Comments March 2007
John Bjarne Grover
2 March 2007:
Leif Stene Johansen died on 24 November 2002. It was on 21 November 1995 that I sent a letter to the poet Doris Kareva. I had found her address by telephone to a university in Tallinn. She answered on 24 November 1995. Could be it was her use of the word 'exhilarating' (and the occurrence of a word 'network') which alerted me a little, even if I had no chance to make any meaning out of it relevant to the present story at that time. She also enclosed a text of her translated by Toomas Hendrik Ilves. It was later that I complained on some knocking sounds from the neighbour wall ('skillevegg', so to speak) in Meltzersgate in Bergen. I am still not sure (at large, so to speak) how substantial the knockings were (as far as intentional aspects are concerned). Also, I could not help associating with the arrival of a letter from the university administration calling for a meeting. 'Dor-is Kare-va' could relate to 'is-achs he-va' and from there even to 'the axis of evil'. My reply letter was dated 2 December (with an addition 'Next day, Sunday') hence 3 December 1995. Joseph Alexandrowitch Brodsky died on 28 January 1996, which would have been in the 'mirror' point around New Year. Öystein Alexander Vangsnes had started his doctorate project in parallel with me, at the same institute. 'Joseph Brodsky' clearly relates to 'Doris Kareva' perhaps in the sense of a 'Mengele[hre] diagonal', while 'Vangsnes' rather means a narrow passage between two walls.
When I - via a series of 'coincidences' - met Hiliry Harvey in Rome in 1981, she shared a flat with Anne Abercrombie, the two names spooning to 'Anne Harvey' ('Sexton') and 'Hiliry Abercrombie'. If Celan's publication history went in parallel with Sexton's matrimonial history, there would even have been a parallel to Celan in this construction 'Hiliry Abercrombie'.
The question is whether the letter dated 24 November 1995 was written by Kareva or not. Could be it was the letter from the university, which had landed at my feet on the 21st - curiously dropped in through a letter-slit in the housedoor onto the entrance room floor instead of being sent the ordinary way either to the institute postbox or my official PO Box 320 address - that made me wonder about this when her letter arrived two weeks later. I had written my letter to Kareva in mid October, when I also found her address via telephone, but did not send it untill 21 November. As I wrote in my diary and now can look up again, I was on my way out for sending the letter when I found the university letter in the entrance room. I left it there and when I came back, it smelled - as tells my diary - of shit so I let it remain there on the floor untill the afternoon, which was after the letter I sent had gone in the post. The meeting at the faculty turned out to be their expression of 'worries' about my health and things like that on the background of my letters to the university director about the distribution of names in the office building (including the apparently fictive 'Per B.Raune') and a story about letters to 'Henne' which had been held back at the institute, on top of a cupboard. The names Per B.Raune and Jörgen Sejersted were on the door to the neighbour office to mine, with a 'skillevegg' (wall) between. I suppose these were redundancies in the air which could have been the background for the interesting text she sent to me - rather than selected by somebody who had picked out her letter from the post and replaced it with another. The signature is not very similar to 'Louis/Doris Kevle' ('kjevle' = 'kitchen 'rolling pin'), but maybe a bad-tempered reader could find traces of 'Keflavik' (airport at Reykjavik) in the letter. Cp. the translator's name.
My book is poetry supposed to be published in the ordinary way, through a publisher selling it via bookshops where people can buy it for reading it. It is not supposed to be 'published' in the form of business concepts on advertisement posters or in administrative programs. People seem to associate me with that political/business concept cluster. "Well then you must send your book in to a publisher who can evaluate it - I am sure they will accept it for publishing if it is goodenough". There are two reasons why I cannot do that and why I have to make my own edition: 1) The cosmic dimensions on the 'rejected application' project on me, and 2) the fact that I cannot take the risk of having it in my home only: If there were tapping of my computer in the autumn 1995, that could perhaps even have explained why the letter arrived from the university in through my home door (some 100 metres or so from the faculty office) just when I was about to go to post the letter I had written. And if there is tapping of my computer, a manuscript could have been 'published' in business and politics long before I even print it out on my home printer. And when am I supposed to be taken seriously as a poet under such circumstances? Which means that I MUST make my own edition - which a publisher can read and then contact me if they want to publish it - and distribute in at least some copies. But that does NOT mean that it is permitted to use any aspect of it in profiling business or politics. "But it is published, isn't it?" Of course it is 'published' but that is only because of this particular story which arguably seems to be something close to essentially a story of disrespect of personal integrity. If Kareva's letter of 24 November is related to LSJ's death date and this again relates to the concepts of 9/11, 2/11 etc, it tells of the dimensions of the problems.
The first mention in my diary of the name 'Per Bjarne Raune' is of 7 October 1995, and the doorsign had probably been up for a while when I wrote that. I don't remember when I first wrote about or intentionally (letter form) to Kareva. I suppose it was on 15 October, but I could have drafted a letter before that. However, I think the telephone to the university in Tallinn was on 17 October. I had in fact thought of sending her a letter already in Oslo in the spring 1995, but I had to get out of the town first. It is only administrative logic which would believe that this intention was because of the name - even if the possible interpretation in terms of 'i Sachs hiva' is interesting. There was a neighbour called 'Isaksen' in Oslo, at the time when I first discovered the interesting things which made me send her a letter. Could be that is where the story is rooted - the name of 'Isaksen' was on a postbox. I have no idea who 'Isaksen' was or if there could have been links to further aspects of the story there (such as the war in Lebanon and things like that). It was the poetic things, though, which I found interesting and the reason for writing, not her name. Even the 'Löveid' interpretations would have been secondary, which would have been part of the reason. I suppose it is the 'Akita' phenomenon I tried to trace. Could politics please keep their attention on their own things - and credit me if they absolutely have to put their noses into these poetic and philosophical matters? One can help me having my book published - and then one can credit the published book.
According to my diary, the first letter from the university administration was of 17 November (one month after my telephone to the Tallinn university), where it was of a form something like this: "If it is convenient for you to have a meeting with us, you are welcome..." I answered that I felt no need for a meeting. The letter of 21 November had apparently been carried down from the administration building up the street and dropped in through my entrance home door so to speak in the moment when I had printed out the letter to Kareva for sending it - and it was not about conveniences this time but an order to come to a meeting the next morning, on the 22nd. That is when I was told that they were worried about my health due to the letters I had sent. I cannot find out if these correlations would be due to dense administrative airs, hardpacked telepathy, so to speak, or if it would be due to electronic tapping of my computer. I had the feeling that as soon as I had printed on the button 'print document', somebody would have run down from the administration building with the letter to me and put the paper in through the slit in the housedoor. It could have been electronic or 'psychic' tapping, I don't know. Or simply a coincidence which could have been part of my own reason for sending the letter.
It is not easy to work with serious matters if administration takes liberties. Politics, administration, business seem to be much about blocking progress in knowledge ('controlling we call it', they probably say). It is apparently the same story that has been going since the mid 19th century.
Could it have been the administration who had got intelligence about dirty plans which Kareva had got involved in, appointing with networks and Unesco and mafia and all, only waiting for me to print out my letter and sending it - and therefore the administration wanted to warn me in advance so that I did not go in a 'hilarious' trap? "After all, he is an employee here and we cannot waste our resources on trouble-stories". Well if that is the conclusion, one could perhaps say that the story has been efficiently corked.
3 March 2007:
For the case of the name 'Dag Diesen', the rewrite 'dig dasen' means something like 'grove johner'. The phenomenon can perhaps be traced to the name of the grandfather on the mother side of Nelly Sachs: Mendel Max Karger was born on 12 May 1824 (105 years before Ragna Gröver, that is) (married to the 21 year younger Feodora Meyer), and died on 19 April 1876. There are traces of a political project on the name-similarity of his with Ossip Mandelstam on such a turnaround form. Mendel Max Karger gives Mandel-stam (g)-Ossip (Emilevitch) if MEX is replaced with STAM. (Cp. Kennedy in Mexico). The relation between MEX and STAM can have been interpreted in terms of the wellknown CENTUM/SATEM division line in Indo-European - an old phonological division line which goes thousands of years back in time. STAM - satm = Satan explains this part of the politics. Then 'centum' rewrites in a similar fashion to 'antum' (as would 'emilevitch' be readable as 'antikviteter'). Now if Meyer as Sachs' grandmother is recognized as Nani Maier (Demus), her husband Klaus Demus comes in as a St.Claus in the construction (cp. the story from Christmas in Volda). Christmas with these MASKs are 'JUL-I' in Norwegian, same as 'July'. Hence 'andum july' can be recognized in Tomas Tranströmer's "Andrum Juli" (1970), hence day #183 in the year, the division line which generally determines if one is to pay tax or not in a country when it comes to residence there. It is a normal criterion: If one has been in a country for 183 days or more in a year, then one is generally supposed to be evaluated for taxation there.
'And[r]um Juli' would be in the middle of the year = 'midt i [aaret]'. This can be recognized in the situation from early December 1995 when I asked my houseletter Resi if I could have my housing contract extended even after the New Year, and she said that we could talk about it in the end of the month. I suppose she said that it would be possible, but I remember I felt some vague 'clause' about it - also because of limited resources. Could be this could be understood as related to Resi-dance spör 'midt [i aaret]'. When Brodsky died on 28 January 1996, it had New Year in the mid point to this inquiry or at least letter. It was closer to Christmas when we met and signed the contract for the next period of housing, and she said that she had to carry out some wood, I think even while moving the ring on her finger inaudibly back and forth = in and out. Resi had also left two wooden sawhorses - 'trebukk', cp. '3-18' - outside the house when she left for Oslo, but I think this perhaps was later, perhaps when she had carried the wood out. Before I moved in, she also said on the telephone something about problems with the telephone lines in the district - they had been interchanged or swapped or something like that - and there was the man with the overnaturally long zoom lens photographing the house on the other side of the street - some 10-20 metres away - when I moved in, as could be another cue to the Ganesha milk miracle in India soon after I had moved in. (I notice the copies of four letters of Sachs to Zimmermann in the library in Stockholm). Could be it would have been about origins of signification.
Residence is the key to '2 July' (depending on the masks, though), the alternative to which is the SATEM for the 'Satan' symbolism according to old phonology or rather theories on it.
I would suppose Brodsky would not have died for natural reasons if this mess should have been the reason.
The mid point of the year swaps with the mid point of 'Tekirdag' between Washington and Vladivostok.
Residence permit is related to the concept of 'persona non grata', which also is a key to the concept of 'masks'.
The name in this construction is Mendel Max Karger, which could be the background for the ideas of 'korker' = 'corks' in the behind. In the end, in the last analysis, there is 'Karger'.
The CENTUM/SATEM division line divides proto-indo-european into eastern vs. western languages (cp. also the iron curtain). See e.g. Winfred Lehmann: 'Historical linguistics' or other books on the topic. 'Satem' is Avestan for 'hundred' - cp. the death of Pernilla Teorin in Avesta in Sweden when I left Vienna for Vilnius/Stockholm in late August 2006. Centum languages have a 'k' (or some velar form like that) where the satem languages have an 's' or similar. Is this the background for the Chomsky/Halle (cp. also 'Solgaard/Kalle'?) redefinition of phonological features in 1968 (relative to Jakobson/Halle)? It could have the function of making a political division line - which perhaps even could be recognized in the relation between Norwegian and Swedish. Cp. the name of 'Varvin' and the rewrite of 'Hilde Löveid' into 'Adolf Hitler' by way of some 'turnarounds'.
If I were subjected to Mengele 'Auschwitz experiment' methods in e.g. Hammerfest, I would have needed a very good explanation to the phenomenon if I were to continue building my social and linguistic competence in relation to the caretakers. This auxiliary hypothesis could have resembled the phenomenon of 'the inner voice' when I came to Vienna in 2004: Given this amazing 'coincidence', which I knew with certainty was a coincidence and had not been based on material stolen from my manuscript, I could continue building my competence here in Vienna even if there was an abundance of indications that the advertisement business quite simply stole material from my computer and used it for making their commercials. They would, I could tell myself, necessarily have had to listen to their own 'inner voice' which could have leaked the contents of my notebook to them - rather than quite simply spying in it. The situation in early 1989 could have been a case of breakdown of the initial hypothesis. Now the Russian handwriting (notice the 'c' for 's' and 'k') had not been out of my pocket at all (except for some 10 minutes when I had forgotten it in an empty internet point in Berlin, but I don't think anybody would have had the time to photograph the pages during those few minutes - and I suppose nobody had been there in the mean time, as said the people who ran the place), and therefore the hypothesis holds this time and does not break down: It is not a 'veil of illusion'. But it could have been such a 'veil of illusion' (with possible rewrite into 'Adolf Hitler') which could have been my rescue in childhood. In which case some vague allusions to the computer keyboard, the angle of slant of the notebook on the table or even only the computer screen name could have had some remarkable 'Fingerspitzgefühl' effects on me. The time point. (Gröver/'Mengele' told the story of an alleged retarded person in Klipra in his childhood - he had a watch and when people asked him what time it was, he looked at his watch and said 'ti paa to' = 'ten to two' - another story possibly about the same man was the one of the new fire engine: - "Have you seen the new fire engine?" - "No" - "Do you want to see it?" - "Well why not?" And so he pressed a fire alarm button and there came the car with howling sirens). The password I had used for logging onto my email account. The front page up. Some of those allusions could do, but not too many. Even only a few of them could be felt as threatening to my significational system.
I notice the rotary pencil sharpener of Diesen as similar in function to the rotary grater I got for Christmas from Ragna Gröver.
The 'veil of illusion' could have been my rescue, as could the proof in Adolf Hitler's name that Nelly Sachs is my mother. This also tells that 'Adolf Hitler' could be considered the only hope for me (as representing the diaspora in the historic situation) - if I really was subjected to such treatment in my childhod. If this is the 'B.Weiss', there are already 2 (Bjarne and Weiss) of the 3 people there (when Adolf Eichmann is included). I suppose the proof for my case is not really there - it is more in the story from early 1989 with the breakdown of my capacity to move and act: I would reach for the cup and the hand would stop in the middle of the movement, because I could not take it. Could be only half of the communication functioned. That could have been because the hypothesis which had rescued me in my childhood turned out to be just an illusion. The crisis in early 1989 could also have been about the need for realizing the historic fact instead of continuing on illusions - which means that the alternative with considering the name of Adolf Hitler as the only hope and rescue would not do in the long run.
The situation with my notebook is not exactly the same as my childhood situation, since now I can move somewhere else but then I could not. However, I cannot live the years over again any more now than I could then.
The 'centum/satem' is a division line from proto-indo-european which could be related to the laryngeal theory issue - cp. also the attack on the heavy water plant on Rjukan with the Russian allusions in the name during the war - in particular if there is a link to the politics of Hebrew phonology (with its oral-space mirror patterns) and the systematic evidential function of Hittite, which was found and deciphered at a time when it could be concluded that Hitler would be of major importance. One can be allowed to speculate if it could be about 'Hitlerite'. Indeed one could speculate if the evidential 'proof' function of Hittite would resemble the situation with the 'veil of illusion' for the case of Hitler and rescueing hypotheses. Cuneiform is a fragile field - in fact the language on the thousands and thousands of tablets which have been found in the district around Iraq and Turkey and the 'Kurdish'/Mesopotamian area (cp. the treaty of Lausanne 1923) look very much the same and the idea that there are languages like Sumerian, Akkadian, Eblaite, Hittite and so forth are not waterproof. There is the definite chance that auxiliary interests like Sunnmörian, Akkjadian or 'a cat-ian' (= 'babylonian'?), Apple-eat and Hitlerite could be found underneath the scholarly theories on the baby-lonian language area. It is in fact very possible that all cuneiform tablets are written in the same universal language based on general principles of human cognition - such as for example 'poetic logic' or similar - and that the scholarly theories have attempted to interpret them as a matter of a clumsy and not-yet-fully-developed attempt to write alphabetic code. There are some hundred cuneiform signs, and to each there can be dozens of syllablic interpretations - and each syllable can have dozens of semantic interpretations - in the tradition from Rawlinson (cp. also the zoom-lens). This is the reason why one can launch new interesting interpretations of new languages found in the district there. Anybody who starts learning e.g. Sumerian or Akkadian will soon arrive at the conclusion: "But this is crazy!" If, though, one can 'swallow' the 'veil of illusion' presented by the tradition, then one can later re-materialize it into new interesting historic documents, but it is in fact rather doubtful whether any of the cuneiform languages have really been solved. The only real bilingual which exists is the ROCK of Behistun which was deciphered by Rawlinson, and this is likely to be the ROK north of Norway. A German team found some years ago that the bilingual part which is the key to the solution seemed to have been 'refreshed' at a certain historic time and the signs on the wall seem not completely original. Could it have been Rawlinson himself who 'refreshed' the signs in the process of decipherment? (I remember Gröver/'Mengele' talking around 1968-1969 about a 'brushup' of English by linguaphone, probably in the context of plans for a trip to London). If this unique document on the ROCK is supposed to be the basis for keeping the third millenium alphabetic and based on administrative rather than poetic loigic, there are good reasons to wonder about the soundness of the cuneiform languages as they are interpreted today. The British empire seems to have been redefined from a geographic into a linguistic empire. Then it is important that the linguistic data and the theories on them are not only political propaganda!
5 March 2007:
The post office where the PO Box was emptied when I came back in early October 2006 is in the intersection Simmeringer Hauptstrasse / Grillgasse. Right across the intersection, there is a sign on the housewall, on the corner: 'Öffentliche Notarin / Dr. Christel Scheibenpflug / Firmenbuch- und Grundbucheinsicht" and with an arrow pointing leftwards. The 'Scheiben' and the 'PF-lokk' could perhaps be recognized in the attack on the Jewish children's school before Christmas (see 30 november 2006), when an intruder broke the window glasses and the toilet lids. This act of anti-semitism was in the other end of the city. An arrow could be seen in an ad for the newspaper Die Presse recently. I had been to Scheibenpflug once before for registering a document and then I was (on my own request) registered with PO Box address only.
VOV-stalker Bush? With Wiener Peitschung auf Die Sesse? VOV is the Norwegian for the dog's bark. Which perhaps does not make a 'Volkswagen' out of 'VOV-stalker', but perhaps something similar. There could also be some ventilation channel news there. I hope not.
The DR could perhaps be recognized as the BR which has its counterpart in the ÖBB.
When I came to Vienna in 2004, I was into Die Presse for asking if they knew about any links to Berlin in the Khobar terrorism. I rang from their reception desk to a journalist who had no knowledge of it, as far as I remember.
In the film "There's no business like show business" from the mid fifties, there is the scene with what appears to be 11 September 2001 around 42.666% through it. It is followed by what I interpret as Ragna Gröver and her brother Arild Eidsvig dancing and singing and throwing a doll between them. The numeral '99' could mean 'Ninive', perhaps as a code word for the 'ROK' method. Arild Eidsvig married Ellinor in I think eastern Finnmark (Vadsö? Vardö?) probably at the time when we lived in Hammerfest. He has worked with 'TV' through most of his life, if I have understood it right. This suggests that a 'ROK' project could have been planned already in the early fifties as an intergral part of the 11 September 2001 project. If '99' = 'Ninive' is the code for it, the meaning 1999 would be the other side of 2001 around the mirror of 2000. Hammerfest is to the west of the mid point between Vladivostok and Washington, while Vadsö probably is to the east of it. Could be the exact mid point is inbetween.
For 'Ninive' as a code for the 'ROK', see Sachs' second poem from her 'Flucht und Verwandlung'. This poem represents the revelation in Vilnius while the third poem represents the revelation of 'Schönberg' in Budapest, including the 'rake'. Etc.
Notice the encoding of the name 'Laura Eidsvig' in the person to the left. 'Vig' means a cleft between two units. 'Svig' means 'treason' - cp. 'a real date-svig' second to the right. 'O sa mæ been laiden'? 'My art date-svig'?
If 'Windows Vista / XP' means 'Mengele Auschwitz XP-eriments', it is the same story. Which looks like that 'ROK' in the north. There should not be a near global monopoly for such a system if it is launched under such antisemitic propaganda labels. Is it my childhood misery people all over the world are supposed to be staring into? The mirror of the new information technology? It could be a very big mistake to base the new technology on the philosophy of the nazis.
It is of course easy to make business on my person if this is the story. I hope that I can be left in peace without official attention on my person or surveillance data on me - but I hope my work can be published and get its attention as a published literary work and not a piece of secret-service nazism.
6 March 2007:
Conclusion on the political matter: The example can be me in Germany-Austria. If I am the reference in the US film from the mid fifties, where the reference of the performance around 42.666% could have been to the stories of me in Brinken (Oslo) 1957-58 and Hammerfest 1958-60 as projected onto the political situation of 2000 for a third millenium political project based on the 'Klipra connection' with me in the 'ROK' - and with JFK and Marilyn Monroe and Adolf Hitler and all those as main characters in a theatre which now is projected onto Windows Vista/XP on computer screens - then it is likely to be a matter of a US or Anglo-Saxon project, not the least on a linguistic basis. I tried to settle in Berlin in 2003 because there seemed to be very little of that mythomania, but had to give up after some time. Then I went to Vienna and found that there were hardly any traces of this mythomania here. Ah, finally, a sensible society! For which reason I moved down here in 2004. I am not sure to what extent it has spread even here after I came here, but I have seen apparent traces of not only the 'C&A' ad phenomenon but perhaps also what it serves to prove the non-existence of. If the ÖBB commercial is based on my new book, or even worse if the big-and-small-X ads in 2006 were based on material tapped from my computer (in which case a lot of the coincidences I have seen could have been just that phenomenon - the best ideas from my computer pasted up on commercial posters a few days after it was written), or if the new Microsoft Vista campaign "Mit Sicherheit. WOW!" is based on a bathtub word of mine - from even before the time of the 'doggie', I think - which could have been tapped ('through the ventilation channel only'?), cp. also the new Die Presse campaigns with goose-plough-arrow and escaping bride ('Der Plan', 'Die Tat'), then one should consider the possibility that these are political incentives from the international secret service - or international secret mafia - which could be an extension from the Anglo-Saxon nazi project and work on their behalf. Why should international secret service be interested in seeing a new boom of johngroverism in business and politics in Austria? For giving USA a goodenough reason to bomb the place, of course! The Staatsvertrag tells why: There should be no nazism here, otherwise they have to bomb the place. As could be the name of 'Arthur Nedregaard' in the heart of the Klipra connection. The nazi project has been 'secret' and apparently wrongway all the time - that is precisely the strategy.
A '24 Stunden für Wien' ('Verlagspostamt 1110 Wien') landed in my home postbox yesterday, with a 'no smoking' front page.
It is probably called 'raaka' because it is hard to avoid falling into the freezing cold water. And having fallen into it, it is hard to get out of it. Secret service may perhaps argue that one has to act against the US propaganda by counterinitiatives in the same field. Which would be to go into the water of 'raaka'. The danger of nazism is over when one comes down to the essential that such cruelties against a small child should not be permitted by any country. Could be that is the heart of the story: The personal relations and the singular persons who did it. The official sphere should not take advantage of the cruelties. If the singular persons are protected with recourse to 'agency', that is the phenomenon of international secret service. The story is poetic vs. administrative logic. The singular person is the poetic logic. Administrative logic is at war with the poetic logic of the singular person. But the nazi project is wrongway and secret and the opposite. If the singular person is protected with recourse to 'agency' and this is what drives the project, then 'administration' comes to be identical to just this protection of the singular nazi and his cruelties.
One unit is one unit? CIA against little me, USA against little me, Microsoft global monopoly against little me? "He has to handle these things himself, no matter how socially handicapped he may be". Then one has to understand that it is USA on top of the construction and that they conceive of it as a tool for power.
I do my work in poetic logic and that is pioneering work, as I have to say myself. The only sort of 'response' I have found so far is like this Microsoft Vista WOW! which could be an echo of my own word from the bathtub place of the 'revelation in matter'. ('Mit Sicherheit'?) Well that would be for getting a goodenough reason to bomb the place and of course not for supporting my work. Why should the advertisement use my word from the bathtub? Because of this ROK from the late fifties. Do I have a home or do I live in an animal cage of surveillance? Surveillance data compiled for the international secret service to model the Jesus Christ in the coming centuries? Is that the reason why my book isn't published - because they want to keep me completely unknown to the public and reserved for such secret service political projects? Can a cable in one wall create electromagnetic fields which are influenced by a body and recorded by a cable in the other wall - for a three-dimensional computerized modelling of what the person in the room is doing? Then my only 'security' is the hope that the previous tenant in this flat did not lend out the keys to the 'service' before she handed them over to me. She did say, when she handed them over to me, with the representative for the housing company present, that there had been people here 'for photographing the flat'. Could be the flat and the computer are completely surveyed all the time, for all I know, and that is why efficient advertisement with a global scope can be made (for an efficient goodenough reason in the fight against nazism at a later stage). But I don't know if that is technically possible.
Where is the support group for me - which makes it unnecessary for me to superman-handle Microsoft and USA and CIA personally? I have written this website for getting out of the soup and for being able to forget the whole thing. A support group should take over the work and find out of surveillance and advertisements and installation of my work in administration etc. That would be real anti-nazi work which could open for a new era of serious cultural work. If such room surveillance is technically possible and the plan is to create this nazi Jesus Christ who 'war Wien', as a new variant of what happened to Celan, then an enormous damage can have been made against the global community. I hope this is not the story but I cannot continue bicycling around in the coincidences.
Windows Vista - WOW! Is that supposed to mean that Microsoft Windows is in the forefront of the technology - a pioneering business in the field of 'poetic logic'? (Setting new standards of thinking, it could also mean). Or maybe it means that Microsoft Windows is just about to go in the 'public domain', where there even could be a bathtub next to the 'author nedtrekker'? I suppose 'no smoking' does not mean 'hasta la vista', a sort of 'come-as-you-are' party ('hasta' is Norwegian for 'was in a hurry', 'was urgent'). Seen through the digital computer screen, so to speak? No tux, no tax. 'Hasta la fista' could be Superman - a sort of strong-man US-type Jesus-Christ saviour - rising to action. 'Come-as-you-are' could also be a concept for 'ronk' cp. 'ROK' and 'Kolingen'. The philosophy of Mengele methods for government is not the future. 'Not the FUT-sure'? Poetic logic may agree with administrative logic there - or rather vice versa. 'Vista' is the river running through 'Vistdal' which seems to be the background for or at least correlate with the name 'Auschwitz'. Gröver/'Mengele' used to walk the female alsatian dog 'Mira' for some years before she probably was shot. 'Ha svala tispa' ('have cooled the bitch / female vov') could be the wording for those walks (I don't know if they were included in the 'Dynasty' TV-series). I suppose he - or rather she - used to go up Labraaten and into the outskirts of the forest where I once found the bone of the horse-skull and where I once went for evening walks in the dark. Bitch and bikes, bits and bytes, bitch and byes. 'Byttes and buys' etc. Persian princess. It could be a matter of dispute who walked who, and hence who cooled who. This language of 'bysselalle' is not the poetic logic I am into.
A small airplane with only the pilot on board crashed in the air into a helicopter with 7 people on board yesterday around 11:00 am at Zell am See near Salzburg. I once said in Labraaten 58 that Lot's wife was the first psychologist, and Gröver/'Mengele' found that very amusing, probably in the ordinary sense of it. Did I mumble something to myself (in my flat) on Sunday about my poetry as 'philosophical poetry'? Or did I hear it on the more or less 'eternal news'? Parmenides was anyhow an early philosopher. I think I put out yesterday's comment about 'Scheibenpflug' after this crash, but I had in fact been in there for a brief talk on Friday (I wanted a dating of a manuscript but the secretary could offer a 'Beglaubigung' only - and after having looked at the document she said that PO Box address was not enough, I had to come up with the home adderess, and acquired confirmation of this by Scheibenpflug who was occupied with two other customers and therefore confirmed in the corner of the mouth that home address was necessary, which I found irrelevant to my dating issue and therefore left, for which reason it may have felt in the office that the document could not be 'beglaubigt' as authentically mine - I hope this is not another 'library jacket' - it is likely to be a matter of serial order of intention in authority relegation, as sometimes can happen in telephone conversations, and to tell the truth they should not have looked at the document at all if they could not date it without my home address and the mistake was that they looked at the confidential document - which I wanted to secure against leak through tapping - first and then came up with an irrelevant criterion afterwards, for which reason I had to leave and the only thing which had happened was that they had seen something they should not have seen and then produced the 'official stamp' feeling of 'not beglaubingungswürdig', which rather should have been the other way round under these circumstances, something which they probably would have protested strongly against, they had done nothing wrong, etc). The two pilots seem to have been in contact with each other before the crash so it would have had to be rather technically advanced - if possible at all - if the crash should have been arranged by sabotage. I had not seen this news before I put out the above of today's entry.
Let me add that if Tarkovskij's "Solaris" (based on a [filmen]book by Stanislav Lem) is about a Hammerfest ROK of mine, the main male character looks a little like JFK. I notice that the main female character reminds me of Anne-Marit Nedregaard (daughter of Arthur), some 3-4 years or so younger than me. A relevant person in the family converted to Catholicism in the early eighties, if I remember right. It is called 'konvertitten' in Norwegian - belonging to 'another religious community' = 'et annet trossamfunn'.
7 March 2007:
The most general principle in the story seems to be secret service for administration in their war against poetry and Jewish mysticism represented by the kabbala, in which the principle of 22 'Grundbuchstaben' (which could mean that 'Grundbuch'-Einsicht could be taken to mean 'CIA' in the particular context discussed yesterday) traditionally contain the following mystery:
Laryngeals/pharyngeals: AHH'A = Anna
Labials: BVMP = Fylling = Jensen, hence N-orma Jean Baker = bumpy Marilyn Monroe
'Tongue' sounds: ZSZRSh = sister (cp. also 'Tongue-Röver'?)
Velars: GYKQ = 'went to' (cp. also 've-lars' = 'Lars Loe'?)
'Teeth' sounds (dentals): DThLNT = 'dentist'?
as is the story told by Gröver/'Mengele' in 'Kaffistova' about his 'sister Anna' found dead on the sofa with the plastic bag on the floor. The construction with glottals and labials could be the reason for the concept of 'Frau Röver' = 'mirror' on a phonological basis of Hebrew phonology.
There are in the kabbala 'three mothers' on the scheme of A-M-Sh = S-A-M-Sh = Sachs (handwriting 'm' = 'ch')
Other aspects of the story suggest this kabbala rooting of the 'mysteries', such as the wheelnews of Sandalphon and Ofan and JWH (= JFK on the high throne?). 'Secret mystery service' for administration...
This hilarious 'mystery service' for 'divine administration' may have attempted to take the place of Jewish kabbala and poetic logic and the role of poetry - since the mid 19th century. Therefore it is likely that the attempt also has included the creation of a 'beast of poetry' (in revelation, so to speak). Tentative model of three Mengele generations with Sachs as the 'Stamm-Mutter' followed by two generations interrupted after perhaps only a year or a half or something like that, which could allow for three generations in the period 1953-56, if this is my genetic background:
1) Mandelstam = gravis = Mengele-stam = Stamm-Vater Mengele = father of 'Isaac' Chiva (geographic mirror symmetry to Washington)
2) Rilke = circumflex = Claire Goll-'victim'(?), Isac Chiva/China with 'circumflex' on his chin
3) Celan = acute, for the last generation ('der junge Bruder'), Claire Goll-victim (Kristallnacht temporal mirror symmetry)
Celan mentions these three accents in his 'Meridian' speech. Claire Goll would be a key to the macro- and micro-cosmic aspects of the story, while Gröver/'Mengele' would hold the keys to the 'divine'-political aspects in terms of Ganesha and Knesset and the divide of the genetic unity. He would in fact be the 'father' of 'Isaac' Chiva and have the 'parental authority', so to speak.
Rilke would also have the chin which shared some 'circimflex'-similarities with king Albert, and when this is added to Sachs' chin (the profile outlines of which has some similarities with mine), one could get something like this: Isac Chiva/China = Rilke Rene Maria ('Rainer' was an artist name for his original 'Rene'). 'Isac' = 'Rilke', while 'chiva' = 'driva' = 'driver' = 'rene maria' = 'svartemarja' = black Maria, the police car, the opposite of 'rene maria' = 'pure Maria' = 'white Maria' as the one side of the apparent secret-service concept of 'madonna whore', for the 'bumpy' Frau Röver/mirror = other side of the 'bumpy' Marilyn Monroe etc.
If the ROK is supposed to be as far north as possible, it could be an imitation of the magnetic or geographic north pole. I notice the name of 'Per Lorentz Vik' (who died the day after LSJ in 2002) for the concept of 'der jorden svinger' = 'where the earth turns'. If Rilke is the macrocosmic element for the calendarial telescopes, this makes sense for the mid point inbetween the two mid points. 'Paul Antschel' would be the name of the 'polar axle' while Rilke would be the cosmic-poetic phenomenon on it. These would share the Goll element.
I notice 'Menge lest ham'(= 'a lot - or 'Lot'? - have read him') = 'beast-seller', cp. the advertisements apparently related to me
Klipra connection:
Accent = Sachsen-T = Sachsenhausen
Anne Marit Nedregaard = Anne drar i T-nedregaard = Anne drar i Thausen
cp. also Mauthausen etc.
Which means that Sachsenhausen and even Mauthausen could have been for this particular 'Arthur Nedregaard' (= 'Staatsvertrag'?) project, with daughter 'Anne-Marit'.
Anne drar i snora = Anne flushes the toilet by pulling the rope
han er Trara skola = he is Trara school (Trara is e.g. the school where I had appointed to meet Trygve Madsen - who did not come to the appointed meeting, though - at the end of 'Knipleveien')
For this essential role of the 'accent' with 'Sachs-en-T', one can consider 'sak-sent' (= 'case-sent' = 'sent for administrative handling') which could be the background of the two cases of 'isöksmål': Trotsky as 'is-öks-mål' ('target of ice axe') and Tucholsky as 'i-söks-mål' - having applied for Swedish citizenship for his survival when he suddenly died. 'Saks-end' = 'scissor-end' could perhaps be a sort of name on Trotsky's death. These two names could perhaps be recognized in 'Chomsky'. See also the otherwise somewhat outdated discussion on 'Isegran' near the Pentagon-shaped Old Town.
If the chin has a role to play, for example relative to king Albert, China and so forth, in this genetic construction, I can tell that my chin is not only with a circumflex and of a rather weak construction (cp. the calendarial telescope to Rilke with the missing 'weeks'), but it is also somewhat withdrawn relative to the position it normally should have had. It would have been right to have it regulated forwards by school dentistry in Molde (if forwards-movement is possible, I don't know). But this was not done on me - but it was done on my friend Geir Hagbö instead, whom I think had his chin/teeth drawn backwards. Could be he needed it, could be not. I think Keith Abercrombie moved to Lariano around 1968, if that has any interest for the story. Could be the Abercrombies are not related to this at all, for all I know. The dentistry of 1970 certainly could be related to the story, and then it could be linked to the 1968-69 story with the namechange.
If the 'poetic beast' is supposed to be 'in the revelation' in the sense of being on the retreat while the 'administrative logic' takes its place, the ROK in the place of Rilke could have been an attempt to demolish the poetic rooting to the universe as completely as possible - to push poetry - and hence also the information technology based on poetic logic which could give us access to information transmission through eternity and hence to remote parts of the universe - out of the sphere of earthen existence. This could then also have been the background of the holocaust.
Nazim is not the thing. It is not the future.
A cross made by way of Mandelstam geographic and Celan temporal with Rilke's chin in the middle would in fact constitute a sort of 'chin-cross' = 'hake-kors' = 'swastika'. It would mean to paste a swastika on the poetic 'beast of the revelation' - a sort of 'nazi beast' or something like that. Wouldn't that really mean an attempt to swap the roles? I suppose so.
If king Albert of Saxony is a part of the story with his circumflex chin, there is the factor 1223 in the calendarial telescope to the Eisenhower doctrine. This number can also be found relative to the birth date of Hitler: There are 1223 times 2/3 of number of days in a month to the spring of 1957. I suppose one can compute in various ways. It can land on April fool's day or the mid point to 29 June or something like that. 2/3 = dirty beast while April's fool = Adolf Hitler = revelation? Which could mean '[s]katte-futen mot maanen', as in Hartmann's "Adam and Eve"? Paul Grötvedt once used a wording reminiscent of that.
If Nelly Sachs is the 'Stamm-Mutter' of this construction, she would be my great grandmother if the model should be right (and there would be two aborted female generations inbetween). That is 'olde-mora' in Norwegian, cp. 'Aldo Moro' of 1978 found dead in the back luggage room of a car. That could make sense relative to a concept of 'my family'.
I have not followed the news recently, but after my book was finished it would have been no surprise to find that 'secret mystery service for administration' could be running a demolishing campaign for suppressing my poetry and push the essentials in it as far back as possible for taking its place: This would have been completely in line with a nazi project. One unit is one unit? I think my book should be published. I do not have resources comparable with e.g. Bill Gates (there are also some 22 gates in the wall of the mystery tradition). And I do hope that one is not 'selling the beast' in the sense of me for putting Mengele-political-power up on top of the poetic construction. Selling the beast in this sense of it means selling one's own future even in a business sense of it. Nazism is not a smart thing. Nazism means blocking the cosmic connection. There won't be much Andromeda banking for the nazis.
I studied some other photos of mine from the revelation place on the castle hill in Budapest and found an excerpt from the dry soil there which reminds me of 'Olav Skundberg' - in a posture reminiscent of the photo of Claire Goll from 1924. In which case 'Skundberg' could mean the opposite of 'Skamberg' = 'nedrebust', a sort of cuneiform 'Pflug'. I don't know if 'Gilgamesh' is a part of the evidence for the validity of Rawlinson's cuneiform interpretation - or maybe 'Gilgamesh' was found and interpreted after the project of 'JFK' was launched?
Click here for the 'ancient Olav' fragment from the heap of soil in Budapest. Notice the 'birch' hairdo and the 'm/ O-en' motorcycle seat profile line.
Why are all these things kept off from the public world? If the 22 gates in the wall with the forwards and backwards movements of 'ANG' and 'NGA' correspond to the names of '[M]engele' and 'Ragna' and similars, and this has a guiding function for the formation of the new information technology, not to speak of the politics for it, and even worse for the dreadful impact on poetry which it can entail, then it is something of potentially very high importance for the public.
The present model supports the idea that the history has been administrative nazi logic at war with poetic logic, in a hilarious attempt to take the place of Jewish mysticism ('secret' service etc) and poetic logic. Three-consonant 'JFK' on the high throne etc. If this model makes sense relative to my own background, it adds force to the assumption that there could have been a 'ROK' event or even more in Hammerfest. If the Hammerfest period should have been for an imitation of Jews in Auschwitz ('Ronk' Jarnegg Röver - I notice incidentally also that a 'ronk' in the sense of 'masturbation' is a sort of 'conversion'), it could also have been for making a 'resurrection' of the diaspora Jews, or rather for blocking for a real resurrection since it would have been for suppressing poetry as efficiently as possible and replacing it with the power of administration. Which is nazism.
9 March 2007:
But of course if Mandelstam is the political factor, Rilke the telescopic and Celan the genetic, there is no reason why all of them should have had to be genetic. Rather, Aldo Moro could indicate that one tries to make it look that way. In which case one could even spot a 'quasi-genetic' function to the role of Chomsky (by the accents). Where should genetic material from Mandelstam have come from? I don't know, but I find a photo from 1937 interesting: It shows Mandelstam and his wife along with two women 'Jartseva' and a 'Shtempel', the second of which perhaps could represent the swastika stamp on the poetic-Jewish tradition. The photo is in a collection of photos in the 2001 edition of his works in 'Bessmertnaja Biblioteka' of 'Ripol Klassik', Moskva 2001 - where there also is one of Mandelstam in Armenia 1930 which looks like the revelation of the gate in the wall in Vilnius 2006 and a passport photo of Mandelstam. (See 'Mandelstam in Vilnius' which I added to the 'new revelation in Vilnius' today). In the photo from Armenia, Mandelstam is sitting in the place corresponding to the jaw - the 'chin' - in the photo from Vilnius. Mandelstam's body corresponds to the lighter part at the jaw on the Vilnius photo - the 'white cloud' which can be seen right under and to the right of the 'mouth'. See also the hidden outlines of a 'Ganesha' in the Armenia photo. And the diagonal between the two 'buttons' on the passport photo are going to the other way in the passport photo of Mandelstam from 1933-34, from lower left to upper right. But the official stamp is on the same righthand side - however, with a difference in high and low.
As to the event with 'Laila' on the mounds at the canal of the Old Town in probably late 1973, which means not long after the coup in Chile, I notice the butterfly-relation of 'Laila' with 'Hilde' which comes into something like 'Hai-la' and 'Rilke'. The 'hi-lo' could perhaps apply with some relevance to the name of 'Greenlaw' and Eisenhower #4. I think 'Laila' told me that she was from 'Horten', if I remember right. She was a little older than me - a few (2-3-4 or even more?) years older, I think. If read 'Morten', there could be this 'Morten Sörlie' = 'mor te en Celan' = 'mother of a Celan', suggesting perhaps that 'Laila' could be my mother and the granddaughter of Sachs if the above model were right. She would have had to be around 18 years of age when I was 16. Could be, I don't know if she would have been older. With some 'Fingerspitzgefühl' after the coup in Chile, it could have suggested the opposite ('hi-lo') before the coup. Which could add to the idea of 'my family' encoded in 'Aldo Moro' - mother, wife, daughter, sister etc. This 'family of mine' would then have represented the family of Sachs, Mandelstam, Rilke, Celan etc and could have been the way by which administrative logic would have thought of hijacking the poetic logic. A 'quasi-genetic' function, perhaps.
The 'hi-lo' could have had its counterpart in the theory that my father should have been 'Kaare Fylling' = 'KOR-e filling' as the inverted form of the 'ROK' (for Mandelstam) and the fillings of the school dentistry of 1970-71 as the inverted form of a possible cork of pederasty in Brinken 1957-58. This pederasty would then mean the nazi parametre of divide-and-conquer on the Jewish diaspora by way of the splitting the genetic unity, as could have been the political intrigue on Celan relative to Ganesha/Knesset. And it could mean 'Karger'. The essential name of this relative to me would then have been 'Kaare Fylling'. He was briefly in for a visit in Molde while Gröver/'Mengele' was in Oslo, and I think he even was a little drunk. He was a sailor of profession, if I remember right. And so was the father of Sörlie, on the same conditions of memory.
I once menioned for Liv Mevang that I had met a 'genius of language' on a bus accompanied by a lady ('dame på slep') and drunk. The joke goes on the movements of the body on a bus, with 'rav' and 'driv' and similar associative morphs for the linguistic genius, and the female passenger stepped in after him. Could it be about Ferguson?
The female 'frilled' shark which appeared at Japan some time ago suggests that the 'hai-lo' version is not so interesting: It really is about other things.
I refer also to Klaus Demus' "Die Jahrtausende" from 1993.
10 March 2007:
I notice also that the passport photos and the photo from Armenia 'Mandelstam in Vilnius' could allow for an interesting observation on the vague similarity of Pawel Biedko with 'Matthias' whom I met through Tordis Söderlind in Oslo, an eight hundred metre runner with a troubled knee. If the photo of Biedko associates with 'Matthias' and Mandelstam in Armenia is about 'Messias', there is the S/T of a namechange. (This 'Mies/Miet' is even in my poetry book - written 20 Dec 1997, long before I had been to Vilnius - could be I had heard vibrations of the 'MIES' before, but it is also possible that there are universals of cognition which is the factor behind the face in the wall of Geliu Gatve). I notice the 'S' on the university campus graffiti in 1987 and on the pocket knife I got after Bjarne Eidsvig (cp. 'Messias'). Which could be the 'namechange' jarnegg of 1968-69 with the letter from the man from northern Norway. Do I recognize even some traits of Hans-Ove Granath in the passport photo of Mandelstam? Or is it Kongensgate neighbour Bo Breigan, who often won eight hundred meter? Could be these old photos could have been in the sphere of interest of administration etc - but, as the cat pointed out, these are really universal aspects of history and knowledge of history and poetry more than imprints of administration. 'Look at this 'Ganesha' in the green grass, for example', the cat seems to say. 'Isn't it a funny comment on the laughing Bjarne Eidsvig?' It could be the Ganesha in the photo of Mandelstam in Armenia.
The passport photo of Mandelstam, for example, is mirror-symmetric with the photo of the gate-wall in Vilnius - except for the stamp. That is likely to be because a stamp is mirror-symmetric by nature. But it could also be about 'Shtempel' in the photo of Jartseva: It is about the 'mirror', hence the 'ROK'. Could be even that is a part of the reason for Jartseva in the story? I notice 'Jar' in Oslo. After my MA exam in Oslo, when the news of Mandelstam's death was printed in Izvestija, somebody had left a cap like Mandelstam's in the photo on the floor outside the institute office. One could perhaps have associated 'eksamen/eksemen' (the exam, the eczema).
The conclusion seems to be that whether the links to Rilke and Mandelstam are genetic or not, the construction probably serves to stamp ('Shtempel') a swastika on 'the poetic beast' which also seems to represent the Jewish diaspora. I notice that 'Vladivostok' of Mandelstam may have represented 'Bjarne Eidsvig' - could the city name even have been the origin of the name of Eidsvig? - and the name 'Marina Tsvetaeva' could likewise have entered into a similar construction, and then the issue of genetic material from Mandelstam could perhaps even be linked to the question of what happened with his body after his death - if e.g. 'Dreyfus' or something like that could have been a concept.
The 'ROK' could have been called a 'trökk seksten/Sexton' = 'pressure/print 16' which could have been the truck which fell at Kjölseth on Vaagstranda in 1968 (when Tone Gröver and I were out in a boat with Per Eidsvig who held the boat in such a position that we had to see what was going on in the hillside and we saw from the boat how it was falling over as in a slow motion) when a 'falling 16' represents a diagonal which goes through element 42.666 which is 0.666 through the 16 x 4 = 64 element structure. It could have represented the 'print' business, the publishing industry, and I don't know how they managed to have my jaw drawn backwards by natural development (natural it seems to have been, though) - as if the poetry publishing business gave me a 'trökk 16' on the jaw, after which the story of poetry and Jewish diaspora-tradition should be considered somewhat ended. After my Endmorgan Quartet was completed in an 800 page version a few weeks ago, there seems to have been some media attention to some central concepts surrounding the book and the phenomenon, but not many sensible answers so far. I don't know if the satellite TV channel 'VIC TV 4' is new or not - it seems to have surfaced recently on channel '69' (I don't know how these channels are organized) - it seems to send only a series of commercials for 'www.devilgirls.tv' over and over again, also at daytime. 'T-mobile' (whose spinning pizza doughs with pointing finger could resemble the element from my Vilnius tree revelation) advertises with a 'sexton'-reminiscent woman having drawn a double-sort-of numeral '9' on a mirror, currently on the Austrian website. I hope this campaign is not supposed to mean that anybody who opens my book risks ending up in 'Ninive' (suggesting 'Storsveen'?) I don't follow the media (it is better to avoid melacholy than to seek it actively) and I suppose these coincidental observations could be only the tip of the iceberg.
Are there any sensible publications left after the nazi period since the mid 19th century, or is it all and only nazi everywhere? I remember having seen a few well-intended leaflets and pamphlets in my life, but they often rather lost when it comes to awareness of the real history. As late as 2003, I firmly believed that the Kennedy assassination had indeed taken place for real. As long as nobody makes the real history available for the public, there is not much chances to get out of the nazi period. 'Trökk 16' is a phenomenon which consists in a firm fist on the tip of the jaw when somebody has made something valuable, and the fisting 'hero' runs off with the booty and makes a hamburger restaurant or something like that out of it - selling mystery burgers with kabbala sauce and things like that - while the poet is left in the ditch. "This is the principle of business which ensures our prosperity" is apparently the nazi philosophy.
The construction with Mandelstam, Rilke and Celan puts Gröver/'Mengele' on top of it, with a 'divide-and-conquer' strategy (apparently called 'Kaare Fylling') on the diaspora and the poetic logic and poetry which they thereby attempts to get under their administrative custody control. Which means that the plan could have been to get their resources from the poetic cows every day and sell more hamburgers thereby. Therefore the divide-and-conquer on the diaspora, therefore the divide-and-conquer on the 'genetic unity' which forces a split in terms of a conflict between administrative and poetic logic into the Jewish culture - and which eventually comes to make of Israel a representative of the administrative logic which pumps the values ('Ferguson' style?) from the diaspora tradition. The nazis could perhaps have calculated very cynically that the state of Israel will probably not give up before the last diaspora Jew is gone. If this should not be the practical politics, which perhaps it even could be, it would at least be the principle of pumping from poetic to administrative logic which has been the force of nazism since about the 1840's.
Clearly, the 'trökk 16' was the holocaust on the Jewish diaspora, and if there was a 'trökk 16' on me in the role of the 'poetic beast' in Hammerfest 1958-59, for putting a swastika on it, it means that business against the poetic beast means business against the Jewish tradition. Against the 'Judensau', that means. Then 'every poet is a Jew', as Celan quotes Tsvetaeva. It means that the holocaust on the Jews could be continued by continued administrative custody on poetry.
What should be the purpose of this 'business orientation'? To block the development of the new poetic technology of course - which in the long run would threaten the alphabetic technology. It took a couple of millenia for the alphabet to take the place completely of cuneiform, and this crisis in the alphabet won't come over the night. Then why this panic of the nazis? Clearly they want to define the new poetic logic - diagonal sausage with rhyme salad and sandal fun - by making the computers with 'Mengele Auschwitz experiment' propaganda. Isn't it pathetic with all this gigantic business circus when the little fellow with the swastika Shtempel on the chin has made a new book of poetry? And everybody who knows the story are on the business side and everybody who are not on the business side believe that the story is the opposite and that the smell of swastika is due to nazi affiliations of me ('of a nazi family, hm?') - and so there is nobody who can help me in the role of the 'poetic beast'?
But this is not the end of the poetic logic! This is the beginning of it!!! Where is the pioneering publisher?
'Take that': I hope I am not followed by spy plane surveillance - I saw a newspaper headline yesterday (in Kronen Zeitung) 'Licht am Tag ist ein Klimakiller' which made me wonder if the 'Zell am See' aircrash was about automatically piloted spy planes. I switched past a German TV channel which seemed to be about some 'Amoll-konserten' or something like that, 'langsam sprechen'.
If 'IS MIES' = 'MESSIAS' is the official stamp on the one photo, the Russian text on the other is clearly interesting. I cannot make complete sense of it, but I think I can spot something like 'GORDOGKA' = 'gordonka' = Hungarian for 'cello', hence 'Zell am See'. 'ÖRDÖG' is probably not the right word... Cp. also the 'Miesmies'.
As far as 'Martin Weiss' is concerned, his name rewrites to 'Mandelstam' just like 'Bjarne Eidsvig' rewrites to 'Bjewa Gidsvei' = 'breva gis vekk' = 'the letters are given away': This was what met me when I returned from Stockholm/Vilnius in early October and came to the post office box and found that the lock to the door was removed and there were only two letters there, of that day's post, and the rest of the post for 7-8 weeks was gone. Had I come a little later, the two letters would probably have gone as well. The post office told me that the letters in the box had been returned to sender because I had not paid the rent. If read 'breva kittes t vie' it means something like 'the letters are puttied to wedding/consecration'. I don't know what this interesting concept of 'puttying the letters' should mean (window envelopes?), even less if this were for the wedding or consecration of them. The Great Fire of London in 1666 started in Pudding Street. I notice that the leak of water at Rekustad in 1977 or 1978 was in the kitchen where I had been puttying the window glass to the frames when Gröver/'Mengele' was in with his laugh in the summer of 1977 and I threw them out. 'Bre-vann'? Glazier's work - cp. the Gletscher and Glacis and so forth. 'Brevan' can mean either (melted) water from a glacier or northern Norwegian for 'the letters' (cp. the address of the man from northern Norway and his request for using the name in the late sixties). Could be there is a long tradition in international secret service with work on these concepts - which relate Mandelstam to Martin Weiss and Bjarne Eidsvig.
I notice that the Jewish Kabbala as basis for political intrigue could include the books Jezira, Kusari etc, which rewrite well into 'Re-kus[t]a[d]', which means that the leak of water from S-PRINGEN (the tap) there could be a variant of the leak of water in 'kusa-ri' = 'your cunt' in 'BRINKEN' in Oslo 1957-58. In which case the situation could have been ideal for swapping roles for a political intrigue and put the blame of the water leak in Brinken on me due to S-pringen in 1977 or 1978. If this also is magnified to dimensions of Windows Vista/XP for 'Mengele Auschwitz experiments', there are some dimensions on the swap there. It was while Gröver/'Mengele' was standing laughing of the house at the water sink - 'haha what a shack', something like that - just stepping into the living room - and I was puttying the window on the kitchen table that I asked them to leave.
Klaus Demus published his 'Schatten vom Wald' in 1983, a title which perhaps could be a peculiar comment to this 'trökk 16' business concept. ('Vatten' also means 'water', while 'vatten som val[g]t' = 'water as chosen'). He also published 'Das Morgenleuchten' in 1979, and I notice the swedish concept of 'smörgås' = 'sandwich' and the car crash of Ragna Gröver in 1981. R/L = 'liquid' alternation seems to have been an element also in the exhibition 'Brudd' in Bergen 1996, analyzed in my 'Theatre of the heart'. Demus' first book of poetry was 'Das schwere Land' of 1958.
11 March 2007:
'Ladung zum Anschlag' - there is a camera in the vicinity which perhaps catches some of the entrance area.
'Frisbee' is a tool for 'sandal fun' - I don't think it is related to the Biafra war. It is a sort of 'pi-round' hat which can be sent around among people for the joy of it.
I notice the front page of 'Die Presse' for today/yesterday. Hopefully a coincidence.
It must have been in the mid seventies that Ole Krötöe and his daughter and my then girlfriend Mette and I, I think it was, were for a trip by car in Oslo (was it somebody going to or coming from an airport? I don't remember) and stopped for an evening meal in a restaurant at Strömsveien, probably close to Helsfyr. I think Ole Krötöe treated us with a minced meat sandwich with onion rings ('karbonade-smörbröd med lök') and probably some fried egg, if I remember right. The food was tasty, but I don't know what it could have meant. Could be it meant nothing more than what it was. The place was of the kind which typically sells just this sort of food. Could it be that Krötöe wanted to say something with or even about 'Fingerspitzgefühl'?
Gröver/'Mengele' sometimes came from the bedroom (for a visit to the bathroom or kitchen) in only a pyjama jacket and for not exposing himself in the unbuttoned jacket, he held it collected in his fork. It was clearly for not being exposing, but it looked a little like he had just been kicked there. The posture reminded me of the poster for a performance by 'Goebbel' up in Vienna now, which I took to be about the opposite of 'the strong man'. Mengele was born in the mirror point around the turn of the century relative to Hitler.
My frequently recurring childhood (at least around 1970) dream was a beast of roaring which was attached to a long string which was tying itself up in a knot which was big and apparently 'unsolvable', while the beast was moving around in smaller and smaller circles and the roar of it filled my ear and my head, before the knot started to dissolve and the beast retreated to a far periphery, from which it started again. The knot did not have to be cut in two with an axe. I don't know if this dream sort of experience (I was sort of used to it and could rise from the bed and shake it off if I wanted) could have been related to the phenomenon of a 'ROK', or if it was something else.
The cartoon 'La linea' seems to be modelled on Rainer Maria Rilke's signature. Click here for the signature in his letter to Claire Studer (later Goll) of 18 November 1918, reproduced in Rilke/Goll: "Ich sehne mich sehr nach Deinem blauen Briefen", edited by Barbara Glauert-Hesse, Insel 2003, p.75.
12 March 2007:
I can add to the story from Rekustad (cp. 'Micro-soft' and the windows) that I moved in there in the (late) summer 1977 (when Gröver/'Mengele' was in ) and I got a temp job at the library, the department of music, in the autumn. Jette Raabo Larsen was my 19 year older chief (same difference in age as between my uncle Per and Marilyn Monroe) and I came to stay in her flat in the winter. It was in the late winter 1978 that I was offered a flat in the old town, in Voldgata 1, whereto I could move (via Svein Hofplass who worked at the library and lived there, along with the other colleague Per Magnus Halvorsen). The leak from the tap at Rekustad was while I was in Jette Raabo Larsen's flat. Her name is somewhat telling of the relation between the film "There's no business like show business" from the first half of the fifties and its apparent predictions around 42.666% of a possible 'raa-bol arsen' in Brinken followed by the 'rok' in Hammerfest - and the 'jetting' variant of the 'raabol arsen' on Manhattan in 2001. The name is also telling of "Ziw, jenes Licht" - which could mean my name - from Celan's 'Fadensonnen' of 1968, mentioned also in his letter to Sachs. 'Siv, jene Slicht' could mean that 'pike' = 'gjedde' waiting among the sedges (cp. the 'seduce') for its victim. It was while I lived in Raabo Larsen's flat (likely to have been before the leak) that Ragna Gröver said to me: "You must tell your father that you have a relation to a woman who is nearly a generation older". I so did: "Father, there is something I have to tell you..." etc, as went the farce. He did not say anything but only took up position on the floor and produced the following response: "Hahaha". Could be it was the same laughter as on Rekustad, on the floor there. "Hahaha, what a shack". Did he even hide his mouth behind his hand when producing the laughter? It can be added that Ragna Gröver also occurred in the library music department - it was only Raabo Larsen and I there in the early morning, the door was locked etc., and then there was suddenly knocking on the door and Ragna Gröver stepped in when Raabo Larsen opened it. This was in the early part of the period when I was at the music library. I think Raabo Larsen had just arrived in town and started in this job, and she seems to have left the place not so long after I had moved to Voldgata (not immediately, I suppose, but some time later - perhaps a year or so, if I am not wrong). She had probably got the job via library chief Arne Kr.Sollid.
13 March 2007:
For the name of 'Arne Kr.Sollid', one can point to the Russian form 'Vengr' and the 'Vena' of 'Vienna'. 'Sollig' should mean 'sunny'. I suppose I could add the observation - a potential piece of intelligence - that at a certain occasion of danish environment I communicated verbally a certain uncertainty about 'which whole'. Where are we? Cp. the reports on golfers. If this should have been turned into a piece of intelligence, it could perhaps have been frased in the form of joke 'haha what a catch' if that is the canonical form of the story.
14 March 2007:
The story of Rekustad and the library can perhaps be seen as summed up in the names of the brothers Per and Paal Aanonsen from Kraakeröy. (See e.g. my comment on 'taxi driver'). The 'P' of a 'P.Raa-Nonsen' could perhaps be recognized in the name of the doctor who wrote the declaration of the cause of Nelly Sachs' death in 1970, it was signed 'P.Lindell'. This 'Lindell' can also be recognized (with a L/N-rewrite) in e.g. the Lindengasse phenomenon: If Lin-deng-asse' 'shalts' by the formula 'Deng SiAO Ping', it comes out as 'Lin-Ping-asse' = 'Limping Gasse' = 'John W.Hinckley street'. This 'John Halter' ('halter' = 'limps') = 'Janos Halter' = 'Janos Shalter'. Cp. Demus' title reminiscent of 'Vatten vom shalt'. This 'shalting' could be recognized in e.g. forms such as 'Janos Bitter' = 'Janos Spitter' alternating with 'bitter' = 'gorkij' for 'Janos Gorkij', the 'quisling' who had been up in Gorkij. Or maybe he didn't get up there after all? Gorkij could then also be about Karger, korker - 'kork-i'. Cp. the S-knife of Bjarne Eidsvig. Janos is bitter if he has been 'schwechat'. Now it is clear that Watergate could relate to Geirr Tveitt a month after the death of Sachs, leaving the document signed P.Lindell. This of course could have been the background for the possible attention to 'P.Raan-Onsen' / 'P.Raa-Nonsen' in the film 'Taxi Driver'. However, then the attempt on Reagan in 1981 gives some possible substance to this analysis.
Haha, what a catch.
The film Taxi Driver from the mid seventies is about the main character 'Travis' which means something like 'trotter': The horsetrader who moved into the barn with his horses shortly after I had moved into the house at Rekustad was trading with 'travis'-es. Why did I move in there? I had temporarily given up the university and had been teacher (in a 'privat-skule') for half a year in Western Norway. Then I moved back to Fredrikstad, but could not really live in Labraaten. Where should I find a place to live? With that little money? I travelled around the district in search of an empty old house which I could try and rent for a small sum and eventually found the one at Rekustad next to Simon Walther Hauge. Had he tipped me about it? Or had somebody else? (The house had been empty for years with broken windows - a 'rönne', not 'Lönne' - was rather damaged and it turned out that I could live there for free against doing some simple repair work). I don't remember how I found it. I think there must have been a tip (summer 1977) from Hauge or similar that if I just walked over the little hill on the upper side of his house, I would find something interesting. But I don't remember how I could have been guided to Hauge - whom I knew since about 1973-1974, could be it was natural to go up there and ask him since it was a district where one could find empty old houses, as could have been the reason I told myself. He allegedly committed suicide (with knife, cp. Celan's attempt) in early 1980. I don't know if he would have been found in the kitchen ('lik in the kitchen'). The Apenes murder was also by knife.
There is a possible background story from about 1975 or thereabout (was it 1974?), around the time when the film was made or released, when I was rather often up to Erna Hauge - who lived not far from Rekustad. One day I came (to what I think must have been appointed time, if it was no misunderstanding rather than 'schwechat') and her mother opened the door and said that she had gone down to her classmate (or at least it was a girl I had seen her with in school) who lived down in the district around where I later found that the owners of the Rekustad house (and barn) lived. It must have been a few hundred metres distance, if that far. I did not go down there but went home. I think this was the last time we met in those days, at least by appointment. Should have been a coincidence. I cannot remember if I told this story to somebody (e.g. 'friends') at that time, but that is perhaps not impossible. I cannot remember if or how they could have preprogrammed me to get interested in being involved with Erna Hauge, but I suppose it is not an impossible scheme. The making of the film would have preceded it. I did not see the film - but I think there was some talk about it somewhere in those days - before after 2000. The film can in fact be seen to be about me seeing an interesting film in the film club of Terje Westfoss (late 1973 or perhaps early 1974) and then 'getting ideas' and things like that. Travis' relation to Betsy goes wrong when they go and see a (Swedish! about 'schwe-chats'?) film together, and it turns out to be not the right sort of film for her. I don't know if 'Travis paa stallen' could have been the concept.
PS It was not 'huntonitt-plater' on the windows at Rekustad but rather these brown 'paper'- or 'bark'-like wooden plates of 2-3 mm thickness which were nailed to the window frames.
I can also add, as I think I have done eralier on this website, that the librarian was separated but not formally divorced (she told me that her husband's had a new girlfriend who had moved into the house), which could have added an 'Octogon' element to the story. Even if she also was my chief and a generation older, and so forth. Cp. also the concept of 'Travis'.
I have also come across the phenomenon of a sort of 'raa-nonsens' at another time. Cp. also 'Raa-bo'.
Is Rilke's signature (see reference above) the reason for the Korea war? For making something big out of the 'Bjarne' construction with a 'quasi'-genetic role of Rilke? Then it is high time that people get the truth and not the propaganda. I notice that ('Vladi')-vostok' comes out as 'flate-voksduk' = 'voks-te-randa' = 'Vaagstranda', with pumped-up balloons filled with 'vozdukh' = 'air'. 'Samma ljaat' (cp. 'airplane') means 'same sound'. Hence also 'Jette'. The relation betwen the names Vladivostok, Bjarne Eidvig and Vaagstranda (and Marina Tsvetaeva!) could resemble the relation between the names involved in the complex around Hauge and Rekustad in the mid seventies - and perhaps even the relaton to the film, in and out of the fiction.
Gröver/'Mengele' was at SAO in Oslo in 1968-69 while Abercrombie was at FAO in Rome. Abercrombie may perhaps have been at FAO also during the great starvation and agricultural crisis of the Great Leap Forwards around my birth (cp. 'Deng Xiao Ping'). Cp. also the first words on the moon: "This is a small ste[e]p for a man but a great li:p for mankind" - something like that.
'ROK & role' seems to be the concept for the new nazism - and the concept was put on the new music which many young people believed in. ('Erna Hauge' can be taken to mean 'earn a lot', cp. Bill Gates with Microsoft and cofounder who has invested in a sort of 'rok-and-role' museum, according to newspapers). ROK-and-role would mean a society where the masses are preprogrammed by the Fingerspitzgefühl nazis with cruel methods to go here and go there and think this and that, and the nazis feed the masses with mythological propaganda (Klipra connection type) and plan to control them by way of the new technology. There cannot possibly be a worse political program for the future. It means not much more than an efficient blocking of the development of the new poetic logic. If everybody are under the control of the nazis, there won't be any attempts to develop the new logic. That is not international intelligence - it is rather the very opposite.
I saw a commercial for a car called 'KIA Ceed' or something like that. If this is based on the word 'Hödd' from my 2005 'Gentlemen' (for example for the concept of 'noe ködd fra POT', for example in an attempt to paste that label on my poetry), rewritten by way of Russian 's/K', HI.A/KIA and 'Jette' = 'jede'/'jöde'/'Jude', double 'e' and some of those, and particularly if it is coordinated with comparable profilings, it could be an example of the kind of mythological propaganda which nazism wants. People should get a chance to refrain from supporting that sort of propaganda articles if they don't want the 'ROK-and-role' society. Which means that people must get to know what is going on and get the chance to reject the nazi propaganda. My work must be published and not used for nazi propaganda. Products which have been profiled and named in accordance with my work must be withdrawn from the market and my work must be published before this nazi takeover attempt gets too far. I cannot handle these things alone. Where are the politically interested folks who do not want a ROK-and-role society and who can do something about such cases? There are good reasons to believe that it is my person who is used for making the propaganda. That is why it is not just any ordinary example.
If the nazis get the control-of-the-masses, it can take a thousand years to develop the new logic which otherwise could have come about in a few decades.
15 March 2007:
As far as the film Taxi Driver is concerned, I remember the talk from that time being about a Jodie Foster as a too young girl for playing in such a film - only 13 and playing a whore. A scandal! When I had not seen the film, I had to believe that it was a sort of porn film with such a young girl in the main role. Which would be this 'Schwechat' fragment - the film in the film. Which means that Jodie Foster would be me, which means that it would be about this short film strip from Hammerfest and sexual abuse of a minor.
'ROK & role' is of course concepts as brutal as one can get - even with electric 'Fingerspitzgefühl'. And people hop around. An attempt to get nazism down, we must hope, and not up.
For 'Pe' and 'På', it can be observed that Celan has two poems rather early in his 'Fadensonnen': "Pau, nachts" and "Pau, später".
Pål Aanonsen was (I think) a school- or classmate of Petter Enok Skau Jakobsen from Kråkeröy. I came to know Skau Jakobsen in 1973 and met Pål Aanonsen rather peripherally a few times through him. Per was his elder brother, perhaps a decade or so older, and I think a friend of Per Qvale. Was it even in the house of Tonje and Per Aanonsen that I met Inger and Per Qvale in late 1973? Two couples with children? That would have been through PESJ who knew these people, could be through his friend Pål. I am not really sure if it was their home, but it was close to the library and it was PESJ who took me to the place.
After "Pau, nachts" and "Pau, später" there follows 'Der Hengst' in Celan's 1968 book. When I found the horse-skull in the outskirts of the forest in the early seventies, it was 'hard facts': Credit this horse! It was a bone of aged (grayed, as if there even had been moss on it which rain had washed away) and clean type - it could have been around in the forest for decades and a fox had carried it to this place at night. Or the 'fox' could have been from the 'service', and the service had later released the frisbee. See also the data in the file about Celan on Lars Kilevold and their house from the sixties in Labraaten as related to the beginning of 'Fadensonnen': "Augenblicke". My recurring dream or half-dream from those times (I think late sixties or at least the beginning of the seventies - I don't know how far down in the sixties I can trace it) was a sort of 'night-mare' which perhaps could have materialized in the horse-skull. I could, as begins Celan's book with 'sammle dich,/ steh', stand up for shaking it off, like a horse shakes its mane, hence it was not a dream in the ordinary sense of it, and it was not about 'Augenblicke' but impressions of lasting value in the ear. I don't know if the story could be a sort of revelation, perhaps even a revelation in matter: Hard facts. It seems anyhow to be about genetics and 'poiesis'.
"Pau, nachts" contains the word 'Schildkrötenadel'. In fact I met a female graphic artist Suzanne Renacher (I think was the name) in Paris when Knut Stene Johansen and I was there in the summer 1975 (if it was not 1974 - I suppose it was 1975). I think she had been in Fredrikstad for the biennial graphics exhibition arranged by Hermann Hebler and the Krötöes had met her in that context. I think they had some prints of her and probably Ole Krötöe said that we should contact her when we came to Paris. We visited her in her home.
The shark in Japan may be of a kind related to the horse-skull. It surfaced at the time when I printed out the first copy of my book - with the telling front page - in what seems to be about the mirror point around the ROK to New Orleans. All this soon gets into media business - but why is my book still unpublished? Media business is the very opposite of the poetic logic which should develop. To take an idea from my book and use it for launching ideas without crediting the source is the exact opposite. My book should be published and then people can buy a copy and read it and if they find a good idea there they can refer to the book which is available in the bookshop. Any ideas in politics that 'this person must be kept under the public surface' because they want to install 'poetic logic' - for example by way of the political project of the 'poetic beast' including Rilke and Korea etc - is exactly the opposite of poetry and poetic logic. It is the way administrative logic attempts to get poetry under control for pumping its values over to the new upper class etc. Administrative logic then tries to say: "It is not ideas from your book - rather, you have written your book on basis of ideas radiated secretly from the administration", which is the attempted principle of turning it around. I could not have anything sensible done as long as I was in contact with the political nazi project. My book has nothing to do with the nazis. The plan of the nazis is probably to have a small upper class who control the lower classes with Fingerspitzgefühl and then watch them write their poetry on basis of Fingerspitzgefühl and then pump the values back up into the upper classes. Which of course is a lot of nonsense. If they try to say that they have Fingerspitzgefühled my poetry, that would be only because they don't understand it.
Nazism is this one world with a boss on the top and some local demiurges under him, and they control the masses of poets who do the 'poetic' work on basis of the secret control from the top, whereto it is pumped back. It is administrative logic as a farcical variant of a principle of monarchy. Poetry and poetic logic is the alternative and it means the spiritual freedom of the individual. It is philosophically related to the dream of communism without dictatorship. The ideal of poetic logic is maximal freedom of creation for the individual poet, and administration which imposes secret control on the art of poetry is nothing good.
As to the question whether there could have been a chemical 'ROK' on me in Hammerfest, a natural objection would have been that a person cannot survive socially if it is bad enough. Auxiliary hypotheses based on 99% certain proof that it was an accident rather than outright evil will of course help for the victim, and if cork-in-the-behind is possible for expansion to pederast abuse, such abuse in 'Brinken' in Oslo before we went to Hammerfest could have been precisely for the purpose of remote control of the 'poetic beast', enough for keeping it up and going in a pretended social competence. This poetic beast with an artificial social competence - sharing mind and experience with the pederast nazi during the upbringing and therefore not collapsing in despair right away - would then have been the model of a 'poet' for nazi administration. Such poets would do the poetic labour needed for 'refining' the global mind of the chief nazi who wants to send an amail to Andromeda - 'to be or not to be - send the skull back again, will you?' Very little Fingerspitzgefühl would then be needed for guiding the mind of the mechanic doll here and there - needed for the poetic beast to avoid immediate collapse by the sudden 'revelation' that it was all a bunch of lies and tricks and evil intention. The collapse would then be the only alternative to walk around like a mechanic doll - thinking and acting and interacting like a doll fitler.
Could be this was the background of the sixties and seventies and beginning of the eighties for me, even if I believe that my 'participation' in the project and 'good spirit' by strings and remote hypnosis would have been much of a necessary survival exercise. It was in the first half of the eighties that I realized that this could not continue. If the office-sharing with Diesen in the late eighties was considered a part of the pullout of Gröver/'Mengele' from the project in 1990 (in the mirror image of the birth of princess Leila around the death of the Shah), even after the telephone terror 1986-88 had given me enough reason to break contacts with Ragna Gröver, it could have been for a controlled break with the official family background. Which of course would have been necessary seen from the viewpoint of the political project if they had sensed that I would break with the family. I think it can be convincingly shown that my poetry is guided and 'remote-controlled' by principles of poetic form rather than by principles of Adolf Hitler's program, and to claim that it is the product of a nazi administration who has written it with radio methods is ridiculous. I suppose there are negative traces of the nazi philosophy in my work in the sense of that which it is not, but that would be part of my own personal experience. For example, while the nazis would tend to use freemason permutation techniques for pretending that this is how administration is in heaven, thereby giving Adolf Hitler or Josef Mengele the chance to be mistaken for divines, this philosophy could leave traces in my poetry in the sense of giving shape to a very opposite approach. Which of course does not mean that my work is written by Hitler or Mengele.
I think there are reasons to give serious attention to the possibility that I could have been victim of such mistreatment in my earliest years, even if these reasons would mainly have been found in general principles and tendencies in the data. I have no witness reports which could support such a hypothesis, and there is little evidence of that sort of treatment in my personal experience (which means that such hypothetical mistreatment would not have been for personal problem reasons but only for wellcalculated political reasons), and I must therefore consider it a working hypothesis only. It has, though, large explanatory value if it is shown to have a basis in reality, and the question is therefore interesting not only for me.
If it was the political plan that my only chance of social and psychological survival would have been to be held up e.g. by the identity of the pederast, another part of the same complex would then have been that my real identity, related to my genetic background, would have been laid more or less waste by the ROK phenomenon. This could then also have been part of the background for the nervous breakdown of Sachs and even Celan's periods in psychiatric hospitals in the sixties (which for example could relate to crises produced by intrigues which related to me). If such 'genetic harassment' is possible, I don't know if it is. Genetics clearly gives shape to a person's relation to the world, and this would have been the theme of the story, but I don't know to what extent it is accpted that a remote genetic relation can be an active part of the shaping of a person's identity. The story with the genetic relation would have been the interesting background for my not completely erased identity, if this is the story: It would then supposedly (as part of the concept of 'genetic unity') have been my genetic parents who held my identity up in the sixties, just as much as the pederast would have for my social-political interface (if this is the story). But this could also have been part of the plans - for which reason the tour around Norway up to 1970 would have modelled my name (Hammerfest = Ronk, Odda = Jarnegg, Molde-Volda-Molde = Röver - with the months in Molde-Sandveien and Oslo-Brinken preceding this route) and then we moved to Fredrikstad a few days after the death and burial of Sachs and Celan and the burning of the work of Geirr Tveitt (whose name means 'the cork' or even 'kork-i', 'Gorkij' = 'bitter' etc) one month later. The political principle would then have been that my social identity was held up by nazi pederasty while my 'genetic identity' would have been held up by the genetic parents up to the age of my puberty, after which the plan could have been that it should be taken over by the social-political framework, who would have found the gripping story of the genetic core of the nearly demolished identity a romantic (cp. 'Lassie Lind'?) but rather outdated model of the 'genetic unity'. This would also have been part of the reason for the extreme attention to the communications between Sachs and Celan - such as e.g. the handwriting of 'sei gesund' - which then would have allowed for the conclusion that it was not the genetic relation which held the beast up, on the contrary, it was the administrative representation of their communications which produced this 'clotheshanger' effect (an imitation of the ROK or RACK in the middle?). This issue is likely to be the contents of the remarks on 'Gold vom nirgenwo' in Sachs' letter (20.3.68), or 'Ziw, jenes Licht' in Celan's 'Fadensonnen'. There are too many hard facts - in particular temporal ones - in this story to ignore it as only coincidental all of it.
I was in Budapest in the spring 1991. The residence permit in my then passport started on 31 January 1991 and expired on 15 October 1991. I went back to Oslo probably in June or maybe July 1991, if I remember right. I went back from Rome to Oslo probably around 15 October 1981, which would have been around the time of the assassination of Anwar Sadat. I don't know if there could have been any connections there. 'At-bar Celan' = 'barat Ancel' = 'friend Ancel'. A friend of 'Paul Ancel' was Petre Solomon which a Norwegian fantasy could have interpreted as 'P3 solo-man' = a single man who listens to radio P3, such as I did when was writing parts for 'NMI' of the state. Is this hilariously funny? There is not much one can do except watching the nib of the pen copying from a score down to a part, so to make time go while the pen is writing one has to listen to something - radio or records of music. I could not afford much records so I had to listen to the few radio stations there were. 'Petre' for example. (I cannot see the humour, if that is what it is supposed to be). 'A friend of Celan' = Norwegian 'venn Celan', cp. the stamp of 'ervenytelen' = 'invalid' on the passport = 'er venn til en' = 'is friend of a/one' = 'Petre Solomon'. This 'invalid' could then have been the basis for my later status as disabled - a radio listener and things like that. It was during this stay in Budapest that I was acquainted with Teresa Cheung, who also asked me on one occasion: 'What did your father die from?' and I said that he had died a few weeks ago from pancreas cancer. Cheung, who was conducting music which is not the stuff for 'petre', said she was from Hong Kong. If this bizarre interpretation (petre solomon etc) is not completely farfetched (cp. the related systems of 'Agnar Mykle' = 'Ragna Ykklem' etc), it could perhaps be traced to me hearing Midori on radio in 1986 (probably while moving into a new lodging, at a time when a microphone hardly could have been installed). Not 'petre', probably, but it was radio. 'Do-re-mi' = '1-2-3', sort of, as could have been the basis for the 'administrative logic' about the disabled person who could not get another job than the one they gave him. Could it have been a sort of 'Ferguson' phenomenon? 'Nitimen' = 'the hour at 9', which also is a program which probably attracts some pensioners (there used to be only 2 channels in Norwegian radio and 3 on Swedish, but maybe the Norwegian P3 had started up at that time, I don't remember when it was) could perhaps be recognized in the interval of residence permit in Budapest which would be about 2 in the power of 8, plus 1 which goes into the ninth. (I should suppose that it cannot be that pathetic?) Could be it 'meant' hidden microphone? In 1981, I had been back and forth between Rome and Oslo for months, but it may be that my total duration of stay had exceeded time limits - I don't remember this now: I was at the 'questura' but I don't remember how exactly the permit facts were. I would not have had a work permit but I suppose I should have had a residence permit. I don't think I was more than a few weeks at a time in Rome before I went back to Oslo, but could be the time in total could have been too long. Could be the total number of days in the year could have been enough even for taxation - I had, though, paid tax to Norway where I also had my address and I could not consider myself a resident of Rome (nor had I any experience with such matters). I do apologize if I stayed more than the regulations permitted or if I should have cleared out the tax issues - it would in any case have been without my knowledge. My whole life has been almost only this single thing so far: That nobody says anything. Gisele Celan-Lestrange discovered in October 1991 that she had cancer and she died in December, according to the timeline in the published correspondence with her husband.
I can add that 'et par Celan' means 'a couple Celan'. 'Frynseland' = 'a land of fringes', 'a land which easily accepts small bribes and gifts'. It was in the spring 1995 that I noticed a woman who used to wear some notable fringes on her jacket underarms. She once went past me outside 'the reseach council' = 'Forsknings-Rådet' without the jacket and with bare arms - and she sort of showed me the inner part of the elbow in the passing, which I would have taken for 'vein' = 'åre' (= 'running away'?), cp. 'Forsknings-Rådet', while 'åre[t]', means 'the year'. She also once stood with her long fringes in a telephone box when I came there. Could of course have been just an ordinary person who had some intuition to present. Or if 'Research Council' should mean 'se-etter-a kjönn', it could have meant simply 'your good friend'. Cp. also 'arne kr.sollid'.
I moved out from Kecskemeti utca 6 in Budapest in the summer 1991, and the owner told me when we met the last time that FBI would move into the flat on the floor under, which was the ground floor. I later observed that there really had come a police station there - and I think it was even called POLICE or something like that and not RENDÖR. Could be that is normal. I don't know what FBI should have meant. Could be he wanted to tell me something about FBI relative to me? Or was it really an FBI station?
'Kecske' means 'goat'. Kecskemet is a town in Hungary. 'Mese' means 'fairy tale'. Hence 'My pet goat' which the class in Sarasota was reading when Bush visited them on 11 September 2001? If one goes out from the house and a little up the street to the right (a little further than in Krumgata or Seitenstettengasse), one gets to (what at least formerly was called) 'Felszabadulas Ter' = 'Revolution/Liberation Square', where Cheung produced her notorious comment.
When I was to Vienna in May or June 2004, before I moved down some days later, I was first promised a flat for 185 euros per month. It later turned out to have been an empty promise.
18 March 2007:
There is a possibly 'horsetrading' surveillance camera directed towards the entrance door to the house. It was put up after some apparent trouble with some gates which had to be repaired. This was also after I had taken some interesting photos with my camera. I am not the surveillance camera. I hope the surveillance camera can be taken down or at least directed away from the entrance. Which does not mean having me removed. The camera is not a support of me. There are some commercials up in Vienna now which seem to have their material from me - via secret surveillance, that would be. (Vöslauer? T-mobile?) I am not the secret service. My book is not written by the secret service - and I am not Adolf Hitler and I do not wear a swastika. 'The axis of evil' may be a concept formed on basis of the form 'de[t] on[d]es akse' as related to 'Leonie Sachs' (or, rather, 'det ondes akse' could refer to Hitler's schoolyears in a scissor-axis around Leonding in Austria - Lambach, Linz, Steyr etc after his birth in 'Braunau am Inn', cp. the camera on the entrance door, a Leonding s-Axis which could tell of early planning) and may be a political articulation on a global scale of the concept of 'three mothers' (cp. Rainer 'Korea' Rilke) of the 'poetic beast'. (The affiliation with the name of Sachs for the three countries could also be about reducing the three to one). Which tells of the possible dimensions of the attempt to paste the swastika on me. And hence the possible problems people can have when it comes to understanding that I am not the secret service. I hope that I can move into a house without seeing a surveillance camera coming up on it after some time - the neighbours of course do not like it. Moving into a house should not mean having to identify myself with the secret services which in the postwar period have been formed in the extension from nazism. This can perhaps be difficult to understand for people who want to trust the secret services and not be scared of the 'poetic beast'. It would be a sad thing for me if I have to be a hobo for escaping the swastika and the mixmax identification with nazism. Even Hitler had been in the ditch for a period and lived in 'Meidlinger Obdachlosenasyl' in the autumn 1909 (Weiss). For 'hobo' cp. also the Norwegian form 'lassis'.
20 March 2007:
Why should it be of any interest to keep track of my ins and outs of the house? Why could that even be a lucrative business? Why could it even be that the lens is a sort of fisheye covering the whole facade while only a small excerpt is sent to the monitor and the rest to the international secret service? Could be the angle is not as 'piano' as it looks: One cannot know.
The Eisenhower doctrine is a telling document. It was issued on 5 January 1957, which could have been my real birthday - while my official birthday is 29 June, 25 minutes before midnight, as foreshadowed in the doctrine under #6. It seems to have been authored by a master of the administrative logic of 'Double Tongue'. Part 6, which seems to be about me, starts as follows:
It is nothing new = jump
for the President = jarnegg for the 'press in dent' of 1970
and the Congress to = röver
join = John
to recognize that = Bjarne
the national integrity of other free nations = Grover/Gröver
is directly related to = the genetic unity
our own security = of Paul Celan and our Leonie Sachs
We have = Cole? in Aden 2000?
joined = John
to create = Gröver
and support = sub-port Murmansk? of sub Kursk 2000?
the security system = Josef = 'good safe' = Szechenyi könyvtar?
of the United Nations. = Mengele = capsule in the closed vagina?
The first three elements seem to be that variant of my name which is active in the possible intrigue at the end of the sixties, with the name-change story which assigns significant importance to the 'jarnegg' = 'knife' part of my name and which seems to have been active in the 'split of the genetic unity' which that could have led to. I notice also a possible intrigue on 'Gi'-'bral'-'tar' which could have led to the ideas of 'tungt fremvraltende hornkveg', including the Rjukan = hand = lady, on the background of Gudrun Harlan's 1929 brolly. The 'jarnegg' was turned against me with the dentist in 1970.
The second element is plainly my name. The third seems to state the nature of the genetic unity.
The fourth is the name of Gröver/'Mengele', while the fifth is the secret service part of the story. The fifth relate to the fourth like the first to the second. By Kursk and Cole in 2000, Ragna Gröver came to be associated with the capsule of Nelly Sachs. If there should be any basis for the hypothesis that there was a replacement with e.g. 'Zimmermann' (cp. my stay in 'Rome' at that time - I have otherwise little reason to believe that Zimmermann is involved in the story), the function could be that the dream of a real mother who was not the same as the official mother then could have landed on the pre-1981 version. There are 11 years between 1970 and 1981.
Now even the ROK and possibly even the Brinken time may be represented in the end of part 6:
The legislation now requested should not include the authorization or appropriation of funds because I believe that, under the conditions I suggest, presently appropriated funds will be adequate for the balance of the present fiscal year ending June 30. 1 shall, however, seek in subsequent legislation the authorization of $200,000,000 to be available during each of the fiscal
years 1958 and 1959 for discretionary use in the area, = Hammerfest 'discrete' = 'Fingerspitzgefühl'? 'Electric'?
in addition to the other mutual security programs for the area = Hammerfest 'continuity' = 'ROK'?
hereafter provided for by the Congress. = provided by the 'Gröver'?
The reason why this could be about a ROK is that 'Fingerspitzgefühl' represent the 'discrete' concept while Mengele 'airy' chemicals would represent the most intense form of 'continuity' = 'non-discreteness' one can think of. I noticed that a US billionaire (medical equipment business, I think it was) gave 100 million dollars to Hammerfest at the end of the millenium. Another US billionaire (Las Vegas, I think it was) gave 50 million to an icehockey hall and 50 million to a literary professorship (in some Norwegian-US context, I think it was).
As far as the 'fiscal' date 30 June is concerned, starting 25 minutes after the official birth-moment of mine, I notice that Nelly Sachs used the lawyer Julius Hepner (which sounds like 'July Shipwreck') for making her will. Cp. also 'Gibraltar' etc.
$200,000,000 for discretionary use: In 1957, Israel was still in the construction as a modern state. The sum allotted for 'discrete' use looks arguably like an enormous amount of bribe-money and it should suffice for getting the state in the 'right' direction according to the hidden and double-talk intentions of this 6-6-6 program.
Now if this sum is also the ROK with its continuous/discrete character, it could mean that the plan of the Eisenhower doctrine - as far as part 6 is concerned - could be to paint me as a secret nazi agent whose function it could be e.g. to facilitate corruption in the Middle East - the very 'dirty beast'. Do people suspect that there is corruption in Israel - that the nazis try to get a foothold inside the holy land, so to speak? Well here is the reason for it! - could be the program. If anybody is to blame, it could be the very Mr.Diaspora himself, the very 'beast of poetry'! The intended conclusion could be that it is the Beast of Poetry who is out for splitting the 'genetic unity' of the diaspora with Israel!
That would be to hijack poetic logic for administrative logic.
This is also why there could be a considerable amount of investments in surveillance of me for matching my activities against terrorism and corrupt politics and business.
I also looked briefly over #3 to see what could be the comparable function of Birthe Marie Löveid, if that is the name. I found some interesting structures, the character of which I don't know how to evaluate, but find the mappings interesting. Here is from the beginning of #3:
Our thoughts naturally = Löveid
turn to the United Nations = the genetic unity?
as a protector = Marie
of small nations. = Birthe
Its charter = its daughter
gives it primary responsibility = Löveid Varvin Hilde?
for the maintenance of = Voldgaten tenancy of?
international peace and security. = dievöl iraq?
Our country has given the United Nations its full support in relation to the hostilities in Hungary and in Egypt. The United Nations was able to bring about
a cease-fire and withdrawal of = swastika? Adolf Hitler?
hostile forces from Egypt = cannibalism? cp. the 'fried egg' metaphors in some US films such as 'American Beauty'
because it was dealing with governments and peoples = genocide (cp. e.g. 'Treblinka')
who had a decent respect for the opinions of mankind = pederasty
as reflected in the United Nations (cannibalism) General (genocide) Assembly (pederasty) = 'nazism'.
But in the case of Hungary, the situation was different. The Soviet Union vetoed action by the Security Council to require the withdrawal of Soviet armed forces from Hungary. And it has shown
callous indifference = Chile (for 'skil[t]e[t]', cp. the bombing campaign in July)
to the recommendations, = coup?
even the censure, = by Pinochet?
of the General Assembly. = against Salvador Allende?
The United Nations can always be helpful, but it cannot be
a wholly dependable protector = Madonna
of freedom = Akita?
when the ambitions = Marie Birthe
of the Soviet Union are involved. = Löveid
Could be this is a farfetched reading, even if it certainly is a possible reading on the background of my personal history. The common element in #3 and #6 - and perhaps in the doctrine in total - seems under this reading possibly to be the concept of 'genetic unity', and if there is a link to me in #6, it could be about an administrative hijacking of the poetic logic by way of these parametres (which then could apply to me, for all I know), for example by way of the function of 'Adolf HItler' in the name and the 'swastika' of the 'poetic beast'.
This reading of Eisenhower #6 suggests that my ideas of the history is perhaps not so very unfounded after all.
21 March 2007:
If this phenomenon of the ROK and possibly Brinken and all that is about me, and if, say, the coup in Chile in 1973 was launched by the US government already in 1957, it means that Gröver/'Mengele's treatment of me in my early childhood (which perhaps could have been about discrete and local electric shocks vs. continuous chemical ROK, as the Eisenhower doctrine perhaps seems to indicate) was sanctioned by the US congress and president and they control the whole world and can make a coup here and a revolution there if they want. Then there is the single fact left that nobody so far has told me any single word about all this. That means - if the Eisenhower doctrine #6 (or perhaps even all of it?) really is about a political project on me, and there are some hard facts which suggest that this is not necessarily a farfetched hypothesis - that the whole world support Gröver/'Mengele' and his handling of me in my early years and they do not support me and my need for some facts to get the story off my life. (Normal people of course do not support Mengele against me, but they live in the world they live in and have no other real choice, as far as we know). Which could suggest or at least be a hint that one hasn't really much reason to be here. That was also Hitler's message to the Jews in the holocaust. (That he hadn't really much reason to be there - his 'Leonding Sachs' schoolyears and art academy applications seem to have been a part of the 'doll fitler' package, which even could have served to create an aura of 'remote control' on him from e.g. UK/US).
If Eisenhower #6 on the 'sub-port Murmansk' ("and support the security system of the United Nations") co-refers to Ragna Gröver and to Josef Mengele, the hypothesis on Zimmermann-replacement may in fact have its main basis in my stay in Rome during the attempt on the pope in 1981 with the following car accident of Ragna Gröver. If she should have been replaced with Zimmermann for making the dream of the authentic mother select Ragna Gröver instead of Nelly Sachs, the same should have obtained for Gröver/'Mengele' relative to Paul Celan. But that must have been in 1946 - when the hypothesis goes that Mengele took the place of Jensen and changed his name to Gröver. But that could be precisely the reason why Ragna Gröver perhaps would not have been replaced in 1981 (as also was my impression - that she was not replaced) - since that would constitute a proof that Jensen was not replaced with Mengele in 1946. But that only means that there must have been a need for such a proof. Hence if Ragna Gröver was not replaced with e.g. Zimmermann in 1981, that means that John 'Jensen' Gröver could have been Josef Mengele - as tells this fragment of the Eisenhower doctrine #6 which hence could be taken as a sort of 'responsibility claim' linking a possible Hammerfest ROK to the ramp of Auschwitz while leaving 'Jensen Gröver' immune against accusations. Cp. also the event with teacher Zimmermann throwing me out of the school building in 1970 or 1971. I notice that John Paul II took over as pope after John Paul I who was pope for only 33 days - same interval as between the alleged death of Arvid Storsveen and the arrival of Mengele in Auschwitz in 1943. 'Stor-s-veen' could mean just that ROK, and 'arv-id' suggests '[genetically] inherited identity' - or, rather, 'inherited identity', and it is a fact that inheritance is not normally dependent on genetics.
The conclusion is likely to be that Gröver probably was Mengele, or if it was not him, then the issue is of high relevance.
'Stor-veen' can mean 'ROK' in a Mengele chemical sense of it, but the name is 'Stor-S-veen'. Hence 'RO-s-K': It is a peculiar fact that the word 'rusk' = 'Zwieback' (under the basic form 'U' = 'hole' - like a ROK in the ice - or '10' in the composite 'U.DAR.RA' where 'DAR' means 'coloured' ('farven' is Norwegian for 'the colour') and 'DAR.RA' = 'minced' while 'RA' = 'schlagen', cp. the systematic function of 'Schlagobers', 'Schlagsahne', 'Oberscharführer' etc.) occurs in the short list of Hittite forms in Friedrich's "Hethitisches Keilschrift-Lesebuch", where one also finds under (244) LU NAGAR = 'Zimmermann'. None of these are scandals, but Friedrich's glossary is so basic that there should be a reason why the peculiar word 'rusk' occurs in it. I notice particularly that the 'U' = 'hole' (such as in the ice) - the basic big 'half-moon' wedge, one of the four basic cuneiform elements which remained invariant through several millenia - in the Akkadian means the copula 'and' which also can be taken to mean an 'ampersand', cp. 'Anne Aber-S' = 'Anne Abercrombie' who perhaps is the name under the surface of the Eisenhwoer doctrine #1. Her father was Keith Abercrombie, whose 'replacement-identity' I have made some speculations on. One can speculate if e.g. Heinrich Himmler could have had the mythological function of the one of the four cuneiform graphemes (and Hitler and others could have been among the other three). Most of these cuneiforms are considered basic Sumerian-rooted forms, which means that they are considered 'ideograms' which recur in various 'languages' scattered over the area, such as e.g. 'Hittite'. Among these 'Sunnmörian'-Sumerian basic forms which constitute the backbone of the cuneiform interpretation, there are LU = 'man' and 'NAGAR' which seems to be cited only in the composite form 'LU NAGAR' makes for the 'Zimmermann'. Hence 'man of Rome', sort of. Cp. also 'NEGR' etc. There is no doubt that the standard decipherment of Hittite and other cuneiform languages 'make sense' in a way which can make people assume that they are not completely farfetched, but the sad thing is that they seem to make sense only when one accepts the heavy nazi mythology which they seem to generate, such as the idea of a 'closed vagina' with a hidden secret in it and so forth. Which means that the cuneiform from Rawlinson onwards could have been used for creating the political fiction that the world of nazi myths is the only authentic alternative to the alphabetic knowledge and hence is the hallmark of poetic logic. (See my two poems illustrating this point). This could also be the real issue behind the Mengele-replacement issue. Cp. also the elementary sign 58 = MASh which means 'goat' (Hungarian 'kecske') or 'family'. The parent-replacement issue could have been in fact not much more than a way of consolidating the secret nazi-mythological basis for the cuneiform of Rawlinson which German nazism served to install into the historic persons of Hitler, Himmler etc. The British empire seems to have aimed at turning itself into a linguistic empire, and this world of nazi myth would have been its foundations. My view is that it is likely that cuneiform is not deciphered at all, but the existing decipherments (since Rawlinson, cp. the surveillance lens) serve to install political intrigue as the basis of the New World and the essence of poetry.
If I have to give up the present home because of the surveillance camera, then the plan could perhaps have been that one can start the 'war Wien' ('farven-e'?) project. Also, a camera (means 'Zimmer') on a 'Zimmer-mann' would tend to turn things around - but I haven't seen 200 million dollar bribe-money yet. It could be the international secret service who would be interested in continuing and consolidating the Hitler-Himmler-etc basis for the cuneiform interpretation as the foundations of the third millenium. International secret service is probably the world's biggest and most serious problem.
I should perhaps add that I am not affiliated with the US pop singer Madonna's program, and I do not listen to her music. (One cannot avoid hearing a little here and there in the public space, but that does not mean that I listen to it). I do not believe that there is a direct link between the pop singer and the religious phenomenon. I am sure the current 'H & M' advertisement campaign will claim that it has nothing to do with me and my new book. I suppose 'H & M' does not mean a composite cuneiform sign, but notice that the composition of the big half-moon wedge 'U' and the vertical wedge make for the basic sign 'LISh' which means '(flache) Schale' which can mean a 'bowl', 'potato peel' or Austrian for 'cup'. Cp. also the 'frisbee'. Wasn't there some potato peel - or at least 'swill of pigs' = 'pigswill' - in the origin of the foot-and-mouth epidemic in UK in 2001? (And wasn't there a sort of 'camera on the wall' somewhere?) The vertical cuneiform wedge seems to be somewhat associated with nominality and place in the standard interpretation while the horizontal seems to have been assigned divine connotations. But these are of course only speculations. My book is not nazi propaganda. I refer again to the illustrating example in 'two poems'.
© John Bjarne Grover
On the web 2 March 2007
Last updated 21 March 2007
