Paul Celan's speech "Der Meridian"

Paul Celan's speech "Der Meridian"

- evidence of the date 20 january 1959 -

John Bjarne Grover

In the file '1223' for ÖVP chairmen and the Kennedy assassination I have shown that there seems to be a rather extensive political structure apparently related exclusively to my person and that the norwegian part of this seems to be rooted in the day 20 january 1959. I have computed that this could have been a day when I got an injection of horror chemicals when the family lived in Hammerfest.

The question is where I have got this theory from - that the hypothetical chemical injection in Hammerfest took place on 20 january 1959 - in the middle of Eisenhower's period.

For once, as I have discussed elsewhere, there have been some reasons to speculate that the adobe house which I bought in Szolnok in Hungary in 2015 could have been prepared for me and my humble wallet through several decades. (The world could perhaps even have held my wallet slim in order to make this the optimal alternative for me). For example, there are some reasons to speculate if the norwegian film "Norske byggeklosser" (1972) could have been about this house - intended for my acquisition around 2015. See e.g. the discussion in the article 'The Endmorgan Quartet and the hieroglyphs'. This house seems to be in the area of the 'madonna structure' at 'Raba & Szava' streets (source Google Maps) and the strong encoding of the name of 'Dwight David Eisenhower' in the streetnames Vas Gereben, Ősz, Tél and Rege utcas - the latter three also for 'Österreich' - and maybe even also 'Ronald Reagan' in the 'Rege'. This could indicate the date in that sense of it - "in the middle of Eisenhower's period". It is seen that the last streetname in this complex ('Sziget Utca') could find a representation in the Oslo and Utøya terror 2011. 'Saba' is a standard sanitary towel (or is it called period pads) in Norway and hence 'Raba & Szava' could be in reference of female periodicity. 'Ræva' is a rude word for 'the behind'. The conclusion to this is that the area could be seen to encode 'in the middle of Eisenhower's period'. (I have also speculated on the idea - on meagre or no empirical basis, though - that I could have been raped in drugged condition in my puberty and in that context been forced to breathe through a sanitary towel soaked in menstrual blood - that idea could of course have been derived from the name redundancy in this street intersection relative to for example the name of 'Heinrich Luitpold Himmler' - by 'hender/henne-er i klut-blod himler' = 'hands/she-is in cloth-blood himler'.

Secondly there is - given this theory - the additional evidence in Paul Celan's acceptance speech in the event of receiving the Büchner prize on 22 october 1960. It would, on this background, have been only a few days after he could have visited me in Odda on probably 3 september 1960. The theory is here that his 'Meridian' speech could have referred to a meeting with me. The opening lines are here reproduced in this excerpt from page 40 of the edition of this speech in "Paul Celan: Der Meridian und andere Prosa" (Suhrkamp 1983). Assuming that the purpose with the Meridian speech could have been simply to document the important date of a chemical injection in Hammerfest (in which case he must have been informed about this by probably french or israeli/jewish intelligence), there would have been traces of it in the speech. The speech is very notable in one particular trait - the apparently somewhat too frequent repeat of 'Meine Damen und Herren!" It could have been for the simple spoon 'Meine Hamen und Derren!" = 'meine Hammerfest'. The formula could then have been this:

"In Hammerfest - die Chemikalien". That would have been the contents of the following lines:

"Die Kunst, das ist, Sie erinnern sich,
die chemi ka li en innen ist

ein marionettenhaftes,
in hammer fest, jambisch-fünffüssiges und [...]
kinderloses Wesen"
die chemika l ien

The formula itself - "In Hammerfest - die Chemikalien" - is 'jambisch-fünffüssig'.

I have later developed the theory that if this were the story, I would have been vulnerable to rooms which could have contained elements similar to the room wherein it happened. For example, when I shared office with another person in the late 1980's, I developed a personal crisis which consisted in a horrible feeling of burning inside a thin shell of the body - which could have meant that 'die Kunst kommt wieder'. One of the rather few events that happened in this office was that somebody - it could have been cleaning personnel - one morning had swapped the two office chairs - which here would be the 'Unterhaltung'. Of course if there were such an injection, it would have been a necessary theory of mine (in order to grow up in the family - the parents later confirmed that I nearly died from an allergic attack but that I had done it myself - I had put a nut in the mouth, they said) that it was an accident only and that the parents were not that evil - but if the office contained enough cues to the room in Hammerfest it is possible that this theory collapsed and I would have had to make a revision of my theories of the world. At another occasion I came in the morning and somebody had pulled a book nearly out of the shelf - it hung in the shelf with more than half of it 'injected' into the room - attached to the tightpacked books next to it by only a few centimetres in the end where the book is to be opened. Clearly if such a notable trait had been present in the room in Hammerfest, it could have been for just that purpose of being easily remembered as a significant aspect later in life - for the idea that it could not have been a coincidence, an accident.

I do not remember when it was that my younger sister got some work in a ministry which consisted in 'toy-check', but it may have been a little after this collapse of mine, probably.

I recently observed that a modern map of Tel Aviv shows a 'Concierge' bar or restauration place next to the once suicide bombing of a bus in Dizengoff Street in 1994. The word 'conciergerie' is in the first lines - it could sound a little like 'John Grover'. More or less coincidental traces like these could have contributed to the theory that has formed in my mind that 20 january 1959 could have been the date if that is what happened.

Olga Marie Mikalsen is said, I think I read or was told somewhere, to have been a norwegian counterpoint to the art of Florence Foster Jenkins. Could be this idea could stem from the name being similar to the 'formula' of Celan - "In Hammerfest - die Chemikalien". She is said to have been from Langevåg, the place where Ole Devold - the forefather of the Klipra connection people (my grandmother etc) - had his tricotage factory. She was born in 1915, a year before John Jensen. She seems to have had her debut at the age of 53, which means in 1968. It is of course possible that Celan's 'formula' could have been a part of that story - and that 'die Kunst' could have been the theme, on the background of such chemicals. Could be the real theme could have been the expectations to my later art - or, even worse, an attempt to convert Celan's supportive speech into a mock of my future art? A pity that would have been for the cultural development of Norway.

The date 20 january is also easily spotted in the speech in the following three excerpts:

From Celan (1983) page 50

From Celan (1983) page 53

From Celan (1983) page 59

There was a photo of me in Odda, could be from around those times when I was about 3-5 years of age, where I stood on the hands with legs up against a wall. Behind the house there were stinging nettles.

Celan seems to have written 'Gespräch im Gebirg' in august 1959.

Hammerfest is also known for its Meridian pillar - there are not so many of its kind in the world - used for land measuring purposes. It is one of my early childhood memories that I put the hands on its granite pillar. The 'Meridian' speech could therefore have been in reference to this 'Hammerfest' phenomenon. The socalled 'Struve geodetic arc' seems to have been along a meridian that ran from Hammerfest down to Czernowitz - or rather close to the place, not far from the meetingplace of the three borders of what now is Moldova, Ukraine and Romania - where Celan was born and grew up. Were this even the reason why he was born there - in order to be the biological father of me with the chemicals in Hammerfest? My official address for Hammerfest 1958-1959 is given in the official residential registers only as 'the hospital' - which is about 4-500 meters or so from that Meridian pillar. (The family lived in the immediate vicinity of the hospital building also in Odda 1959-62 and in Volda 1964-65). Then of course this Hammerfest-Czernowitz meridian could have been the reason for the theme of Celan's 1960 speech.

Even Nelly Sachs has a Meridian - it is in her 'Glühende Rätsel II' the poem "Jeder Schritt näher zu dir": "Eilende über schlafenden Sand / schwarzer Meridian der rieselnen Ferne".

Celan wrote to Sachs on '20 Feber 1960' a letter including these lines - here excerpted from the published correspondence Celan-Sachs (1996) p.29-30:

Is it me he had in mind? If so, who were the Indolenz, Niedertracht and Gemeinheit?

Sachs responded to this letter with sending him on 27 february 1960 her poem "Mund / saugend am Tod" - see this article.

There is this perennial ghost - why they changed the name of 'Christiania' to 'Oslo' in 1925.

The conclusion could be that there is evidence in Celan's 'Meridian' speech of the date 20 january 1959 being of significance for my life in Hammerfest. The placename could have been significant of such an injection - it was the third place of residence in my life - after Sandveien 4 in Molde where I was born on 29/6-1957 and my skull seems to have been opened (a part of my brain is scissored off but the skull itself is intact) not so long after my birth, and the second residence which was in Brinken 2, Kampen, Oslo from 26/9-1957 untill april 1958.

The conclusion could also be that the house I bought in Szolnok in 2015 could have been established for me around 1972 for the purpose of buffering off the evidential value of Celan's 1960 speech about the date of a horror injection in 1959. Could be there would have been a background even in his letter to Sachs of 20 february 1960.

This is yet another article of the kind that it wasnt me who should have written. It should have been the task of democracy to inform the people about the factors necessary to make the people able to choose what they want. This 1223 is clearly of that type of facts which should have been easily available for the public.

It is possible that the newspiece of an alleged self-immolation in USA on 19 april 2024 could look like a sort of 'pre-publication' of the present article - as if somebody else tried to publish the facts - most of this article I had written around 11 april 2024 - the "horrible feeling of burning inside a thin shell of the body" and the "Chemikalien" (an 'alcohol-based cleaning substance') - in fact most of the present article was written about a week before this alleged self-immolation took place. It is of course also possible that there could have been an intended reference to my poetry in the sense of 'the art of Mikalsen' in these newspieces - and hence also to the apparent '1223 structure'. See also Celan (1988) page 60 with the mention of 'mein hier wiedergefundener Landsmann Karl Emil Franzos' - for the 'spam email story' (see 'Brief comments' for april 2024) - and the story of a comparable communication (a postcard) which I got to Paris in 2002 from my younger sister. I later had to give up my attempt to settle in France - for which reason I eventally landed in Austria - where this 1223 has a role in government comparable to the one in Norway. It seems that some terror apparently could have this function - an attempt to try and turn roles around - of this 1223 structure and me. (In fact the name of the self-burner 'Maxwell Azzarello' could sound - if not like 'flashing a smile' - like 'smaker vel as a rolle' = 'it probably tastes [well] as a role' could be indicative of something like that - in which case it could even have been on the form of a threat). If that be the case, it is not a sport that deserves respect. Of course democracy must tidy up in the 1223 soup and not leave that to little me. Where are the norwegian and austrian journalists who could take this to a public scrutiny? They are totally unable to do anything about it because they know all of it and have got it under a secrecy clause? But that is not permitted secret, according to all sensible constitution. Then the journalists and other responsibles must have these secrets downgraded by the constitutional court or something like that.

Sources:

Paul Celan / Nelly Sachs: Briefwechsel. Suhrkamp 1996.

Celan, P.: Der Meridian und andere Prosa. Bibliothek Suhrkamp #485, 1988.