Holm's poem 'Vendevon'

John Bjarne Grover


Mystic inquiry can be seen as closely related to the fundamental theorem of linguistics in the sense of being an attempt to reverse the collapse which creates the historic reality of ontological reference. "Human reality is a meetingplace of many realities", is a saying of mystic quality: These many metaphysical or spiritual realities intersect and it is in the meetingpoint between them that the human reality arises. In the meetingplace, there is the function of the spiritual recognition of aspects of these as 'the same' whereby the ontological reality arises along with its linguistic correlate.

In a similar way, the human body is composed of independent modules called organs which serve to unite several ontologial way of 'being' into one functioning organism: The air has to penetrate all parts of the human body by oxygen, the metabolism likewise must reach all parts of the body, water is the main substance in the body and is needed for its functionality in all parts. Air, earth, water - and then only fire remains for the four classic elements. That clearly is the consciousness that arises in the neural activity by the ignition of 'elan vital' - it seems to come from somewhere and is kept going in a self-reinforcing system.

In short, if one should postulate 4 elements as in prechristian classic philosophy - and 4 different metaphysical realities that run together in the meetingplace of the humans according to mysticism, there would be a perfect basis for an elemental philosophy a la the pre-christians. These could even try and detach these from the 'meetingplace' for assigning one to each beyond or behind the standard catholicism. Christianity could, according to such philosophy, be what made these 4 disparate realities unite into one.

Holm's poem 'Vendevon'

A poem of Hans-Henrik Holm on the role of the elemental philosophy - it is from 'Bygdir i solrøyk' half-volume III chapter xvi poem 7: 'Vendevon' (p.250-251) = 'Hope of turning'. I found it by simple coincidenne: I had translated a few poems from the first and third double-volume and now I wanted to try one from the mid double-volume as well and opened it on some coincidental place. It turned out to be the apparently most fundamental locus of postwar intrigue in the western world. Of course it is a little hard to believe that yet another pure coincidence could have found another one those: I bring the poem, my translation, a discussion of its structure and some data which could be suggestive of the idea that truly heavy intrigue (such as the attempt on the pope in 1981) could be rooted in a bad reading of it. If this should be the case, then the conclusion would seem to be near at hand that the poet is extremely badly treated by its homeland to which he had made a grandiose contribution. The reason would then presumably have been in the state's 'feeling' that it is a part of their raison d'etre to ridicule their best poets - but that would only mean that there is not a goodenough reason for such a state.

Here is Holm's poem 'Vendevon' in norwegian original ('Bygdir i solrøyk' III:250-251) plus my tentative translation:

Turning hope, Hope of turning

You who spit in[to] our faith,
under the bridge roar waterways.
A horse you can tame by the reins
but not our dreams of a cross:
Are you able to swim against the stream
under waterfall you lose your force.

Night devils churn out from their lair
with dark drives that all humans fear.
Nobody's so black in behind
or black behind browbone's screen
that penance in faith of the mind
cannot spurt the conscience clean.

Night angels brood-peacefully swarm,
breathe bliss into heavy bosom.
So bad is nobody's profession
or thin in the crime of the chrome
that penance in faith cannot turn
the thorax into golden form.


Are you able to swim against the currents / strains
Nobody's so dark in behind
or dark behind browbone's [screen]
cannot wash the conscience clean.
or lax in the breach and the guilt
the breast into golden form.

There is a clear 3-fold 'penance!' as in the angel of the Fatima revelations.

The poem can be seen to concern an elemental theory and finds the solution (against the fall into damnation) in turning the water and air of the breast into the golden electricity of fire - which turns the darkness behind the forehead into a golden sunrise.

Assuming that a healthy balance between earth and fire is the good shape of the body and mind, the poem seems to tell:

1st stanza:
2nd stanza 1st half:
2nd stanza 2nd half:    
3rd stanza:
Water is thrown on the collective fire and dampens the spirit
Water is drained from the collective earth
Water is drained from the subjective fire
Air is blown on the fire which hence re-ignites

Of somewhat essential importance could also be the word 'brot' in the last stanza - it means 'breach' etc but also 'brenning' - a word with at least two complementary meanings: 1) Burning (of fire) and 2) the area in the sea close to the coast/beach where the bottom of the sea starts rising and cause breaking waves. Hence it is both fire and water.

The point of Holm is probably not that the elemental theory is so interesting - it rather tells that the elemental theory accompanies this problem.

The symmetry in the poem is installed by a multiple meaning of 'tømmer': As a verb it means 'empties' (like e.g. somebody pouring 'spit' into the collective 'faith'), as a noun it means either 'reins' in the first stanza or with alternative toneme it can mean the 'timber' of the 'yrke' = 'profession'. The threefold meaning of 'tømmer' could be compared with the threefold repeat of 'penance' in the Fatima secret. Are there 3 tonemes in norwegian? No, probably only 2 - like the 'penance' of this poem.

Nobody's so black in behind
or black behind browbone's screen

Grøver once told that he had seen Holm striding down Karl Johan in hat and fluttering coat - could be he said 'black' on both of them.

See also my poem TEQ #230 on the Parceline issue - which could concern just the status of Moses seeing the fire in the thornbush which also is the fire or electricity in his own brain.

Translator's liberty is taken in the expression 'crime of the chrome': It really tells 'crime/breach/sin and the guilt' which I have turned phonological with a view to the colour of the last line.

The poem is the seventh and last in the chapter called 'God knows how to pull (on) the threshold to the soul' (= 'Gud veit nog å nappast med tramen um ei sjel').

It is possible that the angels of the night are brooding on philosopher's eggs. 'Varnesvarm' is not explained anywhere I can find, but 'varnetid' is the period when the owner of a certain district lends protection to brooding seabirds, a time of peace.

Possible political abuse of the poem

There was a wellknown swedish singer in the 1960's up to at least the 1980's called 'Östen Warnerbring' (born 1934, record debut allegedly 1952) who was called 'Östen med rösten' = 'the east with the voice' - one notices a sunrise in 'the breast' = 'bringa' of the last stanza. 'Warner' or 'Warnerbring' could relate to the essential word 'varnesvarm' in the third stanza. It is not impossible that Warnerbring's career could have been somewhat involved with Holm - I notice a certain focus on hats and local environments - Warnerbring was also known for his notable dialect. Of course if the american 'Gunsmoke' series on TV and radio related to Holm's 'Sunsmoke' poetry books, it is not impossible that Warnerbring could have been contacted for e.g. this poem due to his strikingly relevant name.

Looking up Warnerbring on youtube.com for seeing what he was involved with, the first video coming up was the song '15 minutes from Eslöv'. I first searched the pages for info about it but found not immediately any reference to the original version '24 hours from Tulsa' written by Burt Bacharach and Hal David for a release by a 'Gene Pitney' in october 1963, only few weeks before the Kennedy assassination. "Burt Bacharach Hal David" could perhaps be read 'Hans Henrik alc Holm ohol' - and I came also across a page on the internet that seemed to suggest that Warnerbring was a drinker, which, though, of course could have been a marketing trick. It seems that Warnerbring launched a swedish version of this song in 1967 - the video seems to be from the Vienna finale of a socalled 'Eurovision song contest' with another song but with this 'Eslöv' version pasted over it. If one takes the swedish 'translation' of the text, it contains strange ideas about a girl in a 'mack' = 'petrol station' who repaired his broken 'moped' and her kiss tasted petrol mixed with fat etc. The words could be deliberately strange for emphasizing that there is some phonology hidden underneath. The engine problems of the moped would anyhow be called 'Panne' in german, the norwegian word for 'brow', 'forehead', as in the mid of the second stanza of Holm' poem. It could be a joke or version on the 'dritte Reich' theme for a 'perverse pedo madonna' that can have been planned to be forced onto italian catholicism as an integrated part of the postwar intrigue involving Hitler. Reading the swedish version backwards ('sontös gnilkslÄ...'), there could even be traces of the 1963 Kennedy assassination ('...divderb gim al gaj gaj hco / tfitsdnät ttim ppu allok noh...' = 'divderb nasser assassination John / Fitzgerald Kennedy alcohol'), which could make sense for the temporality of the first release in october 1963, but clearly this, if it can be shown to be there at all, could have been only a marketing trick pasted onto it years later in the swedish version. (After the mass shooting in a supermarket in Buffalo in USA on 14 may 2022, the police explained that among the victims - or customers present - there were also children of senator Tim Kennedy, cp. the 'ttim ppu' - and I had already for another context noticed a certain role for other parts of this backwards, such as the second line). Both the swedish version and the original english resemble in fact somewhat the story told in my poem "PAN: The funeral he could not reach" in my Vol.3 p.1198 - it is a poem built over elements of the morph PAN in various languages, written in the spring 1995. I wrote two poems (my vol.3 pages 1197-98) on this syllable:


The afternoon light sifted through the curtains
and left a stamp of gold upon his shirt
whose tails were white as whalebone on his trousers
of velvet drapery with specks of dirt.

In the dust over the varnished table
he made a pattern with his finger's tap,
one two three four points scattered on the surface
and then adjoined to look like gingersnap.

Then from this melancholic mystery he lifted
his eyes to look out through the window pane.
He saw his neighbour's stone wall high in armour
and then his neighbour's stone face in the same.

He grasped for cigarettes to put light and glow to.
His vision crackled like a chinese vase
as though a lightning tore the heaven's canvas
to show the back side of his neighbour's face.

He saw the window with its crossbars painted,
he saw the flowers and his neighbour's male
and silent face over the spreading background
of jacket gold, and then a jaw of whale.

PAN 2: The funeral he could not reach

While leaning over the defective engine
and hooking his finger under the coil,
there crackingly echoed under the bonnet
from something extruding, as sad as oil.

Churchbells rang in the winter air
cracking from frost in hardened shields.
The farming soil rested unturned, and the bare
trees stretched their boughs over winter fields.

Lost in the roadside, his time ran out.
The church's body was far away,
white in concrete as chalk on a blackboard
telling the hymns and the times to pray.

A lamp in the church would let its light
shine on a velvet cushion stool,
and as breadcrumbs fall on a kitchen floor
they would let in the village fool.

On his trousers, he cleaned his hands from oil.
They carried the coffin out in a row.
Their feet stamped on the upturned soil
humidly black on the glittering snow.

The end of the first of these seems to be the end of Holm's poem as well - the element 'gold' associated with a 'jacket' part of the skeleton.

Notice also Holm's word 'nappast' for 'to pull' - relating to PAN backwards. ('Pan' is also a novel by Knut Hamsun from 1894, about lieutenant 'Thomas Glahn').

For the swedish text it is noteworthy that the essential word 'mack' which is swedish for 'gas/petrol station' in norwegian would mean a 'worm' such as one finds in the earth, in a grave. 'Macho' was a concept for a while - I mistook it for 'makko' = norwegian long underpants once when talking with Anne Christiansen. Swedish 'lagade' means 'repaired', in norwegian it means 'made', 'constructed'. Hence there are clear undertones of a 'dritte Reich' in the text but only when crossing over to Norway - such as obtains also for the idea of the word 'krock' which is swedish for 'car crash'. 'Moppen' can apparently mean both 'the moped', 'the mother', 'the broom'. The norwegian-swedish function that could be assigned to Ragna Grøver's car accident in 1981 could therefore in theory be of relevance. 'Macken sköts av en tjej / hon lagade moppen' (= 'the petrol station was run by a girl, she repaired the moped') sounds to a norwegian ear like 'the worm was shot by a 'tjej/girl', / she made the mop'.

(There was also a shooting of two russians with a 'Makarow' weapon in Laxenburger Strasse in Vienna in august 2014. Of the two russians that were shot in 2014, one lived in Mariahilf and the other in Favoriten, which could be telling of the two substantial proofs I have of attention to my person in international political mythos - the MRT Mariahilf scan of my brain from 2012 (the skull is intact and so removal of a lower part of the brain must have been made before 1958) and the evidence of genetic origins. 'Laxenburger Strasse' could have been contained in the more recent story about the 'norwegian salmon'. For the backwards reading of the swedish version of Warnerbring's song, I notice that the first line 'sontös gnilkslÄ' could invoke associations to a poem called 'Lausetausa' written by a local poet called 'Bottolv' in Haugsvik north of Voss where I lived in the spring 1977 - I got a copy of this nynorsk poem and another printed on both sides of a paper and it was framed in glass on both sides and placed on a shelf in Labråten. It is of course not impossible that this poem of Bottolv could have been a reference contained in the mass shooting in USA on 9 May 2022 in Alabama, Tuscaloosa).

Assuming that PAN is a relevant morph, sumerian cuneiform for PAN is the following - sign #439 in Ellermeier/Studt:

= 𒉼

In fact Holm's poem can be read according to a pre-alphabetic logic in this sumerian sign: Stanza 1 tells of how the cuneiform wedges in this sign appear in our reality, in the last stanza this is converted into the quasi-universal semantics of a morph PAN - there are more elements in common with my two poems than only the last line. In the first stanza, the two first lines tell of horizontal water-ways, one upper and one lower like in the cuneiform sign with two horizontal wedges, while the third line tells how these can be recognized in the reins that steer a horse (here the big wedge to the left extended into the two horizontals). The last line of stanza 1 clearly tells of the rightmost vertical line - and then one has not much problems with recognizing lines 4-5 in the two slanting wedges inside. 'Not our dream of a cross' is a quite interesting line for the single slanting wedge SANTAG which seems to have basically only one meaning - the selfreferential sense "Schriftkeil'. This 'cross' could also be the window 'crossbars' in my first PAN poem.

(Warnerbring in the 1980's led a swedish TV series - probably on fridays - called "I morgon e det lördag" = "Tomorrow it is saturday" - while 'SANTAG' sounds more like 'sunday').

Delitzsch' 'Assyrisches Handwörterbuch' is sortered according to the hebrew alphabet. There is no PAN there but under פאז one finds 'biazu' - "ein vierfüssiges Thier. Bel-ikisha vom Lande Gambul verlor sein Leben ('TIN') durch den Biss eines 'piazu'". A decade ago I travelled east across Hegyeshalom, Herceghalom, Biatorbagy towards Budapest, with a young female next to me in the car of the train.

In my translation, the 'crime of the chrome' - where is the basis for this, if it can be defended as a relevant translation at all? 'Chromium' in chinese is 'GE', a phonological morph which in sumerian can mean 'Vendevon', the title of the poem - or even 'to pay a debt'. 'Crime' in chinese is 'zuixing' which involves 罪 = 'zui' = 'crime, guilt, fault, blame, hardship' and 行 = 'xing' = 'to walk', originally 'road intersection' (which the sign also imitates), which here would be the bridge over the waterway. The 'debt' and the 'guilt' are united in the norwegian 'skyld' which in the poem probably applies to the human nature of 'sin'.

There is even an interesting graphic relation between the 罪 = 'zui' = 'crime, guilt, fault, blame, hardship' and the relation between sumerian #326 = 'GE4' (quasi 'Vendevon') and chinese 罪 = 'zui' = 'crime, guilt' and 夢: = 'meng' = 'dream':

𒄄 or cp. 罪 vs. 夢

Hence there seems to be a basis for assuming that Holm's poem is not only about what could be relevant to a pre-christian elemental philosophy but even older technologies (cuneiform) - and that precisely this aspect could lend reason to see some relevance for my translator's liberty in the suggested 'crime of the chrome'.

If Holm should be the subject of extensive abuse in international secret intelligence services - there is for example a grocery chain in Austria called 'Hofer', and former israeli PM 'Ehud Olmert' has a name which could be seen to associate the name of 'Holm' with phonologies invoking aspects of the name of 'Hitler' and hence be suggestive of the possible idea that a 'next career' of Hitler could be dressed up in Holm's work, or even that international abuse of his poetry could be linked to Hitler's career and philosophy, one could fancy that this particular poem could have been used - and then the status of this poem as the seventh and last in the chapter called 'God knows how to pull (on) the threshold to the soul' could in theory even have been the background of the attempt on the pope in 1981 - after which the pope acquired a 'popemobile' for similar future occasions. The volume III-IV of 'Bygdir i solrøyk' is called 'Folk og fant' which perhaps compares a little with 'Folkevogn' = 'Volkswagen'.

'Vendevon' → 'End-veven' → the turning of the shuttle. Two US space shuttles (Challenger and Columbia) have shipwrecked.

A part of the 'crocodile' construction in the attempt on the pope in 1981 included the former trappist monk who hijacked an airplane and demanded the release of the third secret of Fatima - that is the one which includes the threefold "Penance, penance, penance!"

The poem could also have been abused for the idea of 'sprudlwasser' vs 'the broodal wasser' of e.g. a Black Sea Loop.

The first poem in this chapter 'God knows how to pull (on) the threshold to the soul' (= 'Gud veit nog å nappast med tramen um ei sjel') is called 'All styggdom hev sin rispetrong' = 'all evil has its need for arrayed lists' (for 'rigmarole') - while 'rispe' is translated either as 'ramse' = this 'ordered list' or 'lusty story'. 'Bygdir i solrøyk' was published in 1949-51, while it seems (from an internet source) that the registered trade mark 'Respatex' can be traced back to 1952. Wittgenstein's friend the logician Frank Ramsey died on 19 january 1930 while Wittgenstein held his first lecture at Cambridge the day after, on 20 january 1930. In 1931 he travelled with MargueriIt is te Respinger to Norway. Could be an intrigue tries to see this old Wittgenstein story as the 'reason' for this word in this chapter? Holm published the three volumes in 1949-51 but had then certainly worked for many years with writing this poetry.

I refer also to this complex with the 'møller i Moss' vs 'følere i fors'-kningsraad and John Lyng's government for a few weeks just before the Kennedy assassination in 1963. 'Møller i foss' = 'miller in the waterfall'.

The current situation in Ukraine

It is noticed that the above sumerian for cuneiform #439 PAN = alternates with 𒉼 which looks like a 'W' - and that this graphic-formal aspect in stanza 1 turns - by 'vendevon' = 'hope-turning' - into its semantic counterpart #326 = 'GE4' (= quasi 'Vendevon') = 𒄄 for the otherwise quasi 'chinese' GE4. If W vs M is the story, Zelenka's 'Missa Votiva' is noteworthy: I have speculated that its 'Gloria' - this starts at 10:50 and lasts untill 14:44 - could have been the deliberate template for the development of modern pop or popular music generally after Zelenka's work seemingly had been held locked down for possibly many decades - I have elsewhere speculated if this were an integrated part of the start of the US involvement in the Vietnam war (but know little about this): If the movement called 'Gloria' also is the formal template for the genre of modern pop music, it is quite a massive propaganda potential there - in this 'Zelenka'. "Vissa Motiva" → 'visste om motiva' = 'knew about the motives/reasons' could then have a suggestive effect: Did Zelensky know why Russia attacked? If they attacked because systematic chemical-horror persecution were going on in Ukraine and therefore the control with the state was getting out of hand (which of course could have been a theoretic possibility - could be somebody had to react under such theoretic circumstances), did Zelensky know about it, the motives? Had he given explicit permission to it - or would it have been only so implicitly that he would not really know? If this is a necessary conclusion, it could be that W would alternate with M (via this 'Missa Votiva') and hence 'Wien = Mean' could be the automatic implication. 'Volodymyr' could then suggest 'Molde-over' - could be the famous 'Molde-panorama': From the centre of the town at the scenic fjord-side you can see 87 (not 94-95) mountain peaks surrounding the town, from the top of its hill 'Varden' you can reportedly see 222 mountain peaks surrounding the town. A shark, is it? A 'molderer'? I was born and grew up in Molde, with a year and a half interruption in Volda where I attended my first year in school, but I am no shark. Why should I live in Vienna - as I felt that I was forced to move up from Venice to Vienna in late 2009? Should it be because Wien = Mean and I am Mr.Satan? But that is nonsense - I am no Satan and not evil. However, Adolf Hitler was something in that business and he perhaps wanted to dump it on me. Anyhow, a Kyiv-Wien function like this could be a quite strong motor in a 'Black Sea Loop' or similar construction.


If the hypothesis should turn out to have a basis in reality that this poem 'Vendevon' by Hans-Henrik Holm is used for political intrigue, what should have been the reason? One could guess that the basic idea would have been to root the intrigue in a pre-christian philosophy for turning the parametre valuation of the italian-catholic Marian cult into a 'perverse' variant of less catholic nature - which the could have been in extension from Hitler's ideas of a 'dritte Reich'. It could have been a strategy on Italy if this be the case.

Of course if there is a political intrigue on Holm's poetry, this should be lifted as soon as possible: Such abuse of this poet's work is very deplorable and a bad burden for the country and the world in general. Of course I could have reasons to suspect that something similar could be going on with my own poetry - if so, of course I very strongly protest against such abuse and hope that the world will not accept anything such but will understand how important it is that the poetry be used for peaceful esthetic and scientific studies and not for terror and monkey business. Particularly bad it would be if the poetry be abused for pumping spiritual 'values' into e.g. the british monarchy via the 'swastika' form on the european map. It cannot be an explicit precondition for the existence of the state of Norway that such values be lifted by exploitation from norwegian poetry down to England, even if some should feel that this could be the case.


Delitzsch, F.: Assyrisches Handwörterbuch. Hinrichs'sche Buchhandlung, Leipzig 1896.

Ellermeier, F.: Sumerisches Glossar, Band 1, Teil 1. Sumerische Lautwerte, Lieferung 2. Theologische und orientalische Arbeiten aus Göttingen 4. Selbstverlag Dr.Friedrich Ellermeier. Nörten-Hardenberg bei Göttingen 1980.

ELLERMEIER/STUDT, Sumerisches Glossar, CD-ROM zu SG 3,3

Holm, H.-H.: Bygdir i solrøyk I-VI. Gyldendal, Oslo 1949-1951.


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On the web 15 may 2022