Hans-Henrik Holm: Bygdir i solrøyk V-ix-1 'Åsbrun' and V-ix-3 'Helsevon'

John Bjarne Grover

Colonialist powers - probably mainly anglophonic - seem to have constructed the european swastika on basis of the shape of Norway 1814 in order to make a propeller that could turn around and commute the spiritual values. It is natural to believe that the state was constructed for such reasons. When the eastern arm is pulled down on Italy by a 'mussolini' phenomenon of conceptual-isomorphic attraction, the fascists were collecting their fascies physically in the south as for England to harvest its metaphysics up in the north before the swastika turned back again. It is likely that this metaphysical exploitation of Norway has been going on since the 19th century and that it is still going on, leaving the metaphysical corpora rather clean-sucked up there - that the colonial powers - England and maybe a 'gunsmoke'-NATO is constructed for american participation - have still much control in Norway and these demand obedience to the suppressive reading of the norwegian reality - while they suck the spiritual values out and transport them over the sea.

Holm's poem "Åsbrun" can be read as a poem about just these matters and tell of two different realities: One fullscaled metaphysical and spiritual theme of the poem, enough for a fully developed cultural state, and one sirompa suppressed and knuga reality which the colonial powers require obedience to - otherwise they swing the 'hebrew-norwegian' whip again.

The spiritual reading is that the poem is about the mythological reality in the phenomenon of thresholding in a grove and how the incarnation of Christ can be seen in that light. The sirompa reading of precisely the same poem is that it is about the poet's memories from his childhood when he was running downhill and jumping on skis behind Samvirkelaget and some bigger boys who came around were a little scaring but it luckily ended well.

The colonial rulers want the reader or translator to agree to the conditions that the poem is about ski jumping - and then lift the spiritual incarnation theme on board the ship for taking it down to post-Henry anglican England. What is special about Holm is that he manages to keep the two alternatives up and going for a deeper and more mature understanding of the problems - and he could be published in Norway under the flag of traurig and sirompa, which pleased the occupying colonial powers, while the better reading was easy enough to come up with if the cultural conditions improved. Here is the original nynorsk text of the poem and here follows my translation of it:


Screening little bosom swarm
wonders rising brittle, warm.

Round the log in younger threshold
sunshine beamed in harder glow
as I little was in measure.
I looked higher up than now.

None among the farming fountains
sembled big or dangerous.
In the pass between the mountains
angels watched the angelus.

The title will normally be translated 'Hilltop' but 'ås' means also 'beam' and it will then refer to the light that bends just around the edge of the beam - as is explained in lines 3 and 4. However, 'kring på ski' can also mean '[to go] around on skis' - but 'ski' can also mean a log with a certain functional form. 'Braut' means a hillside or road and when 'gut' normally means 'boy' there is the self-evident meaning available of ski-hill for boys. But 'gute' can also be 'gote' (narrow path between fences) which also can be written 'gåte' and then it means 'riddle, enigma, mystery'.

It is fully possible to read the poem as being about the skijumping boys, but it is the word 'tovar' in the last line which tells that it is about a little grove or heap of something. 'Blaksa' is a word I cannot find anywhere. The complex is about the phenomenon discussed in my article on the 23 black-and-white photos from a grow on the Danube Island - thresholded from normal colour photos taken arbitrarily in the grove.

In the last analysis it is I (the reader) who am the lightbeam that curls in around the corner of the door opening to a wooden loghouse - there stands a person eating food (could be wages for faith) at one of the window openings in the dim lights of the building while the sunlight is strong outside. This lightbeam will have a mythological value on the level of thresholding.

The word 'gardlagsgutom' is not so easily interpreted - it means a plurality of males or such 'gut[e]' from the complex of farming houses around in the district. It seems poetically appropriate to translate it 'farming fountains' - rhyming on the 'mountains' two lines later - which also then will lend a certain metaphysical value to the expression. A down-to-earth translation is easy: "None among the farmers [a]round here / looked so big or dangerous", but it is likely that important aspects of the poem is lost thereby.

'Sembled' is an ancient form which hardly is used in modern english except apparently in texts of law - which is when the fountain is not only a normal sprudlwasser but rather a source of light and information, probably on an elemental level. 'Re-sembled' would take it down on the historic level - as 'sembled' there is a distinction still alive in the differences in the loghouse. There will be an element of 'sampled' in the word.

It is this level of mythological 'incarnation' which is contained in the two first lines - of how the incarnated spirit takes on life in the 'thumos' of a smaller or younger person - but 'vesall' means probably not only small but also more appropriately 'vasall' in the sense of 'existentially dependent'.

This is likely to be the complex which the colonial state of norwegian culture is struggling with. The colonial rulers want the story to be about Samvirkelaget and the boys running on skis down a little hill there behind it, while they themselves run off with the spiritual riches harvested from the mystic loghouse (church?). It is seen that this is about mainly the mid stanza which thereby has a self-referential enlightening function onto the phenomenon of the text itself.

Continued on 7 august 2022:

My 'Stillhetens åndedag' can in fact be read in a framework comparable to the spirituality of Holm's poem. For example, his mystic loghouse (cp. 'sam-virke-laget') situation can be compared with my 'Stillhetens åndedag #35' which conveniently can be read from the peripheries inwards towards the middle: The first and the last line, second and second-last etc. The loghouse will then be in line 6 ('som byggekunstenes hjem') with the element of entrance in line 6 ('forteller om det du nettopp har skjønt') from the end. It is possible to read the whole book this way and recognize a way of thinking akin to Holm. This is a remarkable trait in view of the way the book is written.

The theory would then arise that the loghouse qua 'julaften' etc could have been considered comparable to my PO Box and colonialist control with the book and its way of thinking gained via a coup in the PO Box on 1 january 2021 and a comparable coup d'etat in Burma on 1 february 2021 - one month later. The month could then have been telling of the hypothetical periodicity in the harmonics assumed to be in the book - such as e.g. in the register level of the language which goes up and down like a sine wave. Hence one could guess that the putsch in Burma could have been for gaining colonialist control with the export to England of aurora borealis from northern Norway - for an exploitation of the spirituality there. This could be as a metaphysical counterpoint to a chemical persecution program in the eastern arm of the european swastika.

One can speculate that this also would be in extension from a potential abuse of my lost poetry notebooks from the summer 2019.

For the mirror symmetries and the countryside loghouse sort of theme, see the rather early parts of Tarkovsky's 'Zerkalo' = 'Mirror' which includes also the element of 'fire'. (I dont think that is much present in my book). I have speculated that each of the 64 poems in my book corresponds to a basic sumerian cuneiform sign and for this #35 I have considered the sign KUR, three slanting wedges.

This interpretation understands the political situation as being a result of the formation of the state of Norway in 1814 for the purposes of making a european swastika on the map - with counterhooks in Italy in the south and England in the west - and thereby a Black Sea counterhook arises in the east. It is likely that the entire idea of something divine up in the Barents Sea comes from this swastika formation and that british desires to harvest these divinities for enriching the monarchic authority after the french revolution is a result of such symmetries on the map of Europe. It is likely that a further reason for attention to the outlines of mythology on the map can be seen in the thresholded photo 2 from the Danube Island - see my discussion of photo 2 in this article on 'The chinese sign WO' where it is seen that Rilke and Celan have comparable lines, also relative to my 'address and name on a box', as if it were about the PO Box. It may be that the phenomenon is not only a PTRSIM PIK super-mythology on my person but that it may be fundamental to the whole postwar political phenomenon on this basis. This phenomeon can be seen in the strong relevance of a line of Celan in comparison with this line of Rilke:

Rilke = "Das Lamm mit dem redenden Blatt" = the lamb with Blatt-face in Berlin and patellas in Rome
Celan = "Der Hengst mir dem blühenden Docht" = from his 'Fadensonnen 1968:

The quote from Celan is hyper-relevant to the front page of my "The Endmorgan Quartet" which is front page #2 from the left - the entire poem of Celan seems to tell of just this photo of mine from Paris - the poem is #15 in Celan's "Fadensonnen 1968":

Der Hengst mit dem blühenden Docht,
levitierend, in Paß-
Kometenglanz auf
der Kruppe.

Du, in den mit-
verschworenen Wildbächen Auf-
geschlüsselte, die
hüpfenden Brüste im scharfen
stürzt mit mir durch
Bilder, Felsen, Zahlen.

'Der Hengst', seen in the 90 degrees turn with 'Kometenglanz auf der Kruppe', is rushing towards heaven in the upright version. The 'blühende Docht' is seen under his jaw or as the girl's left arm in the scene with the little girl with two green marionette pins before the tall angel with 'hüpfenden Brüste im scharfen Versspangen-Joch'. The poem of Celan interprets my photo from Paris - it is a branch that had been broken off a tree during a storm - I was walking in the early morning and found it on the sidewalk under the tree and photographed it - it could well have been a street he had walked himself. The relation to the poem is in the fusion of the two persons - the child and the angel - in the upright version who merge into the Hengst in the 90 degrees turn.

See also this detail from this article which discusses how this front page seems to be interpreted in just this TEQ front page photo and how the theme of conception seemingly takes on the form of this chinese sign CHOU - which seems poorly understood by available sinology - but which by this detail of the Treblinka photo (on top of the 'water-knee' curve, right under the 'rising sun') shows the Botticelli-Venus-like woman (on top of a lotus Blatt or shell or something like that) comes running with the documents while the man is spurting all over the landscape and a potential "Lamm mit redendem Blatt" is swaying in the air behind the formation which then can be seen to take on the form of just the chinese CHOU sign. It is of course possible that this chagallian lamb in the air is the same as Rilke's 'Lamm' - which also seems to have its snout in Berlin of just that forest-thresholded mythology photo. The 'loghouse' is likely to be at least associatively related to that.

Now Holm's poem is followed by a short poem - with only one poem inbetween - in the same 'Bygdir i solrøyk' V-ix-3: This short poem is called 'Helsevon' which means 'Hopes of (good or recovery of) health'. It seems that a few elements in this (a poem to a child in sickbed) calls for comparison with just the theme of Rilke and Celan - in particular the word 'kveikjande' which means 'revitalising', 'requickening', but which contains the 'wick-Docht' in the 'veik' = 'wick'. The word 'hurdi' means 'the door' but is probably the same or strongly related to 'hyrde' = 'shepherd'. 'Ljå-karen' = 'the man with the scythe' is seen in the photo in the form of the lower contour of the angel's wing - 'ljå-karen' would also suggest 'dauden' = 'the death' in the first stanza. 'Uridi' is the condition of being in a critical moment of a disease - it turns either up or down.

Now I can interpret Holm's poem in english in the following form - title motivated also by the hurrying Hengst that is 're-cover-ing' the book:

Speedy recovery

Lie still little Turi
through critical might.
If death wants to hurry
he is stayed on his ride.

Lie still little Turi.
Through wick of the night
strong angels contour him -
the man with the scythe.

Now to the point: 1) 'Turi' may be the same as 'Norw[a]y established on the swastika map in 1814 for just such reasons, and 2) it is in the anglophonic version that one sees the alternative reading "continue lying, little Norwy". Norw[a]y is not so little but there are few people there and the state is not so old. (See also my TEQ book 14 poem 30 - signed 'MP' - for the counterpoint to Celan's 'Fadensonnen #15' - the relevance of this book of his considered as a function-14 type is discussed in my vol.3). The theory is that this is what the socalled 'Knullerud' phenomenon is about (possibly including 're-cover-y'), including the 'Zelenka' who seems to have been off public attention through some critical years. It seems to be formed via the ambiguities of hebrew and norwegian of 'rude' format - assumed to be the possible background of formation also of the document 'Heimskringla' which seems to be a main source of the history of Norway through the alleged viking times. If 'Knullerud' is a concept based on similar hebrew-norwegian principles, it could even be for the idea of 'go on lying, little Norw[a]y' - which, though, for the case of Holm's poem, would appear only in the anglophonic version.

The CHOU-sign can apparently be seen as interpreted in the Zheng chapter of Shijing #81 whereby it is identified as something like 't[h]ree proofs' revelation'. My TEQ is not public domain and it is not common values which need no crediting of the source. It is my lonely intellectual property and work. There are very few commercial advertisements up in Vienna these days, which of course is good, but it could lend much emphasis to the few which there are - such as this one with three bottles from 'Romerquelle', wherein one even could spot what looks like a 'Docht' and an Hengst eye a la a wagon wheel which could make it look like a plagiarism of my front page photo.

Plagiarism is bad - and potentially the cause of covid-19, as is my view - because somebody must pay for the illegal copies and if nobody does, then some 'secret service' could come to make illegal copies of people. The old art of making own riches by way of exploitation of others does not lead to a better society - the world should be old enough to understand that now. I hope the plan is not to open somebody's waterproof head - like a bottle of sprudlwasser - as payment for the plagiarisms. Or could it be about a coup d'etat?

There can have been extensive plagiarisms of my work forwarded 'to-ad' through a decade and if this is not paid for but stored up as a potential to be released for political purposes later, for example in imitation of the history 100 years ago, then of course it could be possible to dissolve the state on basis of the Staatsvertrag of 1955 whereby the state in article 9 has agreed to aus dem österreichischen politischen, wirtschaftlichen und kulturellen Leben alle Spuren des Nazismus zu entfernen.

I photographed also these ads - and this may perhaps be a sort of art?

(In the first edition of this article of 5 august, the reference was erroneously Bygdir i solrøyk VI-ix-1 'Åsbrun' instead of the proper Bygdir i solrøyk V-ix-1 'Åsbrun')


Celan, P.: Fadensonnen. Suhrkamp 1993
Holm, H,-H.: Bygdir i solrøyk I-VI. Gyldendal, Oslo 1949-1951.
Rilke, R.M.: https://de.m.wikisource.org/wiki/Die_Sonette_an_Orpheus

© John Bjarne Grover
On the web 5 august 2022
Last updated 7 august 2022