On how I found Hitler's postcard
John Bjarne Grover
The following account of how I found Hitler's postcard, possibly essential for understanding details of Lenin's death, was written in 2006, but I leave it as it was, with only some minor changes.
I had just come to Vilnius in March 2000 and moved into the flat where I lived when the tree fell in November 2001. It was the 24th of March 2000 when I suddenly saw something for my inner vision which I had not seen before. Neither did I see it again before 01.02.03, the 1st of February 2003, the same day as the space shuttle disintegrated on its way back to earth, when I suddenly recognized rather exactly the same motive as I had seen in Vilnius in the kiosk windows of Paris, in a commercial for the erotic magazine 'Union' which was on sale with a new issue just that day, the February 2003 issue.
The front page motive of the magazine - which I had seen for my inner vision on 24 March 2000 - showed a woman apparently sitting and with a man holding his arm around her naked breasts. It is only after one has paid for the magazine that one discovers that it is not his arm after all - it is her own. She has a sort of narrow rubber strip or something like that in the hip region. I have later observed as rather relevant that my inner imagination in March 2000 was followed by the Concorde crash in the summer - allegedly due to a 'titanium strip' on the runway. The posture on the photo can perhaps be called a 'titanium strip'. This observation is relevant when considering the fact that the magazine occurred in the kiosks on 01.02.03, the same day as the space shuttle crashed in the atmosphere on its way back to earth.
In Paris, I immediately recognized the front page photo from my memory and had to buy it. The question was how. I had never bought a publiction of that genre before and was shy about it. The problem was to get to a discreet purchase without the attention from other customers. I started the hunt and it was not easy. Whenever I thought that a kiosk was free and reached for a magazine, another customer would come in through the door or around the corner. It was a ridiculous hunt, of course, but I anyhow continued for several days. I had no idea at that time that my real reason for this trotting was another one. It must have been on 10 February that I was going up Rue de Roule near Louvre (I thought that I had seen a somewhat desolate kiosk up there) when I passed the Cartophilia shop and I happened to spot an interesting postcard in the window in the midst of a heap of other postcards. On this card I could read a name - it so to speak leaped out of the window and attracted my attention in the passing - which I had seen some weeks earlier when I, in an internet cafe which I often used and from the machine I normally used there, sent a congratulations email to the wedding of the Norwegian princess Märtha Louise. As I opened the website of the Norwegian royals, my name popped out from the name slot - but there was a false address attached to it: My address was given on the website as Rue Henri Regnault (no.8, I think it was). That was not my real address: Somebody else had sent an email in my name, and with a false address, and the name and address had remained in the computer's memory. I sent my own email and forgot about it. When I now stood before the cartophilist's window and saw the same 'Regnault' on a postcard from 1924, my interest was caught. I went back when they opened on Monday and bought the card for 3 euros. This was around 10 February 2003. I had then been trotting the streets of Paris in the quest for the erotic magazine for nearly 10 days.
Click here for a picture of the front page of the postcard
Click here for a picture of the back page of the postcard
(For verifying the signature as Hitler's, there are some samples of it from historic documents on the web - it typically reads '8ell4' which means '8 or 4'). Click here for an enhanced picture of the signature on the postcard.
Somehow my interest tilted over on this new acquisition which I had made at the cartophilist, and it soon appeared that the comparatively innocent French kiosk porn (which I now easily could purchase in the nearest kiosk) was nothing compared with what I now held in my hands. It turned out to be a postcard written and signed by Adolf Hitler, dated 7 January 1924 and sent on 8 January from Hamburg to Paris, where my official grandmother Laura Devold and Vidkun Quisling were spending their 'sabbaticals'. It was sent while Hitler was 'in the cell' of Landberg prison after the Beer Hall Putsch, and while Quisling was shuttling around in and outside Russia, possibly going up to Gorkij some days later. If so, this postcard is the very responsibility claim on the assassination of Lenin for the nazi project. Not the least since the undertext reads "Um unsere Evseyevitsch-verbindung, die durch den Grigorij unterbrochen wurde, wieder auf-Zinoview..." - which means that it is about Labour - or even 'Laura' - and the false Zinoview letter from the autumn 1924 which allegedly destroyed the election for the Labour government that had started the morning after the death of Lenin. Somebody had apparently sent the letter in Zinoview's name! The false letter was signed not only by Zinoview but also by Otto Ville Kuusinen ('Otto wanted inside the vagina', that means in Norwegian) and Arthur MacManus, both names with obvious reference to the printed sender name on the front page of the postcard - 'Otto Trier Nachf.' and 'Inhaber: Max Aberbach'.
The proof that the postcard is about Quisling reads from the two words "Britt" and "Buffals", neither of which are German words, not even technical terminology, as far as I have been able to verify. "Horn, Britt, Buffals" seems to have been a codeword for "a fridge of nonsense" = Fridtjof Nansen". It could be about the 'Nansen' passport which Quisling could have been equipped with to gain access to Lenin's chambers in Gorkij some days later. Officially, Quisling was on a mission from the League of Nations to and around Russia in those days. It is not known where he was around the day when Lenin died. Nansen, John Gorvin and Eduard Frick had been in Moscow and held talks with Mikhail Kalinin and Leon Trotskij exactly one year earlier - a meeting in January 1923 which probably could have served to prepare for this assassination. Not the least so due to the meaning of the name 'John Gorvin' ("well, let's go in", cp.also 'John Grover') and 'Eduard Frick', which is about gaining illegitimate access to private 'chambers'. And Nansen's and Quisling's hunger-aid programs in "Ukraina - Donetz and Crime" and things like that.
'Grigorij Zinoview' = 'krig går i sin omvei' = 'war goes in its detour': The middle name 'Evseyevitsch' is lifted out and preposed, just like 'Rawlinson' relates to 'Ivar Aasen': That is the 'swing', the 'curve' on the way to China, which may have been the nazi project. War was on its detour there in Germany in 1924. Which should mean that the "Esterwegen" project was the 'real project' while the nazi period after 1924 was only a preparatory digression or detour.
Otherwise the printing errors (the 'card-diffs') tell the story: m/l, d/c, b/r. "You jump S over S" - which gives the paragraphic formal reading of the details on the card - which could be about 'Kreml', 'DC', 'Britain', for the two hemispheres and the slanting slash of the Norwegian letter 'Ø'. MacDonald started the first Labour government in London the morning after the death of Lenin and it lasted untill the Zinoview letter.
Which means that I had found that card which Hitler had sent as a responsibility claim on the death of Lenin and possibly even the later story. On behalf of who? If the interpretation is right that Laura Devold in Paris masturbated so passionately that Quisling's 'tool' went up in Gorkij and shot Lenin while they sat there conversing on his 'dacha', it means 'the ultimate intrigue' of telepathy. The postcard in actual fact suggests that this was the intended interpretation of the intrigue. This could be the basic idea of the later 'Dr.Verboten' and it can be recognized in the name of the first big concentration camp 'Dachau' = 'dacha-U' as well as 'dadra-a-u...' = 'the daughter of that woman whatshername...' = daughter of Ragna Landmark, hence Landmark terrorism, here for Lenin the revolutionary landmark. The political plot had been sanctioned by the state of Germany when they put their poststamp on it. Therefore also it would have been important that it was not led back to Hitler or other administrators after it was sent but simply was allowed to circulate among the historic coincidences. It ended up with me in 2003, nearly 80 years later! It seems to have been addressed to Laura Devold or rather her later husband Bjarne Eidsvig, whose 'Firma' was the oyster farm on Vaagstranda. Which here could mean quite simply Vidkun Quisling, at least in 1924 when Laura was in Paris, whoe 'Firma' for this particular occasion was the 'League of Nations'. Quisling seems to have had at least two other wives he was married to, apparently even at the same time (according to Dahl's biography), which could have contributed to this co-reference with Eidsvig.
The story of nazism would have been growing out from the cell of Hitler so to speak in the womb of Laura Devold. It is this card on which the whole story from Rawlinson via John Grover 1823, 1843, 1845 and WWII 100 years later ran together. It was about building the Sunnmørian empire that was scheduled to 'collapse' in 1945. 'E va Bra un', said Hitler, in his characteristic Sunnmörian dialect ('I was rather evil').
Now the point with telling this story is not only that the finding of Hitler's postcard could be a rather important historic discovery with much explanatory force (even if the text on it may have been known to administrators after it was sent), not the least for me, but it also served to prove that revelational poetry can perhaps allow not only for sending information through eternity but even for finding important historic documents. The greatest surprise in the discovery came in fact when I found that the card (the text on which was unknown to me before I found it) was a rather detailed parallel text to the opening parts of my own poetry book "Cardiff/Harding" which I wrote in the autumn 1998, four and a half year before I found the postcard. The inspired title meant nothing like 'president Harding' from 1923 when I wrote it, but I had to recognize that connection later. Here is the parallel reading of the opening text from "Cardiff/Harding" (book 4 in "The Endmorgan Quartet") in the lefthand column with the postcard text (published to legal deposit in England in Christmas 1998 - when Peter Mandelson resigned - and stored in the Copyright Register in Washington at the same time) to the right:
First three pages from "Cardiff/Harding" (1998), in parallel with Hitler's postcard:
| Part 1: The Dururá sleeps|
Luke 20.1: As he looked up, Jesus saw the rich
putting their gifts into the temple treasury.
The text on |
| || |
|She had been acquired||Otto|
|not to use the [...] every day,||Trier Nachf.|
|because it is the port of teenage.||Inhaber:|
|Marit Skauge,||Max Aberbach|
|She has been acquired||Kaiser Wilhelmstrasse 89-91|
|not to seek.||Telephon: Hansa 196|
|It is day with a shrunk.||Firma|
|It was about the newspapers||Eu-|
|setting the sun,||gene|
|and the work besto av current pagereading,||Paiss-|
|component class one.||eau|
|I prefer to walk,||Paris|
|and I lied at my library heartist,||Rue de la Folie|
|so to me it only says:||Frankreich|
|Pressed with shrunk yesterday,||Firma|
|the helpwood character, and the T conceived of as an N||you jump S over S|
|which you received on me on a certain date||Rue de la Folie|
|in order to create gatewood -||Regnault|
|off, then: The Dururá sleeps.||/68|
|Quite simply is this the toilet||Um|
|so that grease on this point would come out reasonably bra.||unsere|
|"Men the moon...?"||Geschaefts|
|(something like that):||verbindung|
|Over sixty thousand money,||die|
|the vast, the cay,||durch|
|without the nominance, and||den|
|the gather of maximum, the Bergen.||Krieg|
|- And I've Five Kokefritt.||unterbrochen|
|- And I've House.||wurde|
|- And you don't have a chail?
|This is the kind of doxumation,||aufzunehmen|
|so it keep works.||ich|
|- You're talking about France?
- In France I have not been
|No, to the right.||schnellsten|
|Yeah, shifte library.||Horn|
|- Other people's culture...||Britt|
|- I don't think I under(-stand).||Buffals|
|In the strange magic/matrix,||etc.|
|it should be exactly the same,||wie ich sie früher|
|and what the opposite||von Ihnen|
|in the logarithm, they all say.||gehabt habe zu bemustern.|
|But it rose to 450 in the beginning of this deceit.||Hochachtungsvoll|
(The signature 'Belcea' occurred right to me when I wrote the book, and I found the reason in the signature '8elc4' on the postcard - there is otherwise no other connection between the two forms than a graphic one. The signature in my book also serves to mark the end of the text - which then comes to be an exact parallel to the postcard without unparalleled ends).
There is no doubt that the postcard to some extent had been 'seen' in advance by me when I wrote my poetry a few years earlier - like I had 'seen' it also in Vilnius via the magazine front page. My view was perhaps not entirely optimized relative to this postcard when I saw it in 1998, but the view was not bad. An optimistic interpretation of this phenomenon can be that revelational poetry - which implies a society based on truth rather than political power-struggle, even as far as the economy is concerned - can allow even for searching and reading lost historic documents. What did Caesar write on that piece of paper before they crossed Rubicon? It should be possible to get it up for the inner vision even if the paper was thrown away.
This means that revelational poetry - or what it exemplifies or represents - can alter the material state of the world and can produce perceptual input which does not go via the senses but which nevertheless has the same apparitional quality. Rather than studying the document on a computer screen, one can study it on an inner vision. That can of course be restricted to the position in front of the computer screen, like me when I clearly saw the address 'Regnault' on the computer screen next to my own name, or at least in a little window in the address box there - before I also found it on the postcard in the shopwindow. However, it need not go via the senses on its way from the computer to the inner perceptual interpretation - it can just as well skip the 'signal gap' and go directly from the computer to the perception. Then it will look like an ordinary screen image to the user, like that 'Regnault' on the computer - but some 'poetic logic' has gone between for retrieving the lost documents which time cannot bridge but which 'revelational poetry' can. But for doing that, we must develop the new poetic logic. And the new society with a new global goodness-driven economy.
This access to historic documents is but a variant of the revelations of eternity. However, I don't think we can find the historic documents by mapping via temporal intervals and administrative indexes. It is by way of subjective integrity that we can reach the poetic eternity which can allow us to telescope in on an old and possibly lost document. The vision from Vilnius tells that there are hardly limits to what we can spot in that way, into what private chambers we can see, so to speak. It is likely that this technology is what Grassmann's theory was designed to construct - when the new logic and technology was interrupted by the political intrigue which this postcard is about, and which seems to have halted the development in a disastrous way for a century and a half. The poetic logic in my book contributed to find that document which can lead to a dissolution of the historic problems.
'The da Vinci code'
Added in 2009: I have earlier speculated if the film and possibly even the book 'The da Vinci code' could have been made in extension from my finding of the postcard in February 2003. I don't know if there would have been time for Brown to write the book after February 2003 (nor have I read the book) but the film would of course have been based on his book (the filming started on 8 July 2005). I recently saw the 2006 US film through on DVD format (I had tried to see it in a cinema when it was released but could not take more than some 10-15 minutes) and it seems possibly to relate to my sensational finding of the postcard. Perhaps is there even an element of my 2002 application to IRCAM in Paris - for example, there is a character 'Andre Vernet' in the film. I also recently spotted a 2006 book about Patrick Süskind's 1985 'Perfume', cp. the fanatist character in the film which perhaps even could be seen to swap over on me - as the expression of self-despising american culture. If the film relates to my finding, it seems to be an attempt to reduce the finding of the postcard to an 'empty hoax', by way of the mythological machinery of the 1968 foetus in the 1970 jaw and the 'fantastic' character of the film, perhaps even on 'kaudervelsk' format, where the protagonists go from finding to finding, from the one holy grail to the next. This form of the story, gives it a shade of unrealism which it could have been the film-makers' intention to lift over to my finding of the postcard (cp. the search for a library card) - as if it were about a sort of innocent and naive humour. The story goes via Zurich, Britt, France, with airplanes etc. This could be telling of some indications that the postcard perhaps could be of some value as historic document, not the least when it comes to France 1970 (de Gaulle died 562 months after the card was written, cp. Grøver/'Mengele's car number T-262 where I was in the back seat at Aure-Osen with the mention of 'kaudervelsk' around the time when Ted Kennedy had the car accident with Mary Jo Kopechne, cp. 'aure osen kaudervelsk', in the back seat) and perhaps Lenin 1924. There is even a sarchophagus at the end of the film.
The film starts with the Columbia pictures, not 'latue of stiberty', followed by a 'verboten chemical' black-sea-drop symbolism ('Imagine Entertainment') and the 'SKYLARK' productions logo. One speculates if it could be about a responsibility claim on a 'sky-lark' bomb on Venice for starting the 'dr.verboten' Black Sea Loop - combined with the Columbia Pictures logo? There are these 01:29 minutes credits (to Columbia Pictures, Imagine Entertainment and Skylark Productions) in the beginning, and there are the ordinary film credits at the end:
0:00:00 - starts credits
0:01:29 - starts film
2:15:42 - ends film
2:23:36 - ends credits (it really goes for another second into 2:23:37)
The main responsibility claim points of 42.666% will then be these:
1) 2:15:42 x 42.666% = 57:54 = 'Leigh, I'm into something here that I cannot understand'
2) minus and plus 01:29 for 42.666% = 58:45 = 'to protect the greatest secret in modern history - the source/sauce of God's power on earth', which could be about the secret of or behind Hitler's postcard and the name of 'Harlem Gro Brundt-land' (born on Hitler's 50th birthday) = 'sauce of grow-power on earth' = Manhattan 2001, the concept possibly coupled in the film with the concept of couping '© Bam Banda-Aceh' = '© Bjarne John Grover'. This earthquake phenomenon of 2002-2003-2004 seems to have scared the americans a little, as if it were the real stuff? Or is it about John 'Pam' Grover - and is the date of the 2002 copyright proof really the original one? Hence the concept of 'VERBOTEN'.
The combination makes for a sort of 'Leigh vulva'.
One can add the credits at the 'end of the film':
3) 2:23:36 x 42.666% = 1:01:16 = 'the mortality of Jesus' (or is it 'modernity' or 'immortality'?)
4) minus and plus 01:29 for 42.666% = 1:02:07 = telephone rings (after 'who is god, who is man') with flash on the dead body of Jacques Saunière, whose full name is mentioned around 18:50 in a framework suggesting Hitler's sperm for the foetus in the jaw of school dentistry 1970. This Jacques Saunière had been shot behind locked doors in the beginning of the film and it appears that he would have had to be a self-flagellant like the fanatist for producing those scars - but that would have had to be after he had been shot! The body looked like 'Ø kjempesår' ('Ø giant wound)' = 'Eugene Paisseau' on the front page of the postcard. Hence a curse from the fanatic flagellant. For the CURSK 'Jacques Saunière' for the concept of 'a Jacques-culation', one notices also the 2003 murder of Dereka Mikula in Son (not Sion!), where in fact Jostein Simble (chief of NMI of the state) lived before his alleged death on 21 (not 12) October 2000, the 2003 Mikula case apparently being a possible undertext theme of Almodovar's 2002 'Hable con ella', possibly also in some airplane-lettering and car numbers etc (e.g. CROSS G-MKSS, SPEAR CIL 6837, VA03 OGL) in the present film, as if Mikula were not really murdered but only a similar and dead copy of her was found in 2003.
Which can mean
'mortality of J-sus' = ejaculation (a 'Jacques'-culation, cp. 'Dereka Mikula') = Cole
'ringing + body' = Hitler's 1957, 50 years ago in 2007 = Kursk
= KURSK & COLE
The magic of Hitler's sperm transgressing the boundaries of space and time - the new 'magic race' on earth, the very 'Children of Hitler', the 'New Juda[s]ism' = the priory of Sion, descending from 'J-sus' himself, which could mean the 'Hitlerites' = 'Hittites' who were in Palestine before the israelis and therefore have the historic 'priority' (unless there had been somebody there before even them - as could be the secret of another obcure sect). The 'Hitlerites' could be those who believe that a male ejaculation really is Hitler ejaculating by 'priory' into the 'protection of the secret'.
These concepts of KURSK & COLE & VERBOTEN make for the conventional Labråten family triad descending from the Klipra connection and they probably uniquely index my person by these three concepts. (My original notes during the first scanning of the film told 1:01:16 - 'twice in narcosis' - I had followed the erroneous onscreen transcript which tells 'the immortality of Jesus' - and 1:02:05 - 'the grail matter', cp. also the 'sarcophagus' at the end).
From Eidsvig's oyster farm on Vågstranda I recall two 'jokes', could be from the second half of the sixties: 1) A Volkswagen is a 'gravid blikkplate' (pregnant plate of tin, ambiguously about a lie of watching), 2) The farm was so steep you had to keep the head back to avoid soil in the mouth. If this is Grøver/'Mengele's vidd, at least he is the one who told the joke about the VW (and he later got a 'protasio'), it could be about Grøver/'Mengele' svidd = sky rillen = Skylark Productions? Imagine Entertainment = 'i magene' entertainment? One notices also the 800 billion dollar bailout.
The film could in fact - on basis of some analyses which perhaps are not totally fatfetched - have been a responsibility claim on a bomb on Venice (with festas and festivals) after Manhattan 2001. The camera in one of the last images follows a curve from above down to the sarcophagus 'at the lower side' = 've ne sia' - while it started 'at the Louvre side' where I found the postcard in the cartophilia shop in Rue des Roules - I don't know if this would be telling of anything. Most alarmingly it could be that the neighbour who died under had a name ('Mario Zorzetto') reminiscent of the form 'the sauce of God's power on earth' ('ett to, ett to, en støvel og en sko') while the name of the one who died next to me ('E.Zuin') could resemble the one about 'Leigh, I'm into something here that I cannot understand'. 'Mario Zorzetto' resembles also 'Farah Fawcett' and 'E.Zuin' could resemble 'Michael Jackson' - and these entertainment stars died around the same day, possibly as part of the same US/UK engineering of a 'gallows-X'. There is even a da Vinci mechanics exhibition not so far away (I observed a man similar to former CIA chief John MacLaughlin sitting on the stairs there lunching with some young some time ago - but on the other hand there was another similar one in an internet cafe so I don't know). John Deutsch was appointed CIA chief in May 1995 when I was about to complete my novel 'The Dreamer' on a diary format - it included the concept of 'Granny Smith'. There were later the accusations against Deutsch that he had stored classified material on his home computer and this could have leaked out. The case compares with the Wen Ho Lee case (not 'Wenche Leigh') - and one could be justified in wondering if this means that my diary novel was used for the 11 September 2001 attack on Manhattan. Don't blame me or my finding of this postcard for a threat on Venice if that is the story. We must hope that this is not the plan. These UK/US problems of identity and a self-despising bad conscience should not be solved with more terror but with a better understanding of what the problem really is. Tell the truth, UK/US.
© John Bjarne Grover
On the web 14 June 2006
Last updated 19 October 2009