Revelation in history

John Bjarne Grover

While 'revelation in poetry' is a discussion of the literary parallels to the 16-liner at the end of my Endmorgan Quartet, the present article discusses a case of 'revelation in history' in the sense of Easter 2002 as a projection from the point 3/4 through parts of the same work. It contributes to a general theory of history conceived of as generated from the gap between the poetic structure or object beyond history and relevant poetic texts in the sense of a linear representation or projection of these objects into historic time.



Easter 2002

The Easter 2002 contained a series of events which applied to the point 3/4 through various parts of my Endmorgan Quartet, as far as it was written then. The massacre in Nanterre was on 26 March. I immediately recognized this as 'Richard Stern' from my Endmorgan Quartet 1998, which also was the reason why I interpreted the rest of the Easter in the same light. Stern is the name which opens the fourth part of the fourth book, and it is written on 11 September 1998:


Richard Stern, who was a foam etchmasterer,
as large as I want to the memory:
Setzen sie except when
they cons... con...

'Confer, 'construct', 'consult',..., are the examples I give of the 'cons'. The name 'Richard Durn' can be taken in the sense of 'reader of this turn, who was a foreign etchmasterer'. (In fact I discovered years after having written this that I may have spotted the name in an issue of 'Poets and Writers' - howewer, the reference is of course not to any real person. It is here more about Sachs' 'Sternverdunkelung').

The phenomenon of 'beginning of the fourth part of the fourth part' of a poetry book of mine continued to apply throughout that Easter. The fourth part of "A deep ratch", starts with the line:

"Occasionally, there has been sugar in"

which found its interpretation in the next related event: Member of Swedish parliament (social democrat) Rinaldo Karlsson died in the Nasa mountains in Sweden when he was out Easter-scootering there with his wife and two friends. It was his wife who saw him collapsing on his scooter. Karlsson suffered from diabetes and it was said that he died from 'diabetes stress'. (It can be added that Jacques Chirac appointed 'Raffarin' as prime minister after the election in April or May 2002). The placename 'Nasa' can also be seen to point to the three fourths. If one should guess about possible political biz with a fictive death, it could perhaps have been about 'God's gift to mankind'. I had sent my 'Birds to Saladin' and the 'Pilot study' to Lucia dos Santos in I think 2001, if not 2000.

Next there followed the reports in the newspapers of the apparition on the cupola in Ajmer in India on the shrine of the sufi mystic 'Chisti', more fully 'Hazrat Khawaja Moinuddin Haasan Chisty R.A.'. The apparation was reported on 27 March at 8:30 in the evening and attracted thousands of believers who claimed to see the saint on the cupola. The explanation to the mystery seems to have been the plaster of Paris that recently had been painted on the cupola and left shadows when it dried, and the phenomenon was probably related to that. But the psychological effect was a social phenomenon. The phenomenon was reported in media. The relevant fragment from my "Birds to Saladin" (p.268, the same text as on p.37), a book about nominality and divine revelation, is this:


OK, obtained in knockerary meat
on this sufi following on this.
I met him cognitively.

Which should be clear enough. The sufi saint is reported to have been seen with his stick in hand.

The news in Norway from this Easter contained also, soon after the Ajmer apparition on the shining cupola on one of the towers of the shrine - which hence could call forth associations to a glans penis - mention of an Easter lamb that had gone astray and had been observed in a sunny hillside in Veggli, Buskerud. 'Vegg-gli' means 'wallenslip' while 'bukserud' means 'trousers-rude', hence one is invited to believe that the 'lamb' had been ejaculated from the glans penis in India and landed on a wall in Norway, where it slipped slowly downwards while rescue forces were sent out searching for it. 'Veg-gli' suggests a slippery road, whether sloping or not, and my Endmorgan Quartet starts with the lines: "Me and the Leotad girl / on the slippery slope". According to the news, a search was launched for the stray lamb - without results, though. I talked with one of the people who took part in the search - Britt Halvorsen at Norsk Folkehjelp - who assured me with serious voice (although she asked me to repeat my name in the beginning of the talk) that this was not a joke for the press or anything like that - she had personally heard the lamb bleat ('breke') in the darkness of the night when they were out looking for it (as a detour for the standby help group for Easter skiers with broken limbs and organs of various sorts). The farmer who owned it could tell, she said, that the lamb had escaped right before it was to be sent to the butcher and he would much like to find it again.

The Madonna of Knock (cp. NOK = Norwegian currency) in Ireland 1879 appeared on a church wall, with Madonna between St. John the Evangelist and St.Joseph. There was also an altar there and the Lamb. The apparition looked like moving sculptures on the church gable wall and lasted for two hours (in Ajmer it was apparently one hour, but reports vary). Add the Lamb from Veggli and you have the Knockerary Meat.

There is also a relevant quote from my "...to be an emperor...". The fragment is bridging over from page 125 ('sufish' is the last word in the third part of the fourth part) to page 126, where the fourth part of the fourth part starts:


               Sufish

Stamp for meaning of their minds
untill New York state
beards.
               Birds

The apparition in Ajmer was reportedly of the bearded sufi saint standing with his stick in hand. I notice also the 'stuffer/staffer' from my 'Endmorgan' poem. The comparable part to the 'Sufi', which means the last words in the third part, in 'Birds to Saladin' are the following:


...such that pictures and other galleries.

               Canon Watergate

PS, for example, says that 'han er concerned with photography',
but it is not like the Grover you see pictures of.

('Han er' = 'he is'). The Canon Watergate could be recognized in the watergates that burst in Dubai the very same day, a tragic flooding that claimed a number of lives.

The next significant event in this Easter was the death of the queen mother of England on Easter saturday. She was more than a hundred years old and had been the last empress of India. The death of the queen mother was followed few hours later by a major earthquake on Taiwan, magnitude 7.1, on 31 March 2002 at 06:52:50 UTC, Location 24.27N, 122.17E, according to NEIC. This was in the early Easter morning, leaving a number of tall buildings slanting and even falling over. 'Ta i vann' means 'to put the hand in water'. The quake was in the 'Hualien' district: 'Hua' means a 'woolen hood', cp. the apparition in Ajmer, while 'lien' means 'the hillside' such as where the lamb had appeared in Veggli shortly after the apparition in Ajmer.

Then in the night between 1st and 2nd Easter day, there followed the explosion in some basement gas containers with a following complete collapse of Hotel Oharka in Prague, in the socalled Louny district. The hotel was not far from 'Penzion Dum Kultury' - I found it when I searched for a neighbour to Oharka (cp. 'oligarka') to send an email to ask about reports on the explosion, and discovered that a nearby hotel was this 'Dum Kultury' with email address 'dumkult@': That is the 'Durn-cult' which could have followed the man who was tired of the politicians' gastalk. The hotel is in the Louny district.

The reference to my poetic work is strong here: It is about straddling the beginning of the fourth part of the fourth part and the end of the third. The third part in "Birds to Saladin" ends with the 'Canon Watergate' and the following PS (quoted above), and is followed by the beginning of the fourth part, for which the parallel text is Exodus 15:27 about Elim (cp. also the famous 'Karlssons lim' = 'Karlsson's glue') with springs and palm trees. This part 4 of the book is called "Diplomadary and descendature" and starts as follows:


That my pragel
          is an only turn
and the squarepeopling apples
when I went amail

which is the 'Prague hotel' in the Louny district, plus what can be seen as the lamb of easter on St.Peter's square in Rome - with the mail from Ajmer. The text (9 lines) is signed "Mary McNooky, of the sheep", indicating the Madonna of Knock.

All this is Easter theme - the crucifixion, perhaps even my book 'Hammerfest', which can be seen to be about the mystery of the arbitrary sign. The first half of the book is zipped texts which are edited after the writing (the order of the lines, in the first texts even the contents of some of the lines), leading up to the mastering of the art of writing - corresponding to the art of walking and talking which I learnt in (probably) Hammerfest - in terms of unedited writing. The second half of the book is written right down, without any editing or rearrangement of the order of lines after writing. The conversion mystery, which corresponds to a sort of arbitrarity on language level, is in the mid point which contains the representation of parents and child: 1) "Letter from the woman", which starts with the book's first unedited lines, 2) "The lamp", which represents the father, and 3) "All the shadows are good", which is the child and the first whole poem in 'arbitrary' style. The first steps of walking, the first words. The shadows can be recognized on the cupola in Ajmer, while the 'lamp' is the 'lamb'. The 'mother' and 'father' texts were originally witten as one intertwined text and the two poems were disentangled from each other: One line to the woman, one to the father etc. Which is the opposite of a 'zipping' style. The 'child' poem, "All the shadows are good", has the parallel text Luke 23:33 - "When they came to the place called the Skull, there they crucified him". This clearly is the theme of the Easter 2002 conceived of as a revelation. Now the beginning of the last fourth of this 'Hammerfest' book should confirm the story of the revelation relative to my work. It does: The parallel text is Luke 23:46 which is the moment of death of Jesus ("When he had said this, he breathed his last"), and my poem starts:


Let us now turn
to a shame. Yes. And

Which could suggest: "Richard now Durn" and the general theme of 'shame' of the Easter. Perhaps the 'yes' of the second line is the 'now' of the first. Could be it meant that Durn got a divine sanction when he rose and shot the politicians. The three last lines immediately preceding this last fourth are these (the end of the third fourth):


"...then you could tell the President"
- give a faith to this.

Unfortunately, I'm a walkman.

The overall theme of the historic revelation of Easter 2002 seems to be this 'poetic revolution', represented by the mapping from the poetic work into history. I suppose a closer study of the news of that Easter correlated with my Endmorgan Quartet could shed more light on the principles of the mapping.

One is naturally suspicious to such magic. The natural question is whether political interests could have tried to integrate into my poetic work by arranging newspieces in parallel with the last fourth of parts of my book. Then one could have looked up the relevant lines and planned corresponding disasters of various kinds, including such theoretical things as a 'pulk' of Rinaldo Karlsson. The watergates of Dubai could have burst under a local explosion. But the earthquake of Hualien Taiwan could not have been prearranged. The stray Easter lamb of Veggli could of course have been a standard joke on the theme of 'broken limb' - but not necessarily correlated with the apparition in Ajmer. I think the case of Durn is a reasonable test: If one can prove that Durn was a secret service man whose jump from the window was only a story told for ending further interest, then the rest of the Easter could be a corresponding attempt to integrate into my work. If, however, one can prove that Durn was a private person who acted on own incentive, then one can assume that the rest of the Easter revelation was a genuine revelation in history.

I should add that the poetic Easter also may relate to my book "Winter Princess" which I had written in Vilnius in 2000 but had not completed in book form untill the beginning of 2002. I sent a copy of it to some people, including queen Elisabeth, probably in the beginning of March. It also seems to relate to Easter the year before in Vilnius. I had wondered if the title "Winter Princess" was the right one, and wondered if I should try and find something better, when I was convinced by Easter 2001. Easter was in the middle of April that year and spring had already started when I looked out on Easter morning and every square centimeter of Vilnius was covered with snow that had fallen through the night. It melted away in the course of the day.






John Bjarne Grover
On the web 24 December 2006
Last updated 5 December 2007