Celan's 'Fadensonnen' and the election of Obama

Celan's 'Fadensonnen' and the election of Obama

John Bjarne Grover

The story of the 'Pantoffeltierchen' in Celan's poem from 1968 as the background for the election of Obama in 2008 - including even an explanation to the Liland case of 1969

There have been some reasons to recognize the role of a concept 'hochabscheulige Klatschmühle' as the basis for some 'political' things. 'Hochabscheulig' could be related to Hitler's postcard as well as the idea of a basement basin with flushings from above toilet. 'Helen Keller' could have been a concept for this. She was from Alabama and things like that. Would it have been a story as dirty as that? Her book "Let us have faith - " about grabbing around the excrement rather than the banana and having to face the fact? 'Teacher: Anne Sullivan Macy' = 'tea-flusher - han er sölevann med æsj i' - while the real meaning of the title - a book about the teacher who learnt her to understand language and even give lectures and write books - is something which people estimate very highly. It seems possible to interpret the story about Helen Keller this way - in which case it could have been e.g. a british secret service agent who had created the story for preparing for the 'Klatschmühle' project - but people naturally hesitate with such conclusions. 'Ho trap scheulig' = 'she who was responsible for the trap/staircase'. Klatschmühle (cp. also Hitler's signature '8ell4': In Athens I ended up in a flat in Kupseli, Paxon 15-17, 4.etage. This seems to mean KOTTONly, Flaxen, ISIZ 4etage which can be red Livs-isse-elHagbø (LKW and US film could be concepts for this). This again seems to conspire on the concept of Carolus Linnaeus 1707-1778 = IZOZ-IZZ... etc. That means Bloom-Darwin. And Xenophanes.

Now a greek concept is the EPIC (Homeric) form 'ereO' which is ambiguous for 1) present of 'to ask' = 'eromai' and 2) future ('ero') of 'to tell', corresponding to present forms 'phemi', 'lego', 'agoreio' and aorist 'eipon'. This means an ASKER is one who (in the nazi interpretation) WILL TohELL. 'Asker' and 'Bærum' are two suburban areas of Oslo with independent municipal status. Jar and Grini are in Bærum, and therefore the Jar connection could be about this Bærum. The word means 'to carry around' and therefore is related to the form 'to carry out' = 'bærut'. The bombings of Beirut in the early eighties seem related to this and so does the conflict in Lebanon generally, cp. also the story of Helen Keller.

Jar is hungarian for 'moving forwards', 'on the move', and hence 'reason'. This means that the Jar connection in this context means an 'erotic reason'. Furthermore, it could be about plans for selectional criteria for finding victims of Dr.Verboten via surveillance.

Now this EREO is etymologially related to the two forms
(masculine) ho EROS = love, desire
(neuter) to EROS = wool, latin LANA

The wool is the alternative to the cottonly 'linen'. 'Ilana Shmueli' was Celan's childhood friend from Czernowitz whom he met and exchanged letters with a couple of years before his death in 1970. She had moved to Jerusalem in the mean time and they met when he visited the place.

If this word form LANA is considered a form of love or love-making, the nazi concept could be related to the construction 'klatsch-Shmuele' for I-LANA Shmueli. In the Molde dialect (I was born in Molde, Celan in Czernowitz), the form 'i lana shmuli' means 'I landed in smooth water'. Celan died in the Seine. 'I var o[g] Seine' = 'I was also Seine/late', 'Ivar Aasen' = 'Rawlinson'.

A venetian gondola is driven by an 'oar' - the word in norwegian is the same as the word for 'vein'. 'Episk åre' (it was Liv Mevang who had got this concept in criticism on a book of hers) means an epic oar, an epic vein, and can be used about a certain form of poetry or poet. If that means a one-sided venetian gondola oar, for Vergil first line 'arma vi ronker kan ho', it invokes the connection Venice, Budapest, Vienna - towards Paris.

'John Grover' onset-truncated gives 'honour over' = 'ONER OVER' = 'ONAR UPAR'. ONAR is greek for dream in sleep, while hUPAR is greek for dream in the real world - an apparition which seems to be real and does not take place in sleep. However, the word derives from hUPNOS = sleep. Which means that there has been an etymologial shift or turnaround in the relation between these two forms: What once denoted a vision in sleep is turned around through the history of the language to become a vision in the real world. The word can even be used about the concept of 'reality': Hard solid physics. It is likely that this is the background of the form 'John Grover' from 1843 in a british strategy for sinking the 'royal oak' by hijacking the jewish-genetic knowledge-space.

Now these two concepts ONAR and hUPAR seem to be related to 1) onanism and 2) attractiveness ('üppig') in the real world, an 'erotic reason'. There seems to be a (british?) strategy of secret surveillance of homes (hidden cables in walls, floors, ceilings, in independent circuitries) for tracking down masturbators (ONAR) for sending them to Dr.Verboten. That would be the surveillance of the inside of homes, while tracking sexually attractive (females?) via out-of-home street and escalator cameras and similars - for sending even those to Dr.Verboten - would correspond to hUPAR. One can easily make automated matching (by way of a central computer) of persons who have been on the same place at the same time or variants of these with indoor surveillance of masturbation - for a political control (via 'onar-[h]upar') with the imagination of the house-space. Such a technological strategy would be a way of moving the holocaust 1933-45 - the sinking of the 'royal oak' of inner imagination and shared consciousness in jewish culture for turning it into british power by symbolic boole-logic - into a new space of 'house' instead of 'body'. The house-space is traditionally the level of institutions (and masturbations) - where the essential featural value typically is negated. That is where my role could be the 'zwischenpapier'.

It is therefore very possible that a 'hochabscheulige Klatschmühle' is the defining concept for a future holocaust in the sense of systematic use of verboten methods for getting human sexuality under political (british) institutional control. The AIDSHIV epidemic can be seen as related to the same project, to the extent that it is politically motivated (a case of biological warfare, possibly a case of US civil war after the heavy blow against the democrats by way of Nixon's resignation in 1974).

Darwin could have been a tentative british definition of the jews and their genetically rooted knowledge-space and culture in preparation of the holocaust: Jews were like apes, that meant. This planned new turn of the screw, with the body and its genetics being replaced with the house and its genetics, could have this 'hochabscheulige Klatschmühle' as a comparably defining concept. It would be a british concept for starting by way of agents a program of verboten madness in german-language areas - a madness against which the britons can strike with holy wrath. It would be the fact that the 'Klatschmühle' is 'hochabscheulig' which would be the reason for the holy wrath. A closer study of the concept would reveal that the 'helen keller' interpretation of it does not help much: The water toilet above (the 'Waterloo') flushed down excrements and urine, sperm and loopaper and an occasional banana to the poor prisoner held in the basement room where the flushed-down water runs through an open basin before it escapes out through the lower drain, and in this dark and deaf world the prisoner has no other hope than the occasional banana. Most of the time, though, when his fingers grabs with hope around some substantial object in the darkness, it turns out to be only a banana-shaped piece of excrement. It is the 'helen keller' feel of the palm (cp. 'Palme') which counts: Learning to understand the language of humans. However, if the reason why this 'Klatschmühle' invokes such holy wrath from the britons is that it is 'hochabscheulig', that could mean that the anger is caused by the bananas which are flushed soft-heartedly down now and then - 'hochabscheulig' it could be called, 'high-flushable' bananas. If 'jobnegy' is the concept, it could even be about those who give work to the targeted people. Which means that the historic truth can turn out to be that the british 'holy wrath' strikes as a rathunt against those soft folks who still 'hide the jerks' in the basements, the 'jerk hiders'. Tough british antisemitism, that could be.

If it goes from the 'palm' of 1986 - the leapyear day as a sort of converse of the christmas eve of 1968 - and the throw-out and it ends in the 'jerk hider' of 2008, the 22 years inbetween could perhaps carry the planned story elements. If the jerks of 1986 end in the holy rats around, the result born from this mixture of a jerk hider above and a holy rat below would be that the holy rat below would be filled with a jerk while the hider above will be filled with a holy wrath, fleeing like scalded rats hides. Not fleeing, but hiding. Not fleeing but flawing ('flåing'). Not rat but rath. And so forth. Flee-flaw, rat-rath - I suppose one gets the oral space of hebrew phonology and that means the AIN-bow with Hitler in the back seat or even the backs eat: That is hjulaften 1957, which was when the wheel fell off the hider's car. 'She left the singing to his axle bar as leaves a driver from an anglo-saxon god service to repair his car...' The hijacking inherent in the holocaust 1933-45 meant that Hitler raped the people of Israel, after which they got a home, and now it is the home (house, institution) which is the target of new persecution. When the rat is holy, the jerk can be hidden inside the rat and then it gets pregnant (Helen Keller was educated at Radcliffe). That is when it turns into a rathunt.

I am no expert in this difficult logic, but I suppose the analysis ends with the resources, the spiritual bananas, being lifted from the basement basin up to the floor above - in a move the other way round compared with the up-and-down of Hermes Trismegistus' 'Tabula Smaragdina'. These spiritual bananas will be the dreams relating to the reality flushed below, turning the onar into the hupar and vice versa. Onar hUpar, oner over. Onar over. John Gabriel Borkmann seems to have its origin in San Pantalon in Venice. In fact the conceptual framework of divine bananas and human excrements in the palm, with mortals under and gods over etc., seems to be borrowed from Xenophanes (for example 'in their sculptures create substance as if it were their own bodies'). I have speculated if this Xenophan/Xenophon is the whole background of the formation of the Democrit/Democrat party in USA. The historic tumult about the Kurds in Kurdistan 1923 etc could be traced to Xenophon who contains the earliest mention of them - and what happened in 1923 was that Kurdistan was planned as an independent state but was wiped out in the last moments in Lausanne. Hence not Xenophon but Xenophan, which means not Democrit but Democrat.

How did I come across the concept of the 'hochabscheulige Klatschmühle'? For once, it came to my mind when I lived in Ehamgasse and it could be that there were circumstances for historic cueing of the concept. But it could also be that it came from a book I had read about the 'lightbulb' philosophy - how the human individual life can be compared with the lonely subject living a life like an underearth lighbulb for the sake of the others.

In Celan's 'Fadensonnen' (1968), there is the famous poem "Nah, im Aortenbogen" which contains the line "Ziw, jenes Licht" which seems to refer to me in the form of the name 'John Bjarne Grøver'. In the following poem "Wirf das Sonnenjahr", there is the corresponding mention of a 'Pantoffeltierchen'. If the first form can read backwards "tchilsenej wiz" (today) for "Condoleezza Rice", then a 'Pantoffeltierchen' can be an 'Amoeba' which backwards reads 'Obama'. Backwards 'nechreitleffotnap'.

Does this mean that Celan was informed about the future plans for Obama and Rice when he wrote his poems? There is no doubt that he could have received precise information from french secret service on the soffitto in San Pantalon, and then the essentials were already out of the sack. If Rice and Obama were planned at that time, he could have been informed about them as well. The question is whether he would have leaked the news in the form of these poems. Which should imply that the purpose of this poetry of his would be to leak classified information.

I don't think this is likely. It is probably the case that he may have used the form 'Ziw jenes Licht' about my name, and it is well possible that the following poem could be about the background with Eichmann, but that does not mean that he wrote about the future US politicians. In my own 'Endmorgan Quartet', there is on 18-20 April 1998 the greek form "leipomenoi ede trephonta!" which is something of a nut to solve. It probably comes out as a greeting from a joke about the backwards ('nechreitleffotnap') of the 'Pantoffeltierchen'. Where did I get this joke from? There is the story about christmas eve in Molde in probably 1966 when I toppled the christmas tree (and I started crying - because the event was scaring or I had destroyed the christmas) which was standing, as far as I remember, just next to the place in the bookshelf where an illustrated book about various things also contained a photo of a 'Pantoffeltierchen', an amoeba on the form of an imprint of a slipper. I think it was in that house that the book was acquired, before we moved down to Bjørnstjerne Bjørnsonsvei 7. I very well recall the black-and-white photo but of course I do not remember the time point with precision. It is likely, although I cannot guarantee the timing, that I saw the photo before Celan wrote his 'Sonnenjahr' poem on 11 May 1967 - after, according to Wiedemann's comments, having read an essay of Freud called 'Jenseits des Lustprinzips' which contains mention of this animal called 'Pantoffeltierchen', which under a microscope turns out to have a lot of hairy 'tails' in contrast to the ordinary sperm cell which has only one. For me this means that the word does not refer to a future US democrat candidate about whom he had received secret intelligence - but it could mean that he had received 'secret intelligence' from me about the toppling of the christmas tree - which had been wedged into the footing of the tree = 'trefoten' - next to the book. Then it could mean a joke about 'the birthday' = 'fødselsdagen' = 'føtt-selv/selg-stagen', the 'foot-self/sell-stagen' where 'stagen' could be 'Anne Frank Stagbok' = 'Anne Frank Starry' (toppling the tree). Which suggests that the name of Obama would not have been the reason for the word - but of course it could have been the other way round, as goes the story here. Clinton allegedly underwent a 'bypass heart operation' in 2004, whether that could have meant smoking behind a barrack or whatever, which then could be a reference to the 'Aortenbogen' in the preceding poem.

I notice that 'Sonnenjahr' backwards gives 'rhajne nos'. In Bjørnstjerne Bjørnsonsvei 7 some months or years later I got a book, possibly while I was in bed with some disease, called 'The rhinoceros' ('Nashornet'), a nynorsk children's book by 'Magnus Løland' (not 'Liland'). Was it a bottle of 'nål-øls' - or even 'nål-øye' - I got in Jardin du Luxembourg in 2002? (I used to smoke Camel cigarettes in younger days). Or would the 'Liland case' have been about an alleged 'nål-hils'? I recall Ragna Grøver telling in Moldeliveien that our neighbour, the city gardener Nyland (who lived behind just this wall where the book was stored) who was famous for his extreme near-sightedness, one day had come in and walked up the stairs and sat down in a chair and asked if dinner was ready. (Molde is called 'the city of roses' and I remember there was a lot of tulips there - but not turnips, as far as I could see). 'Gløse' can perhaps be used about peeping out through thick spectacle glasses - at least Ragna Grøver used it about watching TV. Nyland had allegedly come in the wrong door and was too eccentric to discover it in time. I remember that I doubted the story and had to assume that it was for some purpose or other. 'My gløs Nyland' could then mean that I had peeped in the book at the wall to the neighbour and seen the photo of the 'Pantoffeltierchen', and the book by Løland (published first time in 1939, the book I got was probably the edition from 1960) which I got probably after Celan's 'Fadensonnen' was issued in 1968 (or perhaps even after the manuscript had arrived at the publisher) would then mean to suggest that the reason why Ragna Grøver had told about the Nyland neighbour booting up the stairs - as if he were slippering up in his own home - was that they had appointed this word with Celan in advance: She would tell me this story and Celan's book would be published later and then I had to understand that Celan was their agent. The Liland case would then be about a sort of 'Raskolnikov' anger from me when I understood it. In fact the Liland case dates to christmas eve 1969 in Glemmengata 73 in Fredrikstad when two persons were murdered with probably an axe. There is no doubt that this today could be seen as related to just that Løland and background of Celan's poem. The case attracted much attention since it started - a sort of local Dreyfus case which has been up in the media every now and then - Liland himself always claimed to have been innocent but served the sentence for the murders. Today it is possible to analyze it as an attempt to get Obama into the White House.

There are two comments to this: The first is that they would never have made me aware of such an agency role of Celan if it really were the case that he was an agent, and the second is that it is likely that the 'Pantoffeltierchen' in his poem rather than being planned as related to the book in the bookshelf could have been tracked immediately after it was discovered in his book: Then the idea could have struck Ragna Grøver that there was a photo of a 'Pantoffeltierchen' in the book in the bookshelf at the wall to Nyland - and what would then be more perfect than the story she had told before we moved away from the place, before his book was published, and even before the poem was written! (In principle, this discovery could perhaps even be traced to hidden microphones). But that is probably exactly what I had thought after she had told the story about the up-slippering neighbour behind the wall. There was the photo of the slipper animal on the wall (in the bookshelf), there was the story of the pantoffeling neighbour up the stairs, and there was the falling tree going from vertical to horizontal position. I think the electric lights on the tree - or was it the star on top of it - even were destroyed somehow in the crash and an emergency expedition was sent out to get new ones - it was on the 23rd of December or even the morning before noon of the 24th. So there must have been a reason for the story, I would have thought, and there it was in the little golem jew who then toppled the tree as by preprogramming from custody authority. This is also what could have been contained in the 'preprogrammed' greek of my poem. These are things which are hard to understand. Is it also the reason for US democrat 'Obama', backwards 'amoeba'?

At Frydenberg high school 1973 onwards, there was a 'Raino Malnes' in a higher class - I think in the same class as 'Frank Tveor Nordensten' and several others. Wasn't even 'Jens Magnus' and 'Erik Ryr' in that class? And even 'Liv Mevang' ('Wappen')? I think I remember some rumours that the Liland murders had been in the house next to Ryr.

In short, it is well possible that the 'Pantoffeltierchen' in Celan's poem is not about a future US democrat candidate but about the jewish-genetic knowledge-space which he shared by me and hence about this knowledge and story-telling and the book in the home. I had not read Celan's poem or ever heard about this complex when I wrote my 1998 poem with the 'trephonta' - which makes sense in this context when taken to be about the nature of this knowledge-space. It means an event in this poetic knowledge-space and consequently it has a certain poetic-logical status.

Celan had driven a knife into his chest - towards his heart - in January 1967 - which was after this christmas eve (it must have been the christmas of 1966 - I don't think it could have been in 1967) - and was driven to hospital and later moved to Rue Tournefort (without divorcing from his wife, although they lived separately the rest of their lives). After his book was released in 1968, he attacked a neighbour (believing that the neighbour was a danger for his son Eric) and was driven to a psychiatric hospital (he allegedly repeated in the car that he had was a french citizen and had been operated in a lung) where he wrote the 'Späte Gedichtsammlung' with the 'Landschaft' poem which constitutes a main part of the poetic proof that he and Sachs are my parents. What was the reason for the attack on the neighbour? It could of course have been the despair when his book was published that readers only sought for the footprint of Nyland on the wall as a proof that he was an agent for the nazis. Could be that is why he wrote the poem which would prove that he is my father. The title 'Fadensonnen' could also be a parallel to Sachs' 'Fahrt ins Staublose' in the sense of 'Fahrkarte Onnen' = 'ticket to the spiritual realm' - which would be the poetic-logical space wherein the choice of word would find its reference. It is very far from any sort of intrigue. It is not about the Darwin-apes - as if the poetry be about 'aping' from a distant 'tele-phone' source - it is about the logic, the cognition, inherent in this knowledge. Watching TV means not only watching the colours on the screen - it also means an attempt, as far as the resources reach, to follow the meaning of the onscreen program. But that means an attempt to understand the logic in the program - not only the flashing colours there.

That way of reading poetry - searching in it for a proof of secret agency of the poet - is apparently the US democrat way of reading. 'Nechreitleffotnap' = 'nedreit telephone ap' - is that the background for a href="telephone.htm">the telephone terror 1986-88? (Cp. also Goethe's 'Erlkönig'). Somebody walking upstairs and the phone buzzing below. Grøver/'Mengele' lifting the receiver on top of the TV, holding it for a second or two against his ear before putting it back on with a glance over at me, would that be suggestive of a silent call from a hypothetical post-1981 Ragna Grøver (she had been in that frontal car accident) in underbasement (wooden tree footing) 'lightbulb' form as a Donald Duck lightbulb over the head - 'ned-dreit telephone ah!'? 'She in the helen keller basement lightbulb' = 'ho trapp scheulig'? ('Drap scheulig' would resemble more the meaning of 'guilty of murder', 'handwashing of murder'). When Celan used the word it would be about a certain poetic event with a certain poetic-logical status - and the reading of it that it be about an intrigue with 'nedreit telephone ap' is the wrong way of reading poetry. Celan's work is an attempt to contribute to the progress of the knowledge and technology of the human community on earth - and that sort of harassment campaigns against such work is very wrong and certainly an obstacle for the further progress of knowledge. Could be the time will come when it will be considered equally wrong to respect the 'craving for power' as a legitimate reason for launching such harassment campaigns.

The conclusion to this discussion is that Obama as the US democrat party's candidate for president means that the poem "Wirf das Sonnenjahr" next to "Nah, im Aortenbogen" in Celan's 'Fadensonnen' could have been planned by political intrigue-makers to be taken to constitute a part of a proof that Celan was a secret agent. But it was Hitler and Mengele who probably were secret agents, not Sachs and Celan! And neither am I a secret agent.

And if 'hochabscheulige Klatschmühle' means 'Ilana Shmueli', with whom Celan was in contact in the two last years of his life (from around the time of his 'Fadensonnen'), there is even the alternative reasoning telling that if Celan was not an agent under the control of the political plotters, then at least he could have been under the control of an agent who was under the control of the political plotters. (I am not saying that Shmueli was an agent but the Klatschmühle concept could have served to paste the idea onto the story). Which then could serve to be a proof that the development of poetic logic is safely under the control of international secret service. And with 'ned-dreit' ('down-crapped') and the converse 'telephone ap' as the key concepts for understanding the poetic logic, there is the link between the zweite and the dritte Reich which could suggest that this be a project conducted by England and the US democrat party.

Since this story is about the possibility of seeing a photo through the poetic telescope, I refer to the study of how I found Hitler's postcard. It constitutes a proof that it is possible to see such a document through a poetic telescope and therefore it is a proof that the above version of the story probably is right or at least highly relevant to the present situation. Could be that is precisely what the name of Obama means.

Is the above story about the Christmas tree already the target of terrorism? Or are they tapping my computer?