Photos of the Eidsvigs

Photos of the Eidsvigs

John Bjarne Grover

The question is whether my official grandfather Bjarne Eidsvig could have been Adolf Eichmann after the war and if his brother Aron Eidsvig could have been a postwar Adolf Hitler. This matter is discussed here and there on my web page - see e.g. the 'ABC' or the article on Andrea della Robbia.

Today 2 february 2021 I found photos of my official grandfather Bjarne Eidsvig and his brother Aron Eidsvig on the genealogical page geni.com. I have no problems with recognizing my grandfather Bjarne Eidsvig in the photo of his adult or older age, but the photo from his younger days looks strange - it is not impossible that it is him but I do not recognize him. It is, though, possible that I have seen this photo in the Eidsvig home in Fjellgata 72 in Ålesund. Comparing the older person with photos of Eichmann is quite convincing. Bjarne Eidsvig was at Grini concentration camp during the war - as far as I remember he confirmed this himself but did not want to talk about the bad memories. In some biography on Adolf Eichmann I read that only two reliable photos of the wartime Adolf Eichmann exist - and those are quite indistinct. But it must be admitted that Bjarne Eidsvig the older there resembles Eichmann in the postwar Jerusalem case quite a lot.

The internet source 'Romsdalsmuseet Årbok 2001 page 117 shows a photo of the Eidsvig family which I remember well hung on the wall at the one end of the dinner table (where Bjarne Eidsvig used to sit) at the window out to the balcony and garden: The youngest child 'Per' on the lap is born in 1945 so it is from the second half of the 40's. My theory is that this family is the socalled 'Donahues' from the 1954 film 'There's no[rwegian?] business like show[ah?] business'. At the end of p.116 there is mention that Eidsvig was imprisoned during the war - apparently throughout most of it - at, tells the source, 'Mysen, Falstad, Grini' - which in theory could be for 'Wien Grenze Mini' = the 'homo' problem of the Pamhagen border with the Fischamend tooth which is wrong way (= the 'homo' problem since 1919) on the 'lapis philosophorum': If so, it could be in line with a theory that he was in Vienna during the war, e.g. on behalf of 'Pentagon' - hence the 1954 US film released appr. 5-6 years later. Eidsvig was running an 'oyster farm'.

[12/2-21: The official father Grøver/'Mengele' in 1970-71 when we lived in the old wooden villa Kongensgate 8 = King's Street 8 (when school dentistry destroyed my white teeth and there, according to a hypothesis, could have been sexual abuse of me) used to drink a bottle of apple cider called 'Pommac' for dinner - and today I understand that the product of course could have been made for this dinner table specifically - I recall him once putting a finger or two on top of the open bottle as for saying 'this is significant' - could be he meant 'Pommac-en' = 'Pamhagen'? In view of the story of Eidsvig's wartime record of 'Mysen, Falstad, Grini', the standard official austrian way of addressing as 'sehr geehrte', cp. 'security' and 'sehr gewehrte', could be enough for me to accumulate problems with 'homo' in Austria - that is, I eventually cannot take much of this national 'Fischamend-tooth' problem before it gets difficult - and Eichmann was austrian].

Search the ABC of politics for 'MLR January 1947', the issue of Modern Language Review january 1947 which could be suggestive of the idea that the film was planned already then by the titles: 1 = The apex of Thiers Plowman etc = 'There's', 2 = 'hermer Edda scroll' = imitates Edda scroll = 'NO-rwegian', 3 = Ben Johnson = 'business', 4 = reflections = 'like', 5 = Zola = 'show[ah]', 6 = picaro/el buscon = 'business', 7 = Irving = 'Øving', 8 = Berlin = 'skulen'. My first year in school was in 1964-65 at 'Øvings-skulen' in Volda (the language was 'nynorsk', more modern than the 'Edda', though). It can be observed that the three first titles could tell of 1. Grini (Odysseus was sitting down at the water weeping = 'grini[ng]' when he was in Calypso's grotto, being concerned with his Penelope), 2. Falstaff and 3. Mysen. For 4. I could mention the first word I learnt to read, in probably 1962, which was 'pancake', like french 'crepe'. It was Grøver/'Mengele' who taught me the word and he laughed.

[18/2-21: I observe that the following identities could be the case: 1) Grini = Sobibor, 2) Falstad = Treblinka, and 3) Mysen = Belcez. Which could mean that the formula of Eidsvig's camp life during WWII in fact could have encoded Hitler's 'Aktion Reinhard' - which again could mean 'Eidsvig Ragna' - including her three official children whereby my name in fact means 'Treblinka'?]

The source 'Romsdalsmuseet Årbok 2001 mentions also that Eidsvig bought the big wooden mansion 'Visthouse' apparently around 1940 and the family stayed there through most of the war while Eidsvig was away because of 'illegal work'. There is of course the obvious link to 'Auschwitz' in that 'Visthouse' - and then a link to 'Pentagon' is interesting.

I recognize the five children on the photo well from my knowledge of their adult persons - they are of course much younger but have the same identity in their eyes. According to my memory, Marit wasn't that narrow in her face when she grew older, and maybe Bjørn later was narrower than this photo shows? - but that is probably normal development. However, I notice Eichmann's two close collaborators in Vienna - Dieter Wisliceny (broad-faced) and Alois Brunner (narrow). I add that from about 1979-1980 I worked for the then quite fresh 'Norsk Musikk-Informasjon' = 'NMI' (of the state, who financed it). Jostein Simble was chief, Hilde Holbæk-Hansen was my contact person. Lisbeth Risnes worked with the money. Preben (danish) and János (hungarian) worked there, as well as Aslak Oppebøen (norwegian guitarist, but his name was 'sami'-sounding). It is well possible that these names are just coincidences - but the theory could be made that the name of Simble means 'a similar with the same glint/flash of life in the eyes' - 'life/light-sign similar'. 'Hilde Holbæk-Hansen' could then be suggestive of Laura Eidsvig holding around Per's body, behind his hand/arm - he is sitting on her 'pre-ben' = 'pre-leg', on his own 'J-anus'. 'Lisbeth' could sound like 'I want to...'. Aslak's name could then point to the 'same' quality? These ideas could perhaps take shape in the context of the idea that the film relates somehow to the family photo. The book mentions that Eidsvig was imprisoned untill the end of the war when he was about to be de-ported to Germany 'when the peace came' ('når freden kom'). It is then perhaps a puzzling phenomenon that the youngest Per was born in 1945. How come? 'Måtte grini flaske' = 'had to weep in a bottle' - could be the explanation. 'Müsste Flasche Grini'?

Ragna Grøver once took me (plus some others from the family?) for a car trip to see a house near 'Mysen,' I think it was, which she considered buying - but it turned out to be unsuitable. 'False place'? She also once took me for a trip with car to Moss to see another place but I think she didnt buy that either.

The film contains some scenes which could be suggestive of the idea of 'riding on his back' in the sense of child abuse (around 50:40). See this file on the point 42.666% through the film.

The Modern Language Review january 1947 seems to be suggestive of the film title 'There's no business like show business' but appeared just before the finding of the Dead Sea Scrolls in february 1947. In july 1947 Aung San was murdered. A rewrite from 'Aung San' to 'Adolf Eichmann' corresponds roughly to the rewrite from 'Dead Sea Scrolls' to 'Bjarne Eidsvig'. The Modern Language Review july 1947 seems to contain cues to this rewrite: 1. Two notes upon Webster = the intervowen reading of the names. 2. The composition and revisions of 'The compleat angler' = 'uden goggles safe'? (Grøver/'Mengele' once told me that when he was footwalking along the water at 'Bjørndalen', he passed fishermen and had to protect his eyes with a hand for preventing that a fishhook hit him - which sound like this title). 3. Teg: The stage irishman = aduongl f seichman = the stage irishman. 4. The earnings of playwrights in seventeenth-century France = eid s ov wig dead sea sc rolls bjarne. Etc. The sum total is that the socalled 'madonna' on the photo, the one who is 'a young sense your key', could be from the times of the Dead Sea Scrolls and hence could have known the Messiah personally. (This could have served to increase the 'Messiah' factor on my person - for use potentially by e.g. Kennedy). She is the daughter of the famous 'politician'. It is therefore very possible that the western political intrigue has launched Ragna Grøver mythos character based on Aung San Suu Kyi. I add that Laura Eidsvig (on the photo holding 'Per') was the daughter of 'Ragna Landmark', cp. 'My-L-anmar[k]'. (There is a photo allegedly of Ragna Landmark [Devold] on the web - I have photographed it from the screen - she resembles Gro Harlem Brundtland somewhat - but the link https://images.app.goo.gl/YjapyW will not function - I may remember it from the walls of Fjellgata 72, though). Why did they shoot Aung San? It wasnt he that was behind the mass murders of the jews. The murder could have been made for enhancing the conditions for Adolf Eichmann as Bjarne Eidsvig. If Eichmann were in the service of the anglophonic interests in the power of the Burgenland border, the role of the murder of Aung San could have been to say about Bjarne Eidsvig: "It wasnt he that was behind the mass murders of the jews". But if Eidsvig were Eichmann, that is to put power before truth, and that of course cannot give any lasting solution.

There could be a program on crediting others with my work - that is, the problem of plagiarism - and that is to say about me that "It wasnt he that was behind the factual writing of the poetry". But that is to make the isomorphy or identity 'authorship' = 'murder' and vice versa. The idea of crediting me with the Apenes murder could be to say that this is the chance I have. In general, the vices ascribed to the PTRSIM PIKs could be of this kind. Of course such a program should not be accepted.

The eventual conclusion is probably that the PTRSIM PIK program is nothing but a way of making a new global class division for the purpose of the upper class exploiting the masses of the lower classes - whereby exploitation of my work (by uncredited plagiarisms etc) is the exploitation of the lower classes and the pump of the values from low to high is obtained by the quasi identity of the single person PTRSIM PIK (me) with the PTRSIM PIK program (higher power class). This could also explain the apparent role of the 'intelligence services': They constitute the layer between the lower and upper class.

See also the 'de-ported' word just after the photo of the Eidsvigs on page 117 in the source 'Romsdalsmuseet Årbok 2001' relative to the Beirut bomb that 'de-ported' the city some months ago. When the words at the end of page 116 seem to suggest 'Vienna PO Box', so to speak, the question is whether this internet photo is related to the current covid-19 pandemic which broke out when England brexited. See Modern Language Review october 2019 which just preceded the outbreak of covid-19. Is there a Vienna PO Box in the first article title? And a 'Wuhan, China' in the last (on 'Olga Grjasnowa')? 'Poetic of Gori' (my poem 'La Corona' from 1997?) in the second title could have a counterpoint in a 'Ted Hughes' in the second last article title ('Crises and crisis management...')? If so, one sees the link to this photo on p.117 in its immediate surroundings.

How come I think that I recognize Gro Harlem Brundtland when looking at the photo of Ragna Landmark Devold? For once, I think I remember it from the wall in Fjellgata 72, secondly the word 'modern' in norwegian means 'the mother' and hence 'The Modern Language Review' (the periodical which was started a few months after the birth of Laura Devold i 1905) could apply to the idea of 'the mother land-switch review'. Cp. also the recent military coup in Myanmar.

For the brother Aron Eidsvig, I see from the web that he has the mid name Alexander. I recognize the face on the photo (I have seen him before, I think) and he has a 'Sunnmøre' look. But maybe it is somebody else? It isnt his brother Bernt? (Could be the photo of Aron appeared 'suspicious' = smelt 'charred'/'burnt'). I think it was told in the family that Aron never married - he only planned to marry but could not decide on whom out of two. The question is perhaps whether he could have been derived from Adolf Hitler with e.g. some silicon.

Here is the page for Aron Eidsvig including photo

Here is the page for Bjarne Eidsvig including photos - young and older

Another photo of him found on the web

Here are my photographs from the computer screen of these pages - Aron Eidsvig + Bjarne Eidsvig young and older:

I add a photo from the computer screen to the above source 'Romsdalsmuseet Årbok 2001 page 117