The fundamental theorem of linguistics

John Bjarne Grover

This article has an updated and better version under the same title in this file.

I here sum up the radical aspects of my poetic work as far as it has come by the end of 2016. The important observation is made that there is light in the end of the tunnel that has enclosed the western world since the middle ages. The solution is found in terms of what I call the fundamental theorem of linguistics.

What I am saying here is that it is of utmost importance that my work be published. One of the main reasons is that it seems to solve the most fundamental political riddle of Europe and USA:

It was probably in the not so late middle ages, could be around 11th-12th century, if not earlier, that it was discovered (as I have guessed) that the (first) book of Moses was following Rigveda, the world's oldest text, with enough precision in the parallelism to elicit a rumour that Moses had copied from Rigveda and hence was a piece of fraud or at least un-authenticity, and when this was the basis for christianity, the alarms rung brazenly over Europe. The Vatican established the Inquisition to quench the religious wildfire - this was later replaced by 'Opus Dei' which tells that the parallelism is the work of God and (probably also that it) is due to the sameness of metaphysical theme of the two texts. We probably have to face the fact that Christopher Columbus was sent out on his mission for the explicit purpose of postulating new 'indians' in the west in an attempt to curb the problem politically - if not simply for driving a political crowbar into the opening doubt. His spanish name 'Cristobal Colon' tells of the sanskrit name 'Riksamhita' of 'Rigveda' (that is, the 'samhita' conjunction of the devanagari letters of the Rig-veda text by euphonic 'sandhi' rules) in the 'Cristobal' and the hebrew name 'Bereshit' = 'In the beginning' of the first book of Moses in the 'Colon'. Which suggests that the doubt that had spread on the authenticity of Moses also was the origins of protestantism and the break of the anglican church with the Vatican. This split seems to be the driving motor even in US politics - it is the split with the total faith in the authenticity of christianity.

One guesses from this that the american continent and the inhabitants there must have been well known before Columbus - could be the indians had a high culture with big ships and easily crisscrossed the Atlantics as they liked. When the american settlers massacred the indians in America, there could well have been 6 millio victims, symbolized by the idea of being locked into Grand Canyon ('John F.Kennedy' = 'Grand F.Canyony'!) and when Hitler holocausted 6 million mosaic jews, it could have been for the equinumerosity (well, at least general similarity of circumstances) that under his logo of the indian swastika created the feeling in USA that the fallen indians had resurrected: This gave to the americans a restored Good Conscience and hence a new feeling of having territorial rights to the continent they live in - and that could be precisely the political bait of John F.Kennedy and his political party. 'Clinton' could mean that same cliff wall which could have symbolized the pogroms. When nazism in lutheran Germany was created via fascism in catholic Italy, it could have been for reasons of feeling the religious foothold being weakened due to the origins of fundamental doubts in the revelation of the church in lutheranism - which means that the godgiven and natural territorial rights could have been lifted from Germany over to the american continent.

But clearly these rights and the feeling of conscientious wellbeing thereby lasted only as long as the amount of terror allowed for. When the state of Norway was founded in 1814 (on the background also of the historic origins told of in Heimskringla) with the socalled 'Riks[for]samlingen' on 'Eidsvoll', it could even have been for this 'Riksamhita' of 'Rigveda' - and then 'Eichmann' of Hitler could have been for this 'Eidsvoll' and the hebrew name 'Bereshit': If so, the 'AIDSHIV' could be an epidemic terror that serves to massacre adherents of 'Moses' - and hence the epidemic can have been put in circulation in the late 70's for similar reasons. But it may be that the resources of terror are soon spent and there may be plans for a new round of 'nazism' in Germany - for lifting new territorial rights over the Atlantic. For sanskrit-hebrew word pairs the plan (could be old news, this) seems to be to use german-hungarian for 'rendör-fö-kapitanysag' for a terror wave in eastern Europe turning 90 degrees down on Italy for a wrapover onto Germany. The Donbass conflict would then be for a correlate to a catholic-protestant conflict in that northern Ireland which is the western arm of England on that swastika on the map of Europe with its centre in Paris.

It is all driven by that single thing - that one cannot settle the issue whether Moses could be a copy or not.

But my work can settle this issue and therefore it must be published. It can solve The Big Problem of the western world.

The phenomenon of 'international secret intelligence services' as a new form of global unconstitutional mafia power seems to have grown out of this story and its late form in terms of Hitler and these may be planning to construct a new 'religion' ('melissa' etc - possibly including the moon landings 1969-71) on basis of mafia mythologies percolating the media networks. This unconstitutional mafia may feel its power aspirations threatened by my work and may be planning to try and coup it. That must be prevented - not the least for preventing that the terror continues as a source of (constitutional?) power.

My blue metre 'POLAKK English Bloggi' (2008-2010) proves that an absolute time exists beyond the relative time of History - and hence one can use it to date a text with great precision. The 366-poem blue metre is composed of 22-23 sections which define the semiotics and the graphic form of the hebrew alphabet, and when this is coupled with the 64 poems defining acoustic features of the white metre, it seems that one can arrive at a principled account of both acoustics, graphics and semantics of this single code - which thereby is unique in this sense of it. It is called 'God's chosen people' and is a religious phenomenon. When the world's oldest known document, the Rigveda, goes in parallel with the first book of Moses, that is because Moses has to be just what it is and cannot be different - and it is rather that Rigveda handles the same fundamental metaphysical issues concerning the form of the human reality that it has to resemble Moses. This was the real discovery that led to Columbus and protestantism and all that - it is likely that nobody really believed that Moses was a copy - but it meant that there is a strong redundancy which tells that the human reality is limited and symbolic and hence that there is a bigger reality outside this.

The blue metre of mine ('POLAKK English Bloggi') resembles Chomsky's concept of innate linguistic competence to a considerable degree.

The yellow metre ('Der Dornenstrauch') (there are some things told of it in this article) interprets the two forms of time in two forms of enumeration which seems related to Chomsky's concept of phrase structure. This yellow metre provides renewed foothold for the german people on their godgiven grounds. Before the war it was normal to have the finite verb in the middle of dependent clauses, but this seems to have been forbidden by the peace conditions of the angloamericans and the germans have struggled to get the finite in the end (rather than 'In the beginning' = 'Bereshit') since then. Rilke's poem 'Das Gold' tells of the rising problem in this 'Zwangs-Idee' ('daß ein Erz ist über allen Erzen' should have been 'daß ein Erz über allen Erzen ist' according to post-1945 rules) and how it correlates with problems of territorial rights. It is likely that the division of Sudan could have been made for pressing on with this german feeling of losing contact with their territorial Klondyke rights - and the phenomenon of Süddeutsche Zeitung is suggestive of the same 'Meroë'.

My yellow metre seems to solve the riddle of Rigveda-Moses parallelisms in its grammatical errors. The problem of these parallelisms could seem unsolvable and has been so for centuries - however, it seems that by feeling the innate linguistic competence on its teeth the germans can get their rights to their country back. 'Duden' could mean 'London' (as well as 'Sudan' and 'Martin Luder') and the peace conditions of 1945 securing german territorial rights lifted transatlantically to USA - but it is important to overstep those barriers by now - in a peaceful and constructive manner - rather than turning 'homo'.

It seems that both the yellow and the white metres of mine led to the formation of a white stone, a 'lapis philosophorum', which is at the heart of british state metaphysics since Henry VIII. This suggests that the problemshift in my work touches upon (and hopefully solves) the 'fundamental' and 'overseas' political problems since those days.

The poetic work of mine consists of the main work 'The Endmorgan Quartet' in 16 books of a total of 1719 poems - these are completely devoid of any metrics and is as such in the line of thought of Nelly Sachs and Paul Celan. After this was completed in 2008 I have written the metres to it in separate independent works:

TEQ books 1-4:
TEQ books 5-8:
TEQ books 9-12:
TEQ books 13-16:     
The yellow metre ('Der Dornenstrauch')
The red metre ('My mention e Anna')
The blue metre ('PEB')
The white metre ('Stillhetens åndedrag' - 'The breathing of silence')

('Stillhetens åndedrag' has the subtitle 'Og lønn vi fikk avstanden fra' under which the first edition - including analyses - has been published in 2016. The primary title corresponds to the indian as the crystal remains after the graphics ex nihilo, the subtitle to the same image tilted 90 degrees - for his daughter and wife, the daughter having lost a milk tooth. One title and one undertitle is thereby as for 'Der Dornenstrauch' part 3 which likewise has two titles).

When this series of 'metres' now is completed, by 2016, one discovers a new form of 'deep metrics' in 'The Endmorgan Quartet' which is very interesting and fascinating indeed.

'Der Dornenstrauch' (the yellow metre) is in german language, 440 poems in 4 parts, some 490 pages.

'My mention e Anna' (the red metre) is in english language, also in 4 parts (one of which is book 5 of TEQ in a special version), some 300 pages.

POLAKK English Bloggi = PEB (the blue metre) is 366 poems in english language, some 380 pages.

'Stillhetens åndedrag' (the white metre) is some 70 pages - or 135 pages with parallel english translation. It contains 64 poems in norwegian language, each 5 stanzas of 4 lines plus title = 21 lines each, hence the work a total of contains 1344 lines - which even correlate with the 1345 (the last of these is the norwegian infinity marker 'å') words that are used twice and only twice in TEQ books 13-16 written imn the years 2001-2008 (book 13 = 'Has the next millenium praxis?') - computed for each of the four books in turn and ordered alphabetically - this phenomenon tells of what I call 'the fundamental theorem of linguistics': That two and only two acoustic elements can be recognized as the same across different realities, and the inclusion of a third element means the establishment of a symbolic level that leads to the construction of a grammar that keeps these various realities united in a single consciousness. Hence the human reality is acoustic. The 64 poems of the book divides into 6 equal parts, each 10.666 poems, and these seem to encode both acoustically and semantically 6 binary features with their most universal definition in terms of the ratios 1/2, 2/3, 3/4, 4/5, 5/6 and 6/7 - that applies semantically to the same field of knowledge as is addressed by the semiotics of the blue metre.

A beam of light goes through TEQ - it is issued from the yellow metre, goes through the space beyond space of the red metre and time beyond time of the blue metre into the metaphysical creation of the ontological reality in the white metre.

The poetic work in total is more than 3100 pages - these can conveniently be published in two volumes - with and without metre - or as independent works.

The blue metre will revolutionize all fields of scientific study with its postulation of a new time beyond the historic time. It is likely that this obtains to the other metres as well - and this is how it solves the political problems from the last centuries.

It is now of utmost importance that the work be published before the international mafia (the unconstitutional 'intelligence service' power) gets the chance to bring it under their control.

My work, such as the immense knowledge potential in the blue metre, should have been on everybody's lips. Instead the international mafia seems to spread illegally surveillance data from my workspace for bringing my person in abused form on everybody's lips, so to speak, or at least on everybody's screens in some form or other. If I remember right, my use of the sign '#' initially in the first poem title to the white metre 'Stillhetens åndedrag' (I wrote this poem called #solens pike on 11 january 2016) was something that I did by own fantasy - however, whether it was in such use or not before this, it is likely that the extreme overuse of it everywhere today is organized by the same international network mafia in order to make everybody join the abuse of my work - for making it difficult for the public to relate to it in a relaxed and sensible manner later on. It is a part of their apparent systematic coup attempts - since they seem to get their bureaucracy-self-reinforcing powers from the muddy waters of terror based on the metaphysical and religious despair contained in that age-old riddle of Moses and Rigveda.

In the course of the work (after the last poem was written, though) I found an archaic 3 cm long of nail of probably unrusted iron in my shoesole (it rested aslant through it and pressed against my footsole for many days before I found that it was not a persistent pebble but this archaic nail) - likely to be just this #solens pike of poem 1 having taken shape in the shoesole as matter ex nihilo - could be thereby commenting on the enigma 'where do the migrating birds get their nourishment and energies from when they fly thousands of kilometers without landing' - being about the very metaphysical preconditions of ontological being:

The authenticity of this relative to the title of poem #1 was confirmed also in an acoustic format after the poem was written but before the work was completed. I refer also to the 'yellow flower' in the shoesole after the 64-poem third part of 'Der Dornenstrauch' was completed - the two phenomena (referred to also in 'Stillheten' poem #46) seem to tell of the barefoot ('scalzi') catholic carmelites. The first poem in the book is the threshold to the first binary feature which concerns the ratio 1/2 and is recognized as the 'breathing' or 'respiration' that tells of the in/out mirror symmetry in e.g. the hebrew oral space of articulation. Some will perhaps say that the carmelites are the spiritual spine of the catholic church, and their 'scalzis' step barefoot around on that ground where the territorial rights are godgiven or not.

The white stone was of poem #5 and for poem #7 I found even more heavyweight material - two rusted teaspoons of length 138-140 mm in the drain of my bathroom sink - hollow heads down and divided half way down into the 'waterknee' by a horizontal steel lever being there for lifting the metal 'cork' of the sink which I normally keep out of the sink) - in total about 70 grams of probably steel - with a correlate in a 'synapsis' brass clip in the other end of the flat - holding a white folded A4 paper that had intruded inbetween the greek and german version of the poem 'In an old book' by Kavafis:

These metal objects clearly could have been put there by some intruder making clever political 'gags' - but poem #26 (#7 counted from the mid) in the white metre tells of length 1.38 - plus a poetic explanation to the (neural?) rust ('víz' is hungarian for 'water') on the steel and brass:

Jeg var blitt redusert til én
åtteogtredve på noe vis.
Visdommen er en sen
alderdom til mitt lys.
    I had been reduced to one
    thirtyeight in some way.
    The wisdom is a late
    old age to my light.

The 'synapsis' brass is mentioned also at the very end of the fourth sixth exactly of this 64-poem work, the third stanza of poem 43 plus fourteenth line (line 896 of a total of 1344 lines), each poem of 5 stanzas of 4 lines each, plus title, thereby telling of the (neural) border to the acoustic feature called 'silence' - a prominent aspect of the acoustic analysis in my PhD dissertation 'A waist of time' of 1997:

Det er som en klar krystallflakong
med vått salt - det hviteste slaps:
En lapis philosophorum
i min poesis synaps.

En tryllestavs kilevett gransker:
    It is like a clear crystal flacon
    with wet salt - the whitest slush:
    A lapis philosophorum
    in my poetry's synapse.

    A magic wand's cunei-sense studies:

The beginning of this sixth of the work, for acoustic feature #4 (the threshold to silence) reaching from the beginning of poem #33 (beginning the second half of the 64 poems) to poem 42.666, will be found in this threshold to poem 33 entitled 'Mors dag' = 'Mother's day' concerning what I call 'the fundamental theorem of linguistics' - here with the 'twice and only twice' occurrences in alphabetic order that are assigned to this poem from TEQ book 14 (it starts on alphabetically ordered word pair #260 in book 14 after the 413 word pairs - twice and only twice - of book 13 - that means on word 21*32 + 1 = #673):







     Mors dag

     Mama - føttene dine går foran meg
     som en grønn tråd,
     som dollaren når den formerer seg,
     som dollarens gode råd.

     Jeg kan ikke ha hatt Kants Messer i den.
     Mother's day

     Mama - your feet go before me
     like a green thread,
     like the dollar when it procreates,
     like the dollar's good advice.

     I cannot have had Kant's Messer in it.

It concerns the ontological reality wherein the mother's body is in the earth - between earth and earth, dust to dust etc of the linguistic basis for the territorial rights of the linguistic community - hence the 'rosdan' condition of the brass clip correlating with the ageing time in poem 43 - and the fundamental (!) theorem of the running 'Gasse' comprises two and only two acoustic elements, one each from the two realities that contribute to make up the mother tongue. The twice-folded A4 paper with the rusted brass clip was inserted inbetween the original greek and the translation of the poem 'In einem alten Buch' in the Suhrkamp edition of Kavafis' poetry called 'Um zu bleiben'.

(There is an illustration by David Hockney on that place - possibly suggestive also of the white stone - and I must add that the western 'homo' conception of Kavafis which perhaps could be present in the book is not consonant with my understanding of Kavafis except in the sense of just that fundamental theorem of linguistics wherein two and only two items are considered 'the same').

See my translation of the poem 'In einem alten Buch' - the poem completes the analysis of this phenomenon. The poem contains also the essential jewish 'square' (of the quadratic hebrew script?) - here with transcendent or elevated 'Honig' - in the 'Aufenthalt'. The poem concerns the femininity in the visual impression as it undergoes an identity with the look of the male spectator - who talks to himself as 'du'. This is the important part which a 'homo' conception does not understand - and this is essential for the poem of Kavafis (whom I consider not outright anti-homo but something like that nevertheless) - that the vision of the female is the same as the male in the cognitive conception of the mother tongue of the male poet but that does not mean that the female is male in the personal relation. The two realities are the same linguistically but very different nevertheless - a very important point! (even if it 'means something'). See also my own 'Der Dornenstrauch' part 2 poem #5 - in the 'transcendent loop' to the 'immanent loop' of part 3 where the 'lapis philosophorum' is recognized in the corresponding poem #5.

I refer also to the concordance of the end of feature #1 (the symmetries of respiration), that is at the end of 10.666 poems, the corresponding forms - the feature #1 ends on line 224:



hund tak.

Det er jo en ordentlig mus,
som fundetagenes rov.
Han satte igjen noen sko i et hus     
og landjorda der du sov.
dog roof.

But it is a real mouse,
like the prey of the 'fundetage'.
He left a few shoes in a house
and the land's earth where you slept.     

This concordance seems to tell of the point-symmetric form of the 'ex nihilo' graphics to the cover of 'Der Dornenstrauch': The mouse sleeps in the mouth of the wolf or dog, that is in the roof of the dog for the 'lys' = 'light', with 'mac-edonia' = 'mus-ordentli[g]', while 'Mao' tells of the foundation days of the people's republic in the scroll held forth at the dog's breasts, with a point-symmetric wrench in the 'rov', the 'marriage' is seen in the Venus in marble at the dog's tail with point-symmetric pointing shoe (see also sanskrit 'rekha' for the 'row' of feature #4), and the 'marsipan' for the territorial rights of the Donbass tanks driver in the head of the dog. The sum total of this is that the first feature terminates in the phenomenon of symmetries.

The conclusion to all this is that when the blue metre gives the graphic form and semiotic function of the hebrew alphabet (indeed relative to the first 15 chapters of the first book of Moses) and this white metre gives the acoustic and semantic form to the ontological reference on a featural basis, the sum total of this is something called 'God's chosen people' in a historic-metaphysical sense of it - and that explains the old riddle of correlations with the Rigveda. The riddle seems solved. (It is also likely that the metres in total contain enough material for a computerized decipherment of the cuneiform script - to the extent that the cuneiform on the clay tablets is not fraud made and dug down by an 'intelligence' conspiracy a few centuries ago, which I believe that it is not).

It seems that a lightbeam goes from the yellow to the white and establishes a spatio-temporal ontological reality inbetween - of 'relative historic time' framed by a more 'absolute time' beyond, and of 'space beyond space' in the red metre.

I probably should not have mentioned this, since it could be a joke from the media networks or a military or space agency 'UFO', but it is a fact that in the night when I travelled by train from Belorus in the direction of the Vatican (I think it could have been in early 2007), it was reported in the news the day after that many people along this line told that they had seen a lightbeam going over the night sky in the same direction around the same time. I had forgotten to re-change a few thousand 'white' rubles, a sum of perhaps a handful euros, but if the currency conversion was computed with the ratio the wrong way or upside-down it could have looked like a gigantic sum of many millions of euros - and this developed into a political joke about money smuggle, and an amnesty was even issued by Lukashenko. See also 'Labyrinth 101' poem #4 of the red metre. One guesses that a 'Yellow-Russia' could exist in the east.

This phenomenon of #solens pike is but an easily recognizable example - also in its abuse frequency. It is likely that the poetic work is widely abused in advertisement and media networking and other forms of public relations. It is the political reaction which organizes this.

My work is forwards, the reaction is backwards. It follows that it is almost impossible for me to submit the work to peer review at some arbitrary publisher without risking a rejective blow so strong - orchestated with much terror and news - that the whole progress is lost for months or years. And my health is suffering - could be it is only overworkedness plus all this massive rejection and abuse after twenty years of work - with little or no crediting of me as the source. It is therefore important that somebody else finds a publisher who can contract me for a contract.

I have found two cases of 'lapis philosophorum', from the yellow (2014) and the white (2016) metre, both of which seemed to trigger astro-news of dubious kind: The first was followed by the news from a Rosetta (not 'Risotto'!) mission to a faraway comet stone (which seemed to resemble my own somewhat), the second led to news of a 'Schiaparelli' (not 'Scardanelli'!) spacecraft crash landing on Mars, losing contact with Earth in the moment of landing - the spacecraft seemed to be covered by 'kitchen' aluminium foil just like the two lampshades to the left in front of the computer screen I use for internet news. Both of them seemed to be socalled ESA expeditions. Do this European Space Agency try to rival NASA's moon landings as far as integrity is concerned?

In 2014 or 2015 I made in written form, could be on the internet, the idea that if a lapis philosophorum can be engineered by way of a permutational algorithm, such as seems to be the case for both the yellow and the white metre books, then one can model large amounts of virtual gravity into such virtual 'lapis' masses in the universe and bend the light around those - for gigantic 'gravity lenses' thereby - by way of this mutual interdependence of light and matter in the TEQ and metres. There may be a long way to go before this is properly understood, and such a 'lens' may eventually come down to an algorithm for moving pixels dependently around on a screen. Although some may perhaps consider this a joke - pixel movements leading to fantastic closeups from faraway planets - it seems that socalled 'gravitation waves' were discovered and presented as a scientific sensation not so long after I made these speculations.

Scientific fraud should not be used for solving the problems of territorial rights in USA.

I sent my blue metre PEB to Famous Cultureman who could have been the right to understand it - when I a few days later went out the housedoor it seemed to be him who hopped out of a parked car and came walking straight towards me - but passed me without saying a word, apparently heading for the door which I came out from. I do so far not know whether it really was he himself who spent a couple of workdays on this project - and what would it have meant then! - or if it were only a wellmade copy designed by the international mafia. A less good copy passed me some days later around the same place. However, I also met Former Statechief there in the same street and I doubt that they could have presented a copy of him. Some time ago I sent my white metre book to Wellknown Artman because of the corollaries for Vermeer theory and a less good copy of him passed me in the U-Bahn a few days later: He was too similar to be a coincidence and he seemed to look for me before he passed me, but I doubt that it really was him, although I cannot be too certain. It anyhow probably means that there comes no answer to my letter, just as for Famous Cultureman. (Something similar happened to me in the U-Bahn a couple of years ago - a man came up, looked at me and released the smell of flatulence before he disappeared, and the news could soon tell of a tragic chlor gas attack in Syria around the same time - which means that the Wellknown Artman in the U-Bahn could have been a mafia copy telling that the background black on Vermeer's 'Girl with Pearl Earring' really is a deep green - such as my book suggests as well). Yet another letter I sent seemed to trigger either the addressee or a copy of her hopping out from the roadside and asking me for the way to the address we stood on, followed by terror which seemed to index the story. How do the mafia find such people willing to do such jobs? See also - search for 'Jerusalem' under the discussion of the 'zooph[th]oria'.

This means that it is very possible that the 'service' mafia censors my post and that a letter from a publisher will perhaps not reach me. Could be they answer on my behalf as well - I dont know if this goes on. Could be, though, that if it were Famous Cultureman who invested a workday or two into this trip, not to speak of Former Statechief, it could have been for telling me that they can get in contact with you if they want. Which also could mean, if it were only a copy of him, that they do not want?

Clearly there could be publishers interested in a contract for the simple reason of contracting the work out of the market for opening the gates to the Deluge of Fraud - no sooner is the book ready for presentation after a year of preparation, there comes a fat offer from Rudolf Pitler Verlag which is too fat to be resisted, and Pitler needs half a year for making their own edition. The same happens again, and after Gitler has worked with preparations for the launch for half a year, they go bankrupt - and Ditler buys the contract etc etc. There is no need for this circus - it is better to pay for the internet per byte than per minute (that also often leads to faster transfer) and I prefer to sell the rights per copy rather than per year. The publisher can buy the rights to any number of copies (and reprint of any number of copies untill the contract is terminated) and pay me one third or fourth of the bookshop price for these - and the contract cannot be sold. But the copies can. However, one can consider 'exclusive rights' under some circumstances. The rights to make new prints will be contained in the contract (this must really be the optimal contract for both parts - with exclusive rights and unlimited time and reprints as long as the publisher behaves decently) but the contract can be terminated instantaneously by both parts - and then the publisher has the right to sell out the copies already printed. The author has the right to inspect the presentation format (the look of the book) before it is printed and to veto its form if needed so that one avoids those swastikas and all that Hitler on the cover. This is by all means the best form of 'no nonsense' contract and is only a few lines on a paper.

Are you a publisher who has been burdened by heavy rumours on the cruel fate that can befall anybody who has anything to do with me? Go right to the police and tell them who told you these smar-campaign newspieces: The political problem is in those rumours. It is those who forward such rumours who are to blame for the political problems accompanying this story.

I add that if the blue metre had been published in 2010 when the book was finished, there would have been no need for the war in Syria - and the war could have been avoided - since it serves mainly the function of manifesting the blue metre by 188 Catull. I was attacked by a lung collapse after the book was finished - and no signs of publication came around, but much biz seemed to flourish instead. However, this collapse was not much compared with what followed the completion of the yellow metre in 2014-2015. I hope the books can be published.

© John Bjarne Grover
On the web 9 january 2017