My new poetry book 2016

John Bjarne Grover

'Og lønn vi fikk avstanden fra' - my new poetry book october 2016

See further down for some comments on an alternative title

My new poetry book 'Og lønn vi fikk avstanden fra' (64 poems of 20 lines each - work-level poetry) is written in norwegian language. When I wrote the Dornenstrauch, there occurred some exceptional phenomena of matter ex nihilo (notably a 'lapis philosophorum') which seemed to derive directly from the structure and procedure I used when writing it, and the question arose in my mind whether the experiment could be repeated in another language - what would happen then? Would I find the same white stone? I decided to use norwegian language - not so very different from german but different enough to make it worth the experiment. The result was very interesting - not only did I find a white stone - of a different kind, though - but also did I find a high relevance of Vermeer's work of art where the Dornenstrauch had invoked Caravaggio's work.

The composition of the book

The work with Der Dornenstrauch produced a 'lapis philosophorum' in the process of reducing the number of poems - like collapsing a theory. For the new work I would follow a similar procedure albeit with different poetic forms. I started on 11 january 2016 - and the last lines of the book were written on 20 september 2016 after which I could complete the composition. I started in january with 3 poems of 12 lines each (3 quatrains) plus titles, then 3 poems #4-5-6 of 5 quatrains and titles each, and then I continued with 3-stanza poems plus title up to #34 - a collection which I registered under the title "Bjelleklang" (= 'Jingle bells'), with the undertitle "Og så koster det så mye penger nu". This part constitutes a rudimentary 'catalogue of mysteries' such as in part 1 of DDS. I then continued with 3-stanzas (12 lines) and planned to reach 64 poems of 5 stanzas each - that required that 61 of them (64 minus the 3 with already 5) got another 2 stanzas - a total of 122 and that meant continuing up to #105 - which I reached on 20 september, before in the following days I distributed these 122 stanzas on the 61 poems. When the poems 61-64 had no titles, I took these from the end of poem 105. I followed 2 procedures: First I interwove lines 1,3,5... of poem 65 with lines 2,4,6... of poem 65+31 = #96 (the 31 = 34-3) up to the end of 105 (minus the 4 tiles 61-64) before wrapping over and continuing with lines 2,4,6... of poem 65 - untill all 122 stanzas were completed. Next I appended these 122 to the 61 poems in reverse order - from 64 to 33 in normal order and then 32-1 (minus 6-5-4) in swapped order.

I associated somewhat the principle of interweaving forwards with 'Froskelår' and the pairs of appending backwards with 'Dueslag', corresponding to parts 2 and 3 in DDS. The resulting symmetries could be recognized as related to part 4. I discarded the title "Pølsevev" or 'Pulse web' for the book for the simple reason that it is exactly the opposite of "Pølsevev". Neither do I find 'Froskelår' or 'Dueslag' very interesting concepts.

The matter ex nihilo

The white stone appeared this time as well - on 10 august 2016, well before all the poems were written. This time it was a white pumice stone of size and shape appr. like a penis head, some 3 cm in diametre, and with patterns that could be recognized in poem #5 - which I had originally thought of calling "Jeg er død" ('I am dead'), hence an inherent paradox, but which I called "Når tidene kanter seg" instead. I explained the form of the stone with the deviations from perfect poem-internal symmetries in the poems 25-40. Here are two photos of the white pumice stone - both of them applying well to the mid stanza (#3) of poem #5:

Vi hører det når vi gjesper.
Vi ser det i mørkets lys.
Det er som spanjoler som lesper
når mulighetene bys.
     We hear it when we yawn.
We see it in the darkness' light.
It is like spaniards that lisp
when possibilities are offered.

This mid stanza of poem 5 has clear correlates in the white stone - here three different views to it:

The yawn is very clear, and it is quite amazing this lisping velasquezan spaniard as well. Third photo is the stone seen from the side.

An even more impressive parallelism to DDS was the correlate to the yellow flower that occurred under the shoe sole after DDS - this time it was not a yellow flower but a veritable archaic nail of length 3 cm driven aslant in through the shoesole, on the inner side of it.

The nail is of iron, responds to magnetism, but is not rusted in spite of its very archaic form. This nail I pulled out of the shoe sole with a pliers on 22 october after it had appeared in the shoesole probably a week earlier. I had started getting problems with a stubborn pebble, as I thought it was, which I tried to jack out with a finger but it somehow always slipped away and under the inner sole when I started, so I let it be and the problems decreased little by little. I developed a slight 'stigma', though, even if the nail was slanting steeply through the sole and did not point right into the foot. I believed all the time that it was a pebble since the tip of the spike was under the surface of the inner sole when the foot was out and it was pressed into the foot only when I stepped the sole down, and the end of it under the sole hid in a slit of the patterns on the undersole. If it should have imitated an authentic stigma in the centre of the footsole I would have had to be quite knock-kneed, as it is called, the opposite of bandy-legged, since the spike pointed up on the inner side of the inner sole.

It is likely to be related to poem #1 called '#solens pike' ('the sun's girl') which sounds somewhat like 'sålens spiker' ('the sole's spike/nail'), which I wrote most of on 11 january 2016. (If you have seen T-shirts and advertisements with this '#' sign initially, that started, as it seemed to me, to occur after I registered the 'Bjelleklang'. Bjelkelang?)

There is also a clear relevance of the archaic nail in poem #35 "Savonarolas tanke" - the first poem after the last poem #34 in 'Bjelleklang' - and one can think of the iron nail as a 'christian' variant of what could be thought of as a jewish scroll.

For this archaic nail relative to the shoe-flower of DDS, there is the fourth stanza of poem #46:

Rovfuglen seiler på vindens drag
for ellers var det umsonst:
En-to-tre ganger - de kraftige slag
som flom, litus og blomst.
   The bird of prey sails on the wind's draught
   since otherwise it would be in vain:
   One-two-tree times - the powerful beats
   like flood, litus and flower.

In Johansen, Nygaard, Schreiner's 'Latinsk ordbok' I find under the entry 'lituus' the term 'lituus tubae permixtus" which I recognized as relevant to this nail when I noticed the two 8-forms (möbius loops - like that feature-converted binary enumeration) and other aspects from the 'theory' articulated by the philosopher of language (pronounced before his mouth - the language machine) from DDS - in the matter ex nihilo from 2014. See the story of the 188 under the article on Melissa.

'Litus' can otherwise relate to strands and the images of mud from the bathtub rub. It is possible to see many of the pieces of ex nihilo matter from 2014 as related to this new book of mine.

Several other cases of matter ex nihilo occurred as well - notably the socalled 'three pellets' on 2 september:

I was reading a book on the table when suddenly two small pellets - size like small seeds - appeared just at the side of the book. I lifted them with the pillow of my right index finger to the side of the table and continued reading, when a third one occurred as well. This was likely to be related to the form of the binary enumeration of the 64 poems = 2 in the power of 6 = 6 binary features - from 000000 to 111111. In this enumeration I took the mid third (from 22 to 43) and converted the features to their opposite value and moved this column up to the top and pushed the first third down to the mid. This lends a series of 6 binary features relating to the assumed values of the 64 poems. If one repeats the procedure a second time, the new mid third will end up on top in a very symmetric structure relative to the bottom - and one has to think of a 'möbius' strip format. It seems that these features apply well with 64/6 = 10,666 poems each starting on #5 - which means that the features even could be defined internally by way of the poems themselves. This clearly is a very strong result when considering the procedure of writing of the book. It is likely to be the solution to the questions on feature valuation left open after the acoustic analysis of my PhD dissertation 'A waist of time' in 1997. It seems that the 6 binary features of the 64 poems of LA could be summed up in the most general form of 1/2, 2/3, 3/4, 4/5, 5/6 and 6/7. And the 'meaning' of these can possibly be extracted from a study of the intervals 64 / 6 = 10,666 poems from poem 5 onwards (first feature in poems #5-15,666, second in #15,666- 27,333 etc). That borders onto a linguistic or semiotic theory of a most general kind - however, I consider my book as being a poetic metaphysics running its 'theory' from beginning to end.


See the letter I sent to CICAP (by the way, there has been no answer so far) on the role of Caravaggio's oeuvre relative to my Dornenstrauch part 3. I wondered if there would be a corresponding art oeuvre to the new book - and indeed it seemed that Vermeer's total work of 36 paintings could come in comparable role this time. My source is Walter Liedtke: "Vermeer - the complete paintings" (Ludion 2008/2011). The 36 artworks of Vermeer can be seen to apply in chronological order in cycles of 6 to my book. His 31,32,33,34,35,36,1,2...30 apply to my 1,2,3...36 and in backwards order to my 64,63...29. Next cycle is his 1,2,3...36 applying to mine forwards from the start and backwards from the end, and finally a third cycle of his 7,8,9...36,1,2...6 applies again to the mine forwards and backwards. Consider for example his #7 = 'The milkmaid' relative to my poem #1 = '#solens pike'. The milk is running like light into the circular pupil of the eye - and if the spike is a 'bjelkelang', there is the biblical saying of the beam in your eye present. One notices the last line of the poem with the 'celestial wagons' on the wall behind the milkmaid - notice that this line is plaited into the 64 from a much later poem among the 105.

For the other two cycles there would be for this poem #1 the two artworks of Vermeer #31. A lady writing a letter with her maid, ca. 1670-71 and Vermeer #1. Diana and her companions, ca. 1653-54. For the lady writing the letter, see her 'formalities' in the white skeleton outlines of her clothes, her skull helmet in the hut - talking of stanza 4 in my poem. These bones of her are the formalities in the handwriting - when the light changes its character.

Finally there was yet another correlate to the shoeflower - what looked like a 'petal' although some would say it could be about the curving of a cosmic space - and indeed there were some 'cosmic dust' occurring along with it.

It looks like a piece of fried bacon. The same low register style of jocular ideas could have called it a 'roggbif' (the onset of colour names in the rainbow) - I personally do not attach any such meaning to it even if I notice that this slightly difficult joke is surprisingly hard to solve and remove from the complex. Could be Vermeer #1 is an attempted solution - if one considers my poem #1 stanza 3 as being about formal properties of the book relative to this artwork - 'demrer mot høst' could then be the 'dueslag' and 'mørkner mot natten' the socalled 'froskelår'. It could be an old idea - it is not a 'sausage web' the footwasher is concerned with but rather 'toe-cleaning'. That is not 'pölsevev'. There is a peculiar and interesting relevance of the feet and the shoes in this complex - cp. the shoeflower and nail and the historic role of the barefoot carmelites. It was Vermeer's first work - and see those people with their serious attention to the footwashing. (Is it a tiny birch growing up to the left there?)

The conclusion is that where Caravaggio was 2 * 5 in interlocking cycles, Vermeer is 6-6-6. The book can be seen to be about the role of human faith in the constitution of the historic or ontological reality - a study of the metaphysical conditions for the shape of the human ontology. If such faith can alter the ontological form of the world, then one could also say that what is true today is perhaps false tomorrow, if some believer happened to change the world ex nihilo in the mean time, and hence the stoic LEKTON could apply to the phenomenon. This logical tool (meaning a proposition that can have potentially two truth values at the same time) seemed to go out of use around the time when the revelational Dirty Beast of 666 was introduced in its place.

The white metre?

The fourth part of DDS contains 320 lines - and indeed it must be considered somewhat impressive when this is the same number as the number of words that occur twice and only twice in the first book 'Hammerfest' of my The Endmorgan Quartet. Even more so: If you take those 320 words of twice and only twice from my 'Hammerfest' and list them in alphabetic order (by the latin alphabet), this list from 1-320 receives quite good definitions word by word from the 320 lines of DDS part 4 - which thereby inserts the mysteries and the transcendent and immanent loops of parts 1,2,3 into the historic time (cp. the '188' of the philosopher (theory pronounced before his mouth) and the nail

- and is there something like that on Vermeeer's #1 - in the rightwards-lookers?). Twice and only twice is about the phenomenon of sameness, of recognizing the one item as the same as the other, 8 = 8, a fundamental linguistic capacity which is the basis for the acoustic analysis in 'A waist of time'. When, in addition, the 64 poems in three parts (first, mid, last) of the present work seems to constitute a feature-definition of the 22-23 letters of the hebrew alphabet, which also are described semiotically in the 22-23 semiotic functions of the blue-metre PEB, then the following metres (yellow, red, blue - and perhaps this most recent is white?) can be observed relative to my 16-volume The Endmorgan Quartet as follows:

Books   1,   2,   3,   4
Books   5,   6,   7,   8
Books   9, 10, 11, 12
Books 13, 14, 15, 16
  =   'Der Dornenstrauch', yellow metre, latin alphabet
  =   'My mention e Anna', red metre, latin semiotics
  =   'POLAKK English Bloggi', blue metre, hebrew semiotics
  =   'Og lønn vi fikk avstanden fra', white metre, hebrew alphabet

Consider, for example, poem #50 in TEQ book 15 (which has a total of 66 poems) with poem #50 in LA ('Lønns-Avstanden') - it is that poem where the plaiting folds over from poem 105 to poem 65 - and you can see the scissoring border where the sunflowers are found 'on a twig'. Or poems #25 (one half, one quarter). In addition, the linebreak function of book 16 is clearly the difference between versions on 105 and 64, such as that sunflower-twig, and the rainbow of book 14 is very important for the functionality of the 64 version. That could lead to the hypothesis that TEQ book 13 is a sort of 'catalogue of mysteries' - and indeed one can consider 'Bjelleklang' a sort of 'formal mysteries' in the constitution of the human language. I found this piece on Christmas Eve (!) 2013. In short, there are reasons for recognizing LA in books 13-16. That the red metre is in books 5-8 is evident, and the hebrew semiotics of PEB is clearly interesting for TEQ book 10 etc.

For the idea of the importance of the discontinuities by the plaited forms, see also the article on Anomalism - which could be about the same.

Added on 10 november 2016:

Comment on the alternative title "Stillhetens åndedrag"

A closer study of 'Og lønn vi fikk avstanden fra' shows an amazing structure relative to TEQ. I had discovered that the 320 lines of 'Der Dornenstrauch' part 4 (2015) correlated in a special and highly surprising way with the 320 words that occur twice and only twice in TEQ book 1 called 'Hammerfest'. If one takes these 320 word pairs and order them alphabetically, the list from A to Z could serve as a 'lexicon' to which the 320 lines of DDS part 4 can serve as 'definitions', so to speak. That lends a surprisingly high value to the phenomenon of alphabetic order. When 'Og lønn vi fikk avstanden fra' (2016) was finished, I came to realize that it related to the four last books of TEQ where DDS was to the first or four first. There are 1344 lines in 'Og lønn vi fikk avstanden fra' - and I wanted to find how many words occur twice and only twice in each of TEQ books 13-16. How many were there? There were 1345 such words in total (in book 13 there are 413 word pairs, in book 14 there are 359, in book 15 there are 141 and in book 16 there are 432) - against the 1344 lines of the new book. The last word of the 1345 was the norwegian letter 'å' which thereby could be discarded - for a totally completely perfect fit relative to the new book. Here is poem #35 aligned with words 715-735 in the complete list of word pairs - these are word pairs #302-322 from TEQ book 14:











Savonarolas tanke

Mennesker reiser i rom.
Jeg sitter og hviler blant dem
og jeg grubler og tenker på om
jeg noensinne har gått frem.

Fuglene reiser i tid
som byggekunstenes hjem.
Savonarola var i
tanken som tenkte dem.

Husene tett i tett
bak løvverkets grønne skur
skildrer mitt synske vett.
Tiden ligger på lur.

Dette landskapet skygger sitt grønt
og hang med hodene tyngre,
forteller om det du nettopp har skjønt
at når vi kom frem var vi yngre.

Dette landskapet henger sitt brunt
som dreier sitt hode om.
Rovfuglen kaster sitt legeme rundt
mellom det hvite skum.

One observes the syntagmatic relevance of the horizontal alignment - telling that taking steps is about humans travelling in space and that birds travelling in time is the same as 'suggesting', while there is a paradigmatic relevance in the vertical push-down direction telling that it is the substantional iron nail in the shoe-sole step which sits and rests among the humans and that substance is the same as birds travelling in time. This epistemological-ontological principle seems to apply generally in the push-down character of the lefthand column. A closer study of the alignment principles and the movements these cause - the norwegian 'å' moved from the beginning of book 13 (#914) to the end (#1345) and from there to the beginning of the work which causes a pushdown and squeeze-out at 772-773 etc - suggesting semiotic 'wellordered' connections of both syntagmatic as well as paradigmatic kind - leads to the eventual conclusion that the alignment of the poems with these lists comes to look rather much like the vision I had soon after I had signed the aquisition contract for the house in Szolnok: The high drill which produced mechanic sounds like swans or geese (norwegian for 'geese' is 'gjess', pronounced like 'yess' - see below) flying high over (calling me to go out on the hotel balcony) and the strange sounds of breathing from a neighbouring room. That is the last line in the work: "Stillhetens åndedrag!" It is likely that the vision in the summer 2015 was simply the completion of this book of 2016. (I had at that time not considered the phenomenon of word pairs in TEQ - that I did in late january 2016, but too superfluously for that to have made an impact on the form of the book). "Stillhetens åndedrag!" is the last line in the book - like the word 'Hammerfest' in TEQ book 1 with that title.

Why didnt I use this obvious title "Stillhetens åndedrag!" = 'The breathing of silence!" for the first edition instead of this elaborate 'Og lønn vi fikk avstanden fra' = 'And wages we got the distance from'?

For once, if you take the 64 poems and divide them in 6 for the 6 binary features which could be the reference of part 4 of TEQ - under the title Wine 2* = books 13-16 - then it turns out that the new book seems to provide for not only the most general acoustic features but also a semantics to them. This semantics clearly can be strongly reinforced with this new alignment principle of the word pairs from TEQ - and the conclusion is likely to be that the whole study can lead to a thorough reinterpretation of the cuneiform script technology.

Not to speak of the scientific value contained in the 105 format.

Now for the story: If I were to publish my 64 poems without any mention of the 105, the alignments, the 'dictionary' therein - do you think that the surveillance services who could have tapped my work in progress could have refrained from forwarding them to the scholars who could come to re-interpret cuneiform from scratch thereby?

Do you think that the secret services are so totally to the marrow morally upright that this info would never escape their tape rolls?

Said differently, if science could not refrain from using these results which have come forth from the 20 years of my work since I wrote my PhD and started on TEQ in 1997, would they be able to credit me as the source even if I had not published the data?

I dont think so. I think the services would have said that "this is too important for the progress of the knowledge of the human community to be held away from the scholars of these sciences and therefore we have to make it avaible to them even without the author's accept or consent".

But that would have been a terrible loss for the new knowledge and for my own relation to the human community - and thereby also the poetic understanding - and it means that I was left with no choice at all: I had to publish the 105 version and the alignment data and so forth - otherwise I would suffer a loss in my own authority relative to the public.

Haha, what 'choice' to make - to publish those data for rescueing my authority - when I had no choice at all.

It means that the surveillance services are the real problem which was the reason why I had to publish two versions: One poetic solution in the 64-version and one 'scholarly edition' including the 105 and other details of the work. The latter version got the telling title "And wages we got the distance from" - be that the salaried service folks or whoever - and the 64 edition is likely to enjoy the more interesting and daring title "Stillhetens åndedrag" = 'The breathing of silence" - "Atemzug der Stille" etc. I am fully aware of the difficulties in this title - and I have guessed that it could be perfect in the Rigveda-Moses etc traditions in such a sense that it could be impossible for the 'nazis' to take it - in spite of their many attempts. Was Hitler's 'Sobibor' death camp an attempt to take just that? It seems, though, to be the title which holds it on the top.

Conclusion: There are two titles to the work, like in the part of the 34 first poems registered under the title 'Bjelleklang' with undertitle 'Og så koster det så mye penger nu'. These two titles are 1) "Stillhetens åndedrag" = "The breathing of silence" - "Atemzug der Stille" with under- or overtitle 2) "Og lønn vi fikk avstanden fra" - "And wages we got the distance from" - "Und Lohn wir bekamen den Abstand vom" (or 'Und vom Lohn wir den Abstand bekamen', something like that). The primary title is the last line of the last stanza in the book, or simply the last stanza, the secondary title is likely to be the second last stanza in this poem #64 'Over vannet':





Noen sier at tankene gror,
ser du en edderkopp.
Er det derfor det visner trær -
som på en skyfri sopp?

Andre sier at tankens stær
ser vi en løshunds dag
for å vite hva ånden er:
Stillhetens åndedrag!

It is of course possible to publish 'The Endmorgan Quartet' - as a vol.1 of about 1888 pages - along with its yellow, red, blue and white underlying 'metres' - including bilingual english translations of the yellow and white metres that comes to a vol.2 of about 1750 pages. With these underlying metres added to it, 'The Endmorgan Quartet' comes out as rather sweet music.

A few additional comments

In my self-made and self-published edition of october 2016, I have reproduced the 64 poems followed by a short chapter on 'Bokens struktur' followed by the original poems 65-105 so that people can inspect for themselves the method of composition. It could be called a 'scholarly edition' - and maybe the normal edition should be with the 64 poems (of 5 stanzas) only - and translations could be bilingual in 64 * 2 = 128 pages. The book could perhaps be published by a serious scandinavian publisher, if there be interest for it, in which case a contract of payment per printed copies rather than for time be preferrable. The publisher pays for the rights to a certain number of copies, and the contract can be renewed automatically untill terminated by any of the parts and can even be made exclusive since the language is very small. The publisher can also with such a contract administer translation rights on my behalf on a similar principle. The publisher pays a fixed percentage (one third?) of the bookshop sales price per book printed - if 1000 copies be printed then the publisher sends a third of the sales price to the author, and the same if a new print is made on a later occasion, and so every time new copies are printed. Both the publisher and the author can terminate the contract with immediate effect - but the publisher has always the right to sell the copies printed and paid for. This prevents abuse of the author and the work. I am not submitting the book to peer review - but a publisher can considers the book in or from a library and can send me a letter if they want to publish the book, otherwise not. (It is probably often tempting, of course, to send a rejection letter in order to sell the other books instead - I am not interested in that).

Dont blame me for the unimpressive self-published status of my work - which should be quite sensational from a semiotic viewpoint. It is the political intrigue which suffers from the helplessness of trying to hide these things under the rug, or the 'services' perhaps want to come up with them as their own? See the Melissa complex for a semiotic or scientific theoretic complex that should have been turned into workable science and knowledge for the people but which seems to have been surpressed and secrecy-stamped for being offered as a political choice to the people - I do not want my work, such as these metres, to suffer such a fate. It is high time that these works be published - and if that means that the political intrigue must be closed, that is the better solution, of course.

After the finding of the first 'lapis philosophorum' in october 2014, there followed some weeks later the news of a landing on a remote comet by an expedition from ESA called 'Rosetta' (not 'Risotto') that had landed a small spacecraft on the 'stinker', as it was called. This time the news are about a landing on Mars with a 'Schiaparelli' expedition, even this time from ESA, in possible allusion to Hölderlin's signature 'Scardanelli'? You do perhaps recall the launch of this 'Schiaparelli'? I do not. It is important to observe that my work must be published and that must be not in the form of waves of 'service copies' resembling my work - of the type like this newspiece could be - that would be only an attempt of the 'services' to rule by divide-and-conquer. The 'services' are a postwar phenomenon of administrative anxiety which must be brought to an end for a new time of fruitful cultural blossoming.

The intrigueing question is this: Why arent my books published yet? It is about 20 years since I started my humble self-publishing - normally I have made a few copies (20-30) of a new book which I have given to libraries and so the books are made available to the public, even if I have not earned anything from it. To say that the books are 'not goodenough' probably cannot be the reason - considering e.g. the high explanatory force of the blue metre PEB. Could be norwegian-citizen authors with only one citizenship are under the whip of a punishment for some international crime? I dont know about that - but it is also possible that the international secret intelligence services have planned to use my work as the secret theory with which they hope to make global power and therefore have planned to remove all copies of it from private and public libraries. That could be a terrible disaster for the world. If there are such plans around, secret or overt, they should be stopped immediately. My view is that the safest is to strip the secret intelligences of all authority and power except the most elementary one of collecting info for the government along legal and public ways - simple journalism. This means that if you are a librarien who is contacted by the 'services' who want to have the book, it (or a copy of it) should be hidden away from their claws - and certainly they have no right to ask for it. I hope it will be possible to rescue at least so many copies of the work that it can survive in original version - and that they can be found not only in the electronic databases but also in the library bookshelves. I hope also that the work can be published in my lifetime - also in order to avoid a 'service intrigue' which could be planning to credit somebody else for the work.

16 november 2016: See also the last part of this file on 'Melissa power' for some further important observations. (7.5 quake at 'Hanmer Springs' - not 'Hammerfest' - and Christchurch)

© John Bjarne Grover
On the web 30 october 2016
Last updated 16 november 2016