The Middle East crisis

The Middle East crisis

John Bjarne Grover

The crisis in Ukraine can be explained as follows (by my limited knowledge of the facts): The state of Ukraine had not been independent since a very long time - when they declared themselves independent of Russia in 1991. But the buildings in the cities of Ukraine were to a large extent built and owned by russian citizens or the state and Ukraine could probably not pay for these, for which reason they started mobbing russian nationals. There are 12% russians in Ukraine, most of those probably in the east, and the persecution increased untill Russia had to intervene and take over the control in 2022. Then referenda were held in the regions and appr 95% of the inhabitants there wanted to be russians instead of ukrainians - probably because of the persecutions there had been. Since then the war has largely been Ukraine's attack on these areas in an attempt to get them back.

The mystery is why this is so distortedly exposed in the west.

My theory is that the reason for this is very simple - that the west suffers under the burden of all the plagiarisms they have allowed for. That is exactly the same problem as Ukraine had - it is not their intellectual property - and hence it leads to war. Therefore the west cannot understand the ukrainian crisis because they owe me a lot of money.

My theory is also that the plagariarisms could have flourished in the west not the least or maybe also because I made too many book submissions to publishers in the years 1994-2000 and these were rejected, for whatever reason. Hence I cannot send more books to publishers but have to 'hope the best'. My books are now on the web and can be consulted by publishers there - if they are interested they can contact me for permission to print them on paper, which still is something worth. Otherwise the internet is of course the best publishing one can get - it is free and easy and without peer review and hypostatization (is that how you spell it?) and mythosmaking. The new publisher role will be the art of collecting and presenting serious URLs from around the web. What are the 100 best articles on a topic? Some editors will present those that are most mythos-packed and wrap them up in registration, login, cookie requests, restricted access, while others will select those that are progressive and free of superstition easily accessible on a no nonsense basis.

There may still be much plagiarisms around. Why arent these stopped by the police? Is it because it 'feels right' and 'the world has become like that'? The reason could be that it feels right - and even Mr.Grover does not do anything for stopping them.

For once, I cannot see films or read novels under such circumstances. Secondly, if I should do something it would be only like my book submissions to publishers - that led to nothing except for an apparently giant tsunami of plagiarisms, which made things much worse. Likewise, I cannot really apply for anything without running that same risk.

The west must follow the law and not wait for me to tidy up in the problems.

The attack of Hamas against Israel on 7 october 2023 could have served to tell: "But you have no right to be there!"

This could be an invocation of my refrain to the plagiarists.

That means that it could serve to turn the roles around this single point whereby the world owes me money for all the plagiarisms and if they cannot pay for it they could start getting hostile against 'similars' (like russians in Ukraine) - which could be the jewish genetics, e.g. the ones in Israel.

But this means that if Hamas (by this slogan) is considered to be in the same role as me, the adversaries (Israel with 'no rights to be there') would be Ukraine (with 'no rights to those buildings') and hence the russian support for Palestine makes sense in terms of Hamas. Israel, on the other hand, probably sees Hamas as an adversary of Palestine, and their own israeli war in Gaza as a liberation of Palestine. This turns it around on the issue of jewish genetics - and hence Hamas looks like a solution to the problem of 'antisemitism by genetics'.

But if the world owes me money for the plagiarisms and cannot pay for it, then they are relative to me like Ukraine relative to Russia (which makes sense by the idea of Russia supporting Palestine - with or without Hamas).

But if Russia is in the role of me in their relation to Ukraine, like me in relation to the 'world', then they are by the russians in eastern Ukraine like Israel relative to me.

But israeli 'semitism' is not really genetic or national - it is religious (across various genetics).

This is the paradox which Iran could have addressed with the missile attack on 13 april 2024 - since Iran is a religious country containing probably many forms of genetics. Even Israel could share interests in this basis for the attack.

It may be that the phenomenon of plagiarisms (misrepresentation) is the core of the story - lending invisible and paradoxical reasons to a war - the paradoxical part of it = half of the reason being contained in 'partial misrepresentation' - since the phenomenon of the intrigue behind the plagiarisms seem to be the idea that those who organize the intrigue against the creator of the work are the ones who have given shape to the intellectual work and hence have the quasi rights to the intellectual property. They 'have the rights to be there', the propaganda would be - which tells that the invisible and paradoxical reason for the war is legitimate and justified.

This tickles the idea of 'religious state' since it concerns the role of 'divine inspiration' as being a reason for the form of the work which is beyond the authority of those who organize the intrigue - while those same (assumed) organizers of intrigue on my authorship will ignore this and hence claim divine status - as seen from the other part of the conflicting views.

Hitler's pantheon could be the explanation. But how could this be of any interest to Israel?

My view would be that Hitler dressed up in the jewish mysteries - Sobibor, Treblinka, Belcez - and even today it is probably a widespread conceptian that 'Treblinka is Hitler philosophy'. I have tried to have it verified that Treblinka is a jewish mystery but have so far found nothing - except my own empirical data which seem to confirm the conception that Treblinka is jewish and not Hitler.

Hitler is then the wolf in granny's bed.

[17/4-24: On the question whether the plan is to pronounce Hitler as divine: Commercial for 'Ballodent' from 01:10 to 02:13 (Heide-Steen and Wesenlund sketch from the 1960's) - at 1:58 'Brük Bruhl' (instead if 'Bruk Brühl' = 'use Brühl') could suggest 'Ballodent' = 'Adolf Hitler' with his mass greetings 'Heil Hitler' for the traditional austrian greeting 'Grüss Gott' - but here for 'Gross Gutt' (= 'big boy' - the lifted arms). ('J' on, 'Gr' over?) But the greeting 'Grüsz Gott' is older than Hitler - here Grimm's Wörterbuch, the article on 'grüszen' with evidence of the formula from 1865 - and it seems to go back to at least the 16th century. Therefore, if Hitler constructed his 'Heil Hitler' a la 'big boy' in order to be conceived as divine, it is likely that he used the old greeting and that the greeting still in frequent use is not constructed for Hitler's purposes].

It would be his rhetorical philosophy - engineering erste, zweite, dritte Reich from the inherent form of human rhetorical logic - performed in such 'transvestite' costumes - that creates the political paradox which still invokes the haunting ghost of solution by 'Endl sung' - for putting Hitler on top of the pantheon.

The paradox is likely to be what is associated with 'beast of terror' - including Hitler's wish to turn roles with probably me - a paradoxical concept which perhaps rather should have been 'beasts of plagiarisms'.

The problem used to be unsolvable but now electronic computers and surveillance technology can find out of plagiarisms.

It is the same technology as what makes it impossible to keep secrets - like those jewish mysteries that Hitler dressed up in.

Plagiarisms probably try to look like a mystery. Were 'The Dynasty' (2017) based on my Dornenstrauch and gained popularity even in Israel by its 'old-testamental' flavour? A tragedy that could have been. [24/4-24: See this file].

(See this file - search for 'sent out in 2017' - as well as this file - search for 'kreditt' - for some comments on the theory of a potential plagiarism of my book in 'The Dynasty' 2017 - as well as in this file - search for 'Shapiro').

That could have concerned the mixmax of state and God - a religious state is beyond the authority of a human and so is God - but that should not mean that those who control the intrigue with state authority are divine or have the copyright.

'Der Dornenstrauch' (DDS) is the yellow metre - the diachronic properties of 'The Endmorgan Quartet' - it is not a plagarism of the intrigue which could have tried to take it astray. Is DDS considered to be of too low quality literarily - invoking sink-in-earth feelings of sympathy with the poor poet? It is wise to avoid biting that hook, say, even if there is a norwegian embassy in Israel. DDS is 'diaspora-ic' in style and contains only that which has real value, not all the vanity competition, as is my view. This study tells that the book necessarily has literary qualities - compare for example Horace Ode II:viii with my DDS I:107p, as suggests the concordance by coincidental lookup. Some articles telling of the literary value of 'Der Dornenstrauch':

The two petrification points: The relation between relative and absolute enumeration in DDS
12 november 2020: Can light be dated?

Caravaggio and 'Der Dornenstrauch'
Caravaggio and 'Der Dornenstrauch' part 2

In addition to these, there are numerous examples discussed about the phenomenon of grammatical and lexical errors in my book which correlate with certain significant places in the source texts of Rigveda and Moses - this phenomenon can here be exemplified as follows:

DDS I:109b has in the first line (out of 12) the word 'Sehensfeld' which is hitherto unknown in german - one uses 'Sehfeld' or 'Gesichtsfeld', maybe even 'Sichtfeld'. Looking up the concordance table page 946 for 109b (the concordance runs from page 944 - where the columns are explained - to page 950) it tells that this will correspond to the first word (here because the error is in the first line) in Moses 1 chapter 7 verse 1 and to Rigveda 1 chapters-verse 16-2, 10-12, 5-7, 2-1 and 33-14. These are the following words (big A = long A):

Moses 1-7-1 = wayomer = 'then spoke' (God)
RV 1-16-2 = imA = that, this
RV 1-10-12 = pari = to surround, uphold, round, about
RV 1-5-7 = A = A privativum, pronoun base, as
RV 1-2-1 = vAyav = vAyav(a) = relating/belonging to the wind/air, NW
RV 1-33-14 = Avah = to drive/lead near/towards, bring, fetch

Hence the cluster is highly relevant to the idea of the appearance of something in front of you which has perhaps a more 'infinitive' and revelational quality than the normal substantive one. Thereby the 'error' in my poem establishes a link to the earliest known stage in the language history of german (indoeuropean) where it interfaces with hebrew - and hence it lends a diachronic value to the understanding of the poem. To allow for the error is to allow for jewish thinking - instead of the normal stern teacher of german language who will not allow for this. Why did I write this word that way? Only because it sounded more right or interesting to the poetic intuition - which also could be evidence that such a diachronic dimension exists in modern german.

I did also make a more 'Duden-compatible' version of the book - and it looked miserable indeed.

It is likely that if 'The Dynasty' is a plagiarism of my book, they could have used these aspects of the poem and rejected the poem itself, say, as 'nazi' - or, like the Bobrowski version referred to below, as the feeling of 'syringe'. Then it could have been a catastrophe for jewish culture to prefer The Dynasty 'instead of' my book. The massacre in the TOPS supermarket in USA - with a logo looking like the logo of the israeli national library turned 90 degrees - took place the day before the library responded in an email with a thanks to my donation of this book, without guaranteeing that they would include it in their collection. I do not know if the library has taken it into their collection but I cannot find it in their online catalogue. Could be the massacre created such unpleasant feelings the day after that they had to terminate the story and sent the email in the early next morning. If so, the reason for the massacre could have been precisely a wish to prevent that this way of thinking in my book went through to an israeli public - and that Israel remained in the Dynasty version instead.

Now there are news telling that Israel is planning a counterstrike to the iranian missile attack of 13 april 2024, which was a retaliation for the allegedly israeli destruction of their consulate building in Damascus 12 days earlier, on 1 april 2024. The reason why Israel now could be planning a counterstrike to this again is probably that they cannot sit there feeling depressed and persecuted by the feeling that Iran at any time can come to send new missiles into their country, like Hamas had done in october. But that is when it could be urgently important to notice that this depressing feeling could just as well come more or less directly from such plagiarisms: There is probably a norwegian embassy in Israel and these could - not the least after the Oslo Accords of 1993 - have whispered in the israeli ears that norwegian 'Dama skues' means 'the woman is observed' - she is seen. Notice that my poem DDS I:109b tells precisely this in its erroneous form - and it even refers to this woman explicitly. Is there even a 'consulate' there which could look threatening after having seen 'The Dynasty'? Stanza 1 = the religious land (here Iran), stanza 2 = 'Dama skues' while stanza 3 = the consulate. Hopefully this was not the reason for the allegedly israeli attack on the consulate - but clearly an unpleasantly depressing feeling could have followed after the iranian retaliation attack which could be seen as more or less directly related to this poem - which could have been rejected by the israeli library while the national TV could have shown The Dynasty 'instead' - including a potential 'smear' against the jewish ways of thinking in my book which could have been felt like an outright depressing threat.

The poem which in 'relative enumeration' is DDS I:109b is in 'absolute enumeration' #160 which corresponds to the chinese Kangxi radical 160 = 'xin' which means 'bitter, acrid and hence distressing, toilsome, grievous' (by Mathews). This aspect of it would have been contained in the Horace parallel to this (by the 'ordinality' factor) in Horace's Ode II:xii (search for '109b') - it is BkII:XII Terentia's Singing (also given in the Perseus database with latin original) - an ode which indeed can be seen to contain precisely the three elements of 1) embattled land, 2) the woman ('Dama skues') and 3) the consulate(?). This of course would lend more evidential value to such an explanatory framework. It is essential that my DDS is not a plagiarism or intended parallel to Horace or the chinese radicals - the parallelism is a result of what I call 'ordinality' in the literary work.

DDS has a form which makes yourself succeed - if you are not too rejective or eager for badness-driven money. 'The Dynasty' succeeded in selling a lot, for example, but did not credit the source (if it were a plagiarism, but nobody has told me that it is).

I spent 7 weeks in hospital in Venice in 2018-2019 rather soon after volume 4 (including the 2015 'Der Dornenstrauch') was completed, and the friendly hospital personnel managed to turn the downwards curve of the body's functionality up again - otherwise it would have been the end. The spirit of life was perhaps quite simply a little too rejected - in addition, of course, to the effects of the dangerous retention I had suffered from).

This article refers also to a new collection of Bobrowski poems issued in Germany after my DDS was completed. Where do all these new Bobrowski poems come from? The editor tells that they are collected from poems which he sent in letters to friends and relatives even if he did not retain a copy for himself, and the editor has collected them in person - long after his death. (In the article I quote from the editor's comments: "Eine grö ere Zahl von Gedichten ist nur in den Händen von Verwandten und von Freunden erhalten, also von Bobrowski selbst offenbar vernichtet worden"). But why are they so parallel to my DDS? I could guess that this Bobrowsky collection is in the israeli national library - but mine is not. 'Erinnerungen an ein flämisches Lied' starts 'Ich sah Cäcilie kommen' which, if it is a deliberate plagiarism, be about the 'inflaming' feeling of the 'syringe coming' in Hammerfest - meaning that my DDS is the worst horror poetry you can read. If 'The Dynasty' is a plagiarism, it could probably be in the same style under the surface - and it could imitate the 'Gefühl' in the poems. It is the art of swindle - and that functions like drugs - some people like to see their authority relegated to a demagogic 'Führer' who pulls them by their noses since it provides relief from moral concerns and other problems of existence - that is a very human problem. If there is too much of this in the israeli cultural archives, that could have an explanatory value for understanding the attack from Hamas. If the Bobrowski edition is swindle, it could have been accepted because it imitates the DDS in a manner resembling the relation between my DDS and the work of Horace - and hence those who like to be deceived by swindle will appreciate the 'Horace' Gefühl in the plagiarism - and maybe think that Horace wrote at the time of Christ but he was a roman poet and not a christian. Do people think that "it doesnt matter with a little plagiarism - it doesnt harm the original work"? That is not true and it is forbidden to plagiarize - because it leads to war. "We all have to follow the rules - Mr.Grover". I guess that it is likely that if I had got a political asylum in 2002 there would maybe not have been an attack on Israel now - since the effect of norwegian embassies (that is, the official norwegian presence) and the aftereffect of the Oslo Accords would not have been the same any longer.

The question of divine inspiration - which is the core of the story - how can you see the difference between divine and human inspiration? - could be the same as the problem of recognizing (what in this illustration is called) the first arbitrarity. This problem could have originated in the development of modern technology with differential calculus from the 1840's onwards - when marxism was developed.

It is possible that there was not a goodenough reason for Hamas' attack and that it served mainly to counterbalance the attitude to the divine which was given as the reason for the attack - the trouble at the mosque in Jerusalem.

If 'The Dynasty' were a plagiarism of my 'Der Dornenstrauch', it could have been felt as a grotesque mock of the jewish God deep down in the collective consciousness - and it could well have been this which prompted the attack in october. The Balfour declaration tells that the conditions must be the same for both israelis and palestinians, which could have been the reason.

Conclusion is that the warmongering effect of plagiarisms could be much worse than normally assumed. It is likely that to the extent that such plagiarisms are accepted, which probably means flattening out the first arbitrarity for serving a badness-driven economy (cp. also the concept of 'hypostatization' for lending 'goodness' value as an economic concept to the publication), it means that it is also accepted to swap divine and intrigue sources - and that sooner or later has to lead to some uproar.

But clearly it is very unwise to let the violence flare up if it really be about a grotesque mock on the TV screens. Then it is much better to take the evil by the root - and it is not probable that Hamas is that root by plagiarisms.

The new computer technology will function better the more goodness-driven the economy is. Badness-driven economy flattens out the first arbitrarity, and plagiarisms enhance the effect of this, and that leads to stagnation in religious and humanistic studies.

In conclusion, the apparent paradoxes need not be so paradoxical after all - they can be solved by binging an end to the plagiarisms and try and repair the damage that has arisen therefrom. Likewise, it is nonsense to believe that an administration can claim copyright to my work (or forward it to e.g. the production of e.g. 'The Dynasty', if those have plagiarized it) even if they themselves believe that it is their clever intrigue in administration which is the cause of the form of my work. The question whether the inspiration to my work is totally transcendent or if it could have borrowed ideas telepathically from the administration could be a matter of some general interest - but not as far as formal copyright is concerned. The real issue is likely to be if the parallel between my work and Horace's work is the same sort of parallelism as between my work and the new edition of Bobrowski. This question could reappear in the form of the status of a religious state - whether the administration is 'transcendent' or not. This could lead to murky confusions for the case of Israel as a 'religious state' or at least 'holy land' - and maybe also concern the status of Iran.

I add for the possible explanatory potential the story told in this file - about what I felt was a possible administrative dissatisfaction with my writing of the 'yellow metre' - that is, the diachronic elements of 'The Endmorgan Quartet' such as these left imprints in the culture which served to lend form to 'Der Dornenstrauch'. There has since I wrote the book appeared a wave of male employees in many of the social interfaces where there formerly used to be females. This seems to have spread around Europe - although it is probable that very few are aware of this potential origin of that story - my writing of the yellow metre in Vienna and a possible administrative wish to go inbetween the inner and outer poetic articulations (as with a crowbar?) as far as the diachronic aspects of language are concerned. (To this must also be added the possible effect of e.g. the earthquakes in Turkey and Syria in february 2023 in the light of my yellow metre book 'SNEEFT COEIL' about the synchronic aspects of language). If so, it is possible that this 'gender change' or even 'gender manipulation' (to the extent that it could concerns these issues) - could be under potential pretexts a la 'gender equality' when men take the work from the women - could have had a quite strong political effect - adding to the possible plagiarisms as a part of the political context for the recent warfare in the Middle East - and, as could be furthermore added, it could lend explanatory force to the assumption that just my DDS I:109b could have been activated for a political effect of potentially high relevance for the current crisis. Would the sum of all this eventually even come out as a 'Ku-ben [= 'crowbar'] Missile Crisis'?

24/4-2024:
Celan evidence
Hitler/Croft

Two doves showed me a story yesterday, relevant or not:

Sources:

Bobrowski, J.: "Gesammelte Gedichte". Deutsche Verlags-Anstalt, München 2017.

Mathews, R.H.: Chinese-English Dictionary. (A Chinese-English Dictionary Compiled for the China Inland Mission by R.H.Mathews, Shanghai: China Inland Mission and Presbyterian Mission Press, 1931). Revised american edition 1943. Harvard University Press, Cambridge, Massachusetts.