books contained in 'My mention e Anna' could also be published independently, but it may be that the books naturally constitute a unit. The two first are released to some libraries, the third can still wait. The title 'My mention e Anna' was registered in Budapest on 29 may 2012.
See this file for some very interesting aspects of 'My mention e Anna'.
Scientific works
In addition to these four literary works, I have - for reasons strictly speaking outside my field of interest - written a number of other works of linguistic and semiotic character, and collected them in the following way:
5) A waist of time (1992/1995-97)
This is my PhD dissertation. It is after I have completed the "POLAKK English Bloggi" and "Caruso" and the 11 years of work on my study of the form of time (TEQ) that I can take this work up again for a fresh review - and now with a renewed optimism. It turns out that this scientific book contains the preparatory theory for the whole series of poetry works, and although the book is written by a poet rather than a typical academic scholar, it probably contains some things of value nevertheless. It consists of five parts or 'books' - the first three are book size of some 2-300 pages each, the latter two of a shorter character:
Book 1) Submorphemic signification (1994-95)
Book 2) Epistemes, language and information technology (1992-3, 1997)
Book 3) The theatre of the heart (1997)
Book 4) A pilot study for a poetic science (1997)
Book 5) A waist of time (1997)
The book is in my 2011 edition of 636 pages and discusses some important prerequisites for the establishment of a poetic logic. It does not try to define such a logic but discusses some aspects of why one could believe that there is a basis for it. The title derives from the phenomenon that the work leads to the conclusion that one can assume that a grammatical component probably works on the acoustic surface (with mirror-symmetric or even hourglass-shaped structures constituting units of signification) of language on a series of different layers, but that it would have been a waste of time to pursue the construction of any of those without a thorough knowledge of the poetic logic which must apply to each of these layers. After my "POLAKK English Bloggi" now allows for the conclusion that each millenium allows for the same structural analysis, albeit probably on different levels of language, that one can return to the PhD dissertation and find that this conclusion of 2011 was in fact contained in the 1997 work. Book 1) is a proof that there exists a signification in human language 'below' the morpheme. It does not try to define it nor its scope, but it should suffice for the conclusion that poetic logic is not based on the same units or semantics as alphabet-based aristotelian or administrative logic. It could provide some interesting impulses to the construction of a poetic logic in terms of its discussion of language acquisition principles, and the book proposes two totally independent modules - one 'grammatical' module which works in the same way on each level of language and hence is the basis for the 1000-year cycles of the PEB, and a 'lexical' unit which controls the expansion of the units from one level to the next, such as in the above example from book 14 of TEQ which is on the word level signification. Book 2) is a discussion of the history of the development of linguistic theory and logical paradoxes in parallel with progress in information technology. It is a handy overview - and cannot be a detailed study of the turning points before one knows what one is searching for - and after "POLAKK English Bloggi" one can return to it for evidence in favour of the theory of authorship. In the 2011 edition I have added a chapter to it on hittite being classified as an indo-european language for typological rather than historic reasons - and in light of the new evidence, this suddenly gives a totally new light to the laryngeal theory as relevant to the establishment of an arbitrary level of signification on a very low level - possibly some thousand years ago, and hence ideal for the theory in "POLAKK English Bloggi". (I wrote this chapter around 1999). Book 2 can shed some light on the social and semiotic principles which could be active in the 16 poetic functions of TEQ, regulating the lexical function. Book 3 discusses a phenomenon from Bergen in 1996 - how an exhibition of sculpture is a minute representation of Rilke's 4th Duino elegy. In 1996 I received assurances from the curators of the exhibition that they had not consulted the elegy when they made the exibition - for which reason I could include this study in my dissertation. If that also really be the case (I mean if the exhibition was not made with a view to the elegy), then one has a remarkable piece of empirical evidence for some aspects of poetic cognition in a 'cultural semiosis' - which, in light of the new poetry work, means the attempted cultural establishment of yet another level of arbitrary signification. Book 4 is based on a cultural complex from London and contains the line which could be the basis for the fungus mentioned above. Today I am not as naive as I was in 1997 as far as cultural intrigue is concerned, but the study has value nevertheless in terms of the concept of a subjective poetic logic in contrast to the cultural one discussed in book 3. In the last and short book, the title part 'A waist of time', I discuss how the whole approach can be implemented into signal analysis of speech. This discussion is principled only and the data I discuss are (essentially!) without empirical value, but it should suffice to take the reader to or at least not so far from the threshold of the promised land of a poetic logic for a new sort of computer. The dissertation was rejected for the PhD degree, but that was probably for political reasons - related to the general political war against poetic logic.
The combination of the PEB and this work allows for the conclusion that it will be possible to construct an information technology for transmission of information through the quasi-eternal poetic reality, which means faster than the speed of light. (In my view, that should be goodenough for a PhD degree, even if the work is not characterized by pumped-up academic jargon - it is not jargon but plain and sound logic in sensible academic language).
Books 1 and 2 can also be published separately, although today I think that the combination of the five parts are the best way of publishing it. Book 5 is included also as a chapter in 'Time and the sonnet'. The most important parts of book 2 was published at the 'Centre for culture and technology' in Oslo in 1993.
I can also sum up the above works through 20 years (I wrote a good portion of part 2 of "A waist of time", in fact the theoretic basis for the historic cycles of the PEB, in 1992-1993) as follows:
1) 1994-1995: "The Dreamer". Prose. Novel.
2) 1995-1997: "A Waist of Time". Prose. Theory.
3) 1997-2008: "The Endmorgan Quartet". Poetry. Free form.
4) 2008-2010: "POLAKK English Bloggi". Poetry. Bound form.
5) 2010-2011: "My mention e Anna". Poetry/prose. Various forms.
In fact I could be inclined to see these as constituting a unit: The theoretic work (2) contains with its four parts before the final summarizing fifth title part, the key to the four literary works.
I delivered "A waist of time" to legal deposit in Vienna on 10 march 2011, and early next morning there was the huge 9.0 quake outside Japan, and the four reactors 1-4 of the Fukushima nuclear plant started collapsing. One guesses on an underearth bomb, if such exists. The title sounds perhaps a little odd and discouraging at first sight but is not really so - I found traces of it even in the talmudic Erubin for this series of works.
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.
6) Time and the sonnet (1999)
This small book of some 160 pages explains the crux of the analysis of 'ABC of politics' in terms of the permutational algorithm which seems to be the cornerstone of the world views of Downing Street 10. 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 (this is told of in chapter 6 of 'ABC of politics'), 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. It is this permutational scheme which is the explanation to the role of Iraq inbetween Vietnam and Italy in the political structure decribed in the ABC. Therefore this book is a very needed addition to the ABC if one wants to understand the whole political story told there, in particular the role of postwar Iraq. However, the book does also have independent value in explaining some formal aspects of bound literary forms and how these relate to aspects of the philosophical concept of historic time. The analytical approach to the formal aspects of the sonnet and terza rima seem often to be rejected by literary theorists on basis of the idea of it as 'nazi' (for example, it seems to be the basis for the Aktion Reinhard construction with the death camps Sobibor, Treblinka and Belzec - could be precisely for planting the flag of Downing Street 10 on the story), but clearly it is of vital importance to be aware of the structure for understanding how and why political administrative logic has invaded and occupied poetic structure. The british nazis probably thought of themselves as pioneers in cognitive science - eventually giving rise to the digital computer on a background of british symbolic logical. It seems to be a fact that these permutational schemes function in accordance with neural activation spread in the brain. However, to believe that 'british nazism' is the way to a poetic logic is the most fundamental mistake one can make. 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.
7) 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. It is a study of a political complex which, as tells my analysis, was planned by England since Napoleon, and my book suggests that the reason why he was sent to 'Saint Helena' was that Norway was then established as a 'Safe Haven' for Adolf Hitler after WWII. Whether Hitler was planned as a warlord bigger than Napoleon (for british monarchism to battle the republican threat from the east) already then or if Norway was designed as a general escape region for british agents of a similar kind, I don't know, but the book suggests that Hitler was planned as a british agent at least as early as the 19th century. Ibsen's dramas from the 1890's include Wild Duck = John F.Kennedy and Eyolf Little = Adolf Hitler. Kennedy seems to have been in extension from the preparatory work of Hitler, based on the symbolism of the Kanada commandos in Auschwitz, and his role on behalf of England seems to have been to start the US involvement in the Vietnam war as a Norway on the other side of the globe. The book describes how there seem to be 3 stages in this schedule started with Kennedy: The Vietnam war, Iraq under Saddam Hussein, and Italy as a future target. The power structure described in the book tells that e.g. Kennedy and Clinton would have brought power to the US democrat party by representing british interests in this way, and that the plan seems to be to engineer a repeat of italian fascism and german nazism - in that european swastika with a centre in Paris which has the four arms Norway in the north vs Italy in the south, England in the west and a Black Sea Loop in the east. The scandal which the book brings some details of is that the holocaust against the jews was engineered and controlled by England via their agent government in Germany, by way of a trick called 'the Klipra connection' in Norway, rooted in the building of a 'Visthouse' (hence Auschwitz) around 1907. A new 'Jar connection' seems to be under construction, could be for bottling the scandal, could be for escalating it. The book discusses the deaths of Lenin and Mao as parts of this british-rooted story. The picture which emerges of western power is that terror is rooted in England and that is where the US democrat party gets its power, and that is US state terrorism representing british state terrorism. The attack on Manhattan 11 sep 2001 was an attempted coup of US power from England via the US democrat party. If they could run a Vietnam war via USA in the sixties, they could try and get Pentagon up and going for new achievements.
The heart of the story seems to be the british state church founded by Henry VIII, which by the rejection of the dogma of transsubstantiation has come to land on an interpretation of the political world in terms of the three parametres genocide, cannibalism and pederasty for interpreting the individual subject in the 'cosmic harmony'. Without a little genocide abroad now and then, the britons seem to feel lonely and rejected by the divine in a cold and desolate world, and this unfortunate mal-interpretation of the relation between humans and the divine is what gave rise to paper-flat british symbolic logic, the Big Screen of the modern media and the digital computer being fundamentally based on these three parametres. That is why some newspapers nowaday report hardly any news at all (at best, they serve some propaganda) and almost only raw flesh for the 'upbringing' of the computerized modern mind. It seems that terror in general serves these british interests, hence Kennedy for the british interests of blood-shed abroad by the Vietnam war and for expanding the british program of terror as a means for 'government of the minds'. The world has come out wrong in this sense of it. The jewish blossoming in Europe in the 19th century could have led to a poetic logic which could have given the technology a totally different turn had the jews not been 'eaten' by this digital british holocaust. The book tries to locate where the problem is in this historic development - for the more general purpose of finding out how the poetic logic can be constructed for a more sensible and human-friendly technology. Clearly many of the topics I struggle with are easy things for a politician, who probably could write many of the ideas out with the left hand, but what I can add which is not so easy for others is my personal background.
Conclusion
The authorship has been converging on the concept of a poetic logic - although in principle the interest is in plain poetry itself. One cannot construct poetic logic from another basis than itself - even if the aim is to construct a technology for information transfer faster than the speed of light, making it possible to communicate with remote parts of the universe and break the tellurial isolation, it cannot be done in any other way than via an independent poetry. The more free the poetry and the poetic cognition, the more visible will the traces be of the poetic functions in historic reality, and one can conjecture that freedom of poetic logic in the poetic reality will converge on a smaller number of types in the historic reality, as the theoretic imprint a la grammars and their typologies. To construct the poetic logic bottom-up on basis of analyses of historic material will lead to the opposite of free poetic cognition - that rather would resemble the attempts of political administration to invade the poetic elysium for taking the power there by tyrannic means - the very opposite of poetic cognition that would be.
While I am waiting for a publisher to be sufficiently interested to ignore the political games, I may have to self-publish the works in my own kitchenbench editions. After the massive rejections on a political basis from US/UK side, I have found that it is very difficult for me to continue sending 'applications' in the form of submissions which lead to nothing but new rejections supported by escalation of terror and progress for what my work is intended to reduce. If I send a send a manuscript to a publisher for review, the background history is the reason why Bill Clinton or similar will be on the phone to the chief publisher even before the package has reached their reception, and the relaxed talk will leave the following two conclusion in the head of the publisher: 1) The book must be rejected, and 2) it must be for reasons which cannot be traced to the telephone talk or the political state in the country generally. Therefore he must find a reviewer who can conclude that the book must be rejected because it is not goodenough. That is what gives new speed to Clinton or similar's career, while I am in the ditch literarily. It does not matter what is in the book - even if it should be the best book ever written, it is rejected for such reasons anyhow. That is when it is difficult for me to keep up normal relations with literary environments - if those cannot help me finding a publisher. That is also when the political climate turns rather hostile towards literature.
I therefore hope that somebody else than me - the 'social factor', that means - can contact a suitable publisher who could contact me, or give me a hint about where I could send my prospects or manuscripts. I am trying to make my work available in libraries so it should be possible for a publisher to consult it somewhere. But people are afraid of things and therefore a publisher is likely to call for at least some sort of paper sent, whatever - and then they can reject it with a good feeling.
The Endmorgan Quartet cannot be translated without losing very much or nearly all of what is the purpose with it (such as this function #14 is telling of), and even 'The Dreamer' is probably hard to translate, but 'POLAKK English Bloggi' is probably easier, and clearly the scientific stuff can be translated into any language. 'My mention e Anna' can be easily translated. I therefore hope that some publisher east of England can be interested in publishing the works, although the works are best published in english language. Ireland could perhaps be an alternative west of France, but I suppose there could be more serious interest in this sort of literature further east. Norway is perhaps not a good idea for my part with my particular personal history. While I am waiting for a good publisher, a less interested publisher could of course take the job of printing up some copies and making them available for the market if there is any need for them, and in addition earning a little money therby - without investing so much work into marketing them. But that would have to be a contract which can be terminated at any time, and payment to me could be in terms of royalties only. However, a good publisher (who later could buy the books on a more normal contract) could probably be able to make sellers out of some of them: The ABC clearly could sell somewhat, possibly even quite much, in particular in conjuction with 'Time and the sonnet' which explains the essential '23', and if not only I experience this peculiar 'revelation' or condition of 'enlightenment' some days after having read through 'The Dreamer', it can be called something really new in the art of the novel (and it is pure art and not technical skill - this aspect of it is even a little emphasized in the story-telling). It is possible that this phenomenon could arise from the effects of TEQ - in particular if there are 16 poetic functions in TEQ and some 16 'parallel stories' in TD and so forth - but it is also possible that it is the plain text itself which causes this new novel phenomenon - which is not attenuated by a second reading - on the contrary it seems only to gain strength thereby. If the poetry of TEQ could be a little difficult to sell, the sonnets of PEB are easy reading - at least they could look so in a bookshop.
In order to avoid that the rights be sold on to hostile interesters, at least for some period of time, I am mainly interested in a 'commission' contract which lends the rights to the publisher on a simple contract which can be terminated within a short time and which is paid to me in terms of royalties only. The contract can then be terminated on short notice by either side and can (if necessary, although that is perhaps not needed if a number of copies have already been sold) grant the publisher the right to sell out a limited number of printed copies at the termination of the contract.
I am the authentic and only author of my works.
Technicalities
'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 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.
I wrote a postscript to an edition of Geirr Tveitt's 5th piano concerto (late 80's) and also 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 two works, which I did 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.
If I count each poetry book in the 16-volume 'Endmorgan Quartet' as an independent book (and these poetry books vary from the shortest of some 50 pages to the longest of some 230 pages, average is more than 110 pages per book), then I have written some 23 books which are ready for publication. Adding the two ones which were in fact published and some other stuff, it comes to something around 25 books. I write my books because I think that it is important work, and it may be that they should have been published earlier if it had not been for the political resistance.
I must admit that I have speculated on possible illegal borrowing from 'The Dreamer' in some cases, such as Bertolucci's 'The Dreamers', which at least starts with an Eiffel tower scene which compares easily with the beginning lines of my book although of course that could have been a coincidence, like that stray NATO missile on Vurbenova's house in Sofia, and I would normally be inclined to believe that Bertolucci's film is not based on my book, although I have not studied the details, or e.g. 'Bridget Jones diary' for which at least the title is suggestive and much more than that I have not read. I used to write a lot of text about the hypothetical idea that there could be uncredited borrowing from my works, supporting my hypothesis with examples and indications. After I now have completed 'ABC of politics' on the Klipra connection, I think that this work of mine now is sufficiently much of a proof to make it enough for me to reduce the pages and pages of 'indications' to these few lines wherein I hint to such a possibility.
It is possible that the US project is a complete takeover of the identity of my authorship. That would only make them Ridiculous and the rest of the world should not allow them to do that. Economy is booming in the east while the west is sinking down into the hopeless bogs of postwar political mythology while struggling with a collapsing economy, There is no future in that. It would also mean that USA are submitting to the power-construction affiliated with the british throne - and there isn't anybody in this world who can have any gains from that.
© John Bjarne Grover
On the web 1 march 2009
Last updated 3 june 2012
