Revelation in names

Revelation in names

John Bjarne Grover

This is the continuation of the article 'Revelation in history' wherein I discussed a phenomenon related to the ratio 3/4 in my own and other poetic works. Here I discuss a closely related phenomenon as far as the ratio 1/2 is concerned - the phenomenon of school shooting in USA, which likewise can be shown to relate to my own poetic work. The article also contains some political material of interest, in particular relative to Manhattan 11 September 2001, which could suggest that the ratio 1/2 is of some fundamental importance.

The article on 'Revelation in history' showed that the massacre on the politicians in Nanterre by Richard Durn seemed to relate to my Endmorgan Quartet via the 'historic revelation' of Easter 2002. A closer study can certainly be undertaken of the details of this Easter, in particular as far as my own Endmorgan Quartet is concerned. It can show that the main factors in the historic revelation can be traced to the phenomenon of development of arbitrarity in the sense of unedited and immediate writing. Perhaps one could call it 'confidence in articulation', but I think there is more to it than just that. In my work from 1997, there are the following stages (poems):

1) Attempt to become a member of the poetry society
2) Letter from a woman
3) The lamp
4) 'All the shadows are good'

Here 1) is the last of the series of 'zipped' = strongly post-edited poems which also were of a longer character. I collected my poetic notes through some months or weeks or days and grouped them into fours and eights etc by folding on the mid one, two, three times - and then allowed myself considerable freedom in choosing this or that entry untill the groups were emptied. The order of the groups I selected from was fixed, though, and the result was a text which 'zipped' across weeks or even months. The relevant idea in this sequence of poems could be taken to be that membership in the poetry society should give a more mature and developed poetry with more spontaneity and confidence etc. This 'society' would also have been about 'London Kanaan Zoo' relative to 'Nandan Kanaan Zoo' in India with the dozen of black-and-white royal bengal tigers that died after my email to the pope.

'All the shadows are good' is the first fully 'arbitrary' poem, the lines written in linear succession. It coincided with the concert of 'wonderchild' Midori in London. The two mid poems are the 'parents' and had to be disentangled from each other after they were written. The first stanza (8 lines) in the female part of it is, though, the first lines written in an arbitrary mode. The 'mother' poem seems to be the apparition in Ajmer in India while 'The Lamp' clearly is the easter Veggli lamb. 'All the shadows are good' are probably the shadows on the cupola - on the plaster of Paris.

Now this is also consonant with my idea that Christ has to do with the arbitrarity of natural language signification, as discussed in my 'Epistemes, language and information technology' (part 2 of my PhD dissertation from 1997). Therefore Easter.

The phenomenon of the Nanterre massacre should then be about the crisis in arbitrarity at this point. Could be it also is about a crisis as a social or institutional phenomenon.

There is another case which strongly supports this assumption. It was on 17-20 April 1998 that I came into a temporary crisis in the arbitrarity with a relapse to zipping through three poems. The reason for this was that some recurring parts strongly suggested a zipping rather than an unedited procedure. The three poems were all dated 20 April. One year later, there was the Columbine school shooting, on 20 April 1999. It suggests that it was about the crisis in arbitrarity - which in Christian terms could be thought of as being due to rejection and crisis in mercy. The interval of one year later is the same as for Durn but for another aspect of my writing.

This means that 'US school shooting' is a phenomenon of relevance when it comes to my poetic work. In 2000-2002, I undertook a study of most of the main reported cases in USA and found that most of them exhibited a rather interesting pattern: If I took two cases which could be considered comparable by some feature - such as circumstances, character and number of shooter(s), number of victims etc, and computed the mid point date between them, I found the name(s) of the shooter(s) represented rather precisely in the poetic log of mine for that day - as close to the mid point as one could come under that date. This would be the 1/2 phenomen where Durn would be 3/4.

Here is an application paper I sent to IRCAM research centre in Paris - a place where the study of the relation between musical Pythagorean intervals and social cognition should be of high priority - at the time when I was in the ditch in Paris and badly needed money to get indoors and continue my work under reasonable conditions:

To IRCAM
by Hugues Vinet
1, Place Igor Stravinsky
75004 Paris

Paris 28.05.2002

Project outline

I have a remarkably interesting project which should be the most interesting project for precisely IRCAM. It is about technological control of perception of acoustic signals.

Let me outline briefly what it is based on: After several years of diary studies of my own poetic cognition, with particular attention to the relation between my own inner articulations and my everyday experiences, I started to develop a more systematic and structured "inner poetic articulation" which evidently had grown out of these studies as a form of universal articulation. I started to write them down in the order they occurred, and in the period 27 September 1997 to 26 September 1998, I kept a log of each and every such poetic articulation. I wrote them out unaltered in the original order and self-published them to British Library under the title “The Endmorgan Quartet” (432 pages). They turned out to be parallel poetic texts to four chapters from Luke (21-24).

Later I started to study the phenomenon of US school shooting in the period 1997-2001. The famous school shootings in USA developed rapidly after I started my project in 1997 and seem to have accompanied my own project in quite precise parallel (as a part of the "cognitive revolution", as I call it). The most interesting thing about the US school shooting cases is that they remarkably clearly exhibit what I call the Mid Point Phenomenon relative to my own log of inner perceptions. It is this: When I find two obviously comparable cases of US school shooting and compute the calendarial mid point between them, I find that the middle entry in my own log for that day contains the name of at least one of the protagonists (a shooter) in the shooting incidents. That is the giant discovery. I here illustrate the phenomenon by three cases, but emphasize that the principle obtained in fact for all the cases I have data from. The correlations are more or less good but more than enough to tell me that this is a reality which has been empirically verified by my work with the global poetic muse who represents the first outlines of what can be termed an apparition technology: When the logic is formal, it can be implemented in machines, and those machines will work on apparitions (in the sense of inner perception of what is relevant for what goes on in the global consciousness, such as I had developed for those log entries). This material is what is needed to postulate the revolution in economy and technology which is based on the immediate interface between the individual and global mind-spaces, and which is the real contents of the computer revolution in information technology.

First example: Mitchell Johnson (13) and Andrew Golden (11) shot four girls and a teacher to death and wounded ten others in Westside Middle School in Jonesboro, Arkansas, on 24 March 1998. The case is very similar to the Columbine High School massacre in Littleton on 20 April 1999. The mid point between these two comparable cases is the night between 6-7 April. There are nine entries (nine sentential signs) from the global poetic muse in my notebook for that date. The fifth (the exact mid point) is the following: "conceived of as a synthetic". This line contains exactly the phonological material in their names "Mitchell Johnson / Andrew Golden", and not much rewrite is needed:

ko n siv    d ov     as    ei sinTetik
ko n vis    i dsov    as     ei kiTten
john mitchellson    andru    golden

Second example: On 6 December 1999, a schoolboy shot and wounded (not lethally, though) five pupils at the entrance to a school in Fort Gibson, Oklahoma, a few minutes past eight in the morning. On 24 April 2000, a boy shot and wounded seven people outside Washington Zoo. The two events are similar also by context relating me to USA, for various reasons, and they are definitely comparable. The mid point is 15 August. My notebook for that day contains 28 entries, and the 14th is this: "is what I can count to serve". There was a hunt for the boy who had shot outside the zoo, and I predicted (also in an email) before he was arrested that his name would be a rewrite of that particular phrase. The name turned out to be Antoine Bernard Jones. 'Can count' transforms easily to 'Antoine' (the two K's had to be deleted for various contextual reasons, reflected also in the fact that this was not a shooting at the entrance to a school but at the entrance to a zool-ogic garden), and '[what] to serve' is close to 'Bernard'.

is what I can count    to serve
iz wåt ai kan kaunt   (t)u serv
jaiiz wåt an tuan      bers    + ku
jounz     an    tuan      bern wuåt
              Antoine       Bernard      Jones

Third example: The third case relates to me for contextual reasons, and was a strong support for the general hypothesis by the fact that the name of the shooter responding to the form I predicted before he was arrested, but after the shooting had taken place and was reported in the news. Another case a few days after the previous one seems to have been a reinforcement of this phenomenon, relating to me directly, in the global domain. I had been searching on the Internet for interesting cases of shooting which had some characteristic that made them easily comparable, and I had found some which I printed out and put beside my desk. One of them was a story from 24 September 1997 in Urbana in Champaign, when a man fired against and injured a woman's LEG. It was not exactly top news, but it was mentioned in a local newspaper reporting from the case in court. There were several days or weeks elapsing from I selected this unsensational story from the internet untill 27 April 2000, when a man near Salt Lake City shot two persons to death and wounded three others. It started with the man shooting a woman in her LEG in a car on a hotel parking lot before he went to a Chevy restaurant and continued there. CNN and ABCNews followed the story as it evolved, and before the man was arrested, I picked up the story of the man shooting a woman's LEG which I had printed out earlier. I also sent emails to Poetry Society in London and to Talk Magazine in New York predicting that the shooter's name would be similar to the entry in my notebook for the mid point between these two cases: That mid point will be 11 July. There is only one entry for that day, and that is "so consequently there is time" (with an ambiguous reading as "so consequently there's no time"). After the man was arrested, his name was given in the news and met the predicted form almost perfectly. CNN reported that his name was Quinn Robert Martinez - indeed almost exactly the phrase "so consequently there is time", in particular when the ambiguity with "so consequently there's no time" is taken into consideration. Given a longer or at least tenser vowel and a rather long final consonant in 'Quinn', I move the 't' in 'consequently' forwards and collapse 'enly' to 'inn', and get the result:

so conse quently there is time      (or 'there's no time')
so coenst quen ly ther iz taim
so b erst quinn   teniz mait       (swap R/N, T/M)
Rob ert    Quinn tinez Mart

Given that the name is correctly cited (and is not a joke from the police or news publishers after my emails wherein I predicted the form - but that is of course verifiable), this is one of the most remarkable cases I have seen when it comes to subjective interaction with the global narrative. The mid point was computed on basis of the comparison with a peripheral story which I had selected some weeks earlier from a local newspaper on Internet, and there it must be my personal selection which is the decisive cue. What prompted me to find just this unsensational story when I surfed on the net, I don't know. I then predicted that the name would be similar to the form which I wrote down on that mid point day and published long time before it happened, a form pronounced internally in me by the apparition of the global poetic muse. And the name turns out to be exactly what it should be according to the prediction which I made. The rewrite of the name from Quinn Robert Martinez to Robert Quinn-tinez Mart is also in line with a pattern I have observed in other cases.

So, if the name is correct (and later eyewitness reports do verify it), this case serves as a proof of the reality of subjective interaction with the global narrative by way of arbitrary sentential signification, and can be a proof of the sentential arbitrarity which is required to build the paradise.

It proves that it is possible to construct an apparition technology.

Conclusion: To solve the most fundamental problems of science, I think that there is one and only one project which is the optimal one - and that is one I am into here, in studying the interface between subjective and global cognition. I have postulated that my epistemology solves the problems which drove science theory into an impenetrable barrier in the thirties - when they reached the protocol sentence but could not understand that it had an arbitrary semantics which did not allow for syllogistic reasoning by word-syntactic manipulation. The solution is the internalized universal sign which I am working with here, with a global reference and an arbitrary sentential semantics.

Now this empirically verifiable model with the Mid Point Phenomenon is a great discovery for the field of studies you are into at IRCAM, and should call for more investigation. Simply: It says that history guides (constraints) perception of sound. My model is formal and can be computerized for use in music, in particular in the interaction of music with cultural events (local event structure, global narrative) in general.

I therefore suggest a fast food project (I am hungry and out of money), consisting in me outlining this project in more detail, towards a more extensive theory - based on universals in cognition - on the mechanisms in this perceptual interaction of the individual with the global historic consciousness, on the boundary between working memory and global narrative.

In principle, the theory (by my data) will say that an apparition technology is possible, allowing for incorporation of controllable acoustic apparitions (which means technological control of the inner perception of sound) in music.

Let me add that the global poetic muse and the interaction with the US school shooting phenomenon are parts of my "Pilot study for a poetic science" which I formulated in 1997 and which has been subjected to "heavy attention". The facade of the Pompidou centre nowadays is from that study: Picasso's (isn't it his?) John Grover/Onr Over On Reverse to the left, and Lavinia Greenlaw's reading of her own poetry in Royal Festival Hall (21 February 1998) on the right. In my Endmorgan Quartet, that reading date is the ascension text from Luke. It was in the relation between this reading and the death of Ted Hughes in 1998 that I discovered the mid point phenomenon (described for the first time in "Mandelson and the Poet Laureate", as the 3rd part of the Pilot Study).

These were three of the most striking examples I found. I found a series of less obvious ones, but most of them supported the hypothesis.

I did not get any support for my project. I think I did not even get an answer. Which was nothing new to me - I had sent at least a couple of hundred serious applications in the preceding years and many of them were not even answered. I think there was an aircrash in Irkutsk around the time of my application to IRCAM, or something like that.

Added in 2009:

The above (except perhaps for some update of a few details later) was published on the internet in the above article on 28 December 2006. After I believed that the 16th book of TEQ was completed in 2007 (the three first parts of TEQ #16 were then finished, and as one can see from the below it all looked very complete in the circumstantial details), which was on the same day as I found Midori's recording in a shop in Athens, I made the analysis of the correlation between Midori's recording and the two first parts of the new book and sent it once again to IRCAM in Paris, even if I had not got an answer to the first inquiry. I thought that, well, if this is not exactly what they need then I don't really see the point with the centre. It studies the interface between acoustics and music from the esthetic viewpoint (not really, I suppose, the physics of acoustics) and one can hardly think of anything more intersting for that issue than the data I sent to them. I was not at that time in 2008 aware of the problems with the 'political' or rather 'biz' interests which there could happen to be in the centre - such as the apparent impact which can be spotted in the film 'The da Vinci code' and similar aspects. Is it a coincidence that Patrick Susini now is the chief of the relevant department - after Hugues Vinet had left the post? The name looks like a comment on the apparently swedish pianist ('Patrick S.') above me in Paris in 2003 - and the name Patrick Süskind who seems to have been abused by the 'project' which seems to have its roots in or at least relations to a french rejection of my person after Aure-Osen and Kennedy's car accident in the late 60's - as if it were I who murdered de Gaulle or launched the country into a period of 'T-262'. I should still suppose that it must be a matter of a coincidence of names - simply a 'revelation in names' unless that is too much of a temptation - and that music is more primary than the biz of 'politics' at this centre of research in the interface between music and acoustics.

But I did not get an answer this time either. This could be due to various factors: 1) With only the three first parts of TEQ #16 the book is tough reading at the end of the third part, since it deals with that problem of evil which also was incarnated in Hitler. The book does suggest a human solution in three parts (although I would not go too far out on a precipice after having read only the three first parts) but the apparently unsolvable problem is not really solved without the fourth part which was completed only in 2009 - and which puts the 16th book into the framework of the full work whereby the problems seem to be solved by grace or at least something resembling angelic powers. 2) The centre could feel that it is in a dependency relation of some sort to the apparent british quasi-interests in my book - I hope this is not the explanation. 3) The greek post could have failed to get the book through to the addressee - I do not know if this could be the explanation but notice that the copy I sent in the beginning of May 2008 to the US copyright register in Library of Congress is not yet (november 2009) registered there - which suggests that maybe it never arrived, in spite of registered (or recorded) mail from Athens. 4) The centre or those who read it had perhaps never heard about me and if they have contacted the secret information services they may have got a 100 page report telling about all the politics with presidents and terror and high-level and middle east soup and a list of my diseases and level of 'crazyness', and if the service has been well-disposed maybe they have added a little line at the end, telling that 'he also claims to be the author of some poetry'. Such a report would be about all the madness which I do not want to be associated with and which really is not my world. It is the world of international secret service and politics and not mine. If the current international symposion on global warming in Copenhagen has chosen its location because of my TEQ #14 called "If you're going to København", it must be considered a case of global cultural pollution of potentially alarming dimensions. My book is not even published beyond my own kitchenbench copies! I want to be understood as a poet with a genuine interest in esthetic matters and not as a quasi-hobby politician with Don Quichotte aspirations and clanging armour. The version which can be printed out in the local or national service - or in their own archives of rumour - may be far from what the interests of IRCAM should be. 6) Could be, in addition, that my writings due to international propaganda tend to be sorted under the category of 'zwischenpapier' - which would be the wrong conception.

Whatever be the explanation, here is the letter I enclosed with the book I sent to IRCAM in Paris on 9 May 2008. I emphasize that the book since then is completed with another fourth part containing 16 poems - which it took another four and a half month to write and which of course totally disturb the fine temporal system I had reached in March (a 3+1=4 temporality against 15+1=16 books which could be a matter of artistic vanity unless it can be seen to establish a certain recursive effect on history and certain mathematical constants - I think I computed a temporal 'e' from the last 16 books). I should also add that I am not making too much out of the idea of Midori as a 'Beatrice' - the project is serious and not mythological gags - it was added mainly for the idea that I had also been into IRCAM on my way in 2002.

To IRCAM, from Athens on 9 May 2008:

Enclosed is a possible breakthrough in the study of the poetic logic in music. The book "I tell you, Estunates" is a running poetic parallel to Midori's recording of 'two sonatas' - Bach and Bartok - published in November 2007: I sent her a poem ("All the shadows are good", p.208) which only today can be understood as a 'contents overview' in advance of the complete work which I wrote in the following years up to the present - some 1700 poems in succession, defining 16 poetic functions. Since that was the first poem and I wrote it on the day of her concert in London, she was declared the Beatrice at the beginning of my poetic wandering up through the functions. It took me 3000 days to write the first 15 books and 1000 days to write the 16th. When it was finished (on 5-6 March 2008), I found Midori's new record on 7 March - and there it was, the last rounds up to the final peak in parallel with my poetry. I had to adjust a little in 2002 (with an analysis of Acts 10, p.206) but otherwise there has been no contact. When the works are completed, it is possible to show that there is a very close connection between them which allows for the definition of a formal semantics in the relation between muse and poet beyond the level of signals. The hypothesis is that this formal semantics of music and poetry is what is needed for constructing the technology for sending information through the universe without being bound by the speed of light. My 'Endmorgan Quartet' consists of 16 books for 16 poetic functions in the current edition of about 800 pages.

I hope the book will be published by an ordinary publisher. In the mean time, I may make some copies by hand now and then. You can keep the present copy in your IRCAM library if you want (and if you have a library - I suppose you do).

I recommend the last movement of Bartok (Midori: 'Bach and Bartok Sonatas', Sony Classical 82796977452) in parallel with my book pages 135-162 if you want to have a feel of the poetic logic. The timing is at the end of the book. The poetry is written entirely without knowledge of the recorded music and vice versa but it is the end of the project which started with 'Beatrice' in 1997 and gradually converged on this 16th book in 2008.

The day when I sent the first copy off was also the day when the terribly cyclone broke out in Burma. I don't know if you do any research on things like this, or if the poetic logic in music is of any interest for you. It should be, though? You can of course send me a letter if you find it interesting. The examples I have mentioned of 'poetic logic' in the postscript is only a very faint beginning and there is of course a lot of work to be done to understand the deeper aspects of the logic.

Best wishes,

John Bjarne Grover
PO Box 3518
10210 Athens
Greece

www.geocities.com/johnbjarnegrover

PS I made a stop on the walk also by you in 2002, see www.geocities.com/johnbjarnegrover/ revelationinnames.htm. I did not get much support when I was in Paris in 2002 but I did get a pension at the end of that year and is therefore no longer in desperate need of money.

(The URLs are now in the autumn 2009 changed into www.johnbjarnegrover.com and www.johnbjarnegrover.com/revelationinnames.htm - the present article, that means, and I also included a paper printout of the above letter I had sent to them in 2002).

I found on my computer also the following letter to IRCAM - I cannot remember now if I sent it or not, but would be inclined to believe that I did not, even if I could have sent it in order to avoid reinvoking the feeling of another 'rejected application', not the least since it is not permitted for such an institution to reject an application like this if it had been conceived as an application, and I could not carry the burdens for such a blunder. That is also a part of the reason why I do not submit my books to publishers but hope that a relevant publisher rather will contact me. Here is the text:

Athens 31 May 2008 - On 9 May I sent you a letter with my book 'I tell you, Estunates' and copy of a project outline from 2002. I wrote that you could send me a letter if you do research on these things and if you find it interesting. It was not an application. Please keep the book, of course. I would very much like to live in France and that is not the reason. It is rather that I am only now disentangling myself from the framework of the academic affiliation since about 1995 or even 1992 and cannot take the chance to be 'academic' for another 16 years.

The last 16 poems, the last fourth of TEQ 16, were completed on 21 july 2008 in my notebook and I transcribed it into my computer on 1 august 2008. In november 2008, nearly 6 months after my letter to IRCAM that was, I made - writing on my home computer, which could have been tapped by international secret service - the discovery of the hebrew parallel text to my novel 'The Dreamer'. On 25 november 2008, I wrote a letter to the norwegian pensions office with inquiry about payments in foreign currency - the sinking value of the norwegian currency NOK relative to euro (after the US bailout of 800 billion dollars after I had moved to Venice) had made my pension less worth when paid in NOK and one could speculate if this was the reason for the bailout, and it seemed that the NOK just kissed the value of euro with a 10.00 exchange rate before it started sinking (which means rising in value) towards 9 and 8 again - and I wondered whether they had a system with payment in foreign currency with a fixed monthly sum, also since that could be valuable for the norwegian economy - the norwegian currency seems to follow the US dollar. I think I wrote the letter in the evening of the 25th, and I recall that I was in good spirits because my discovery of the hebrew parallel to the novel had worked out so well - which means that I had been working with it probably already for some weeks or at least several days at that time. The discovery made a connection (not 'klipra' = 'scissors off', but perhaps another) between the novel and the books 13-16 (including the last 16 poems) of The Endmorgan Quartet, since it was the same parallel text. I could make this analysis in 2008, 13-14 years after the novel was written, only when finally TEQ was completed. The next day, on 26 november 2008, there was the terrible attack on India Mumbai, on more than 10 locations in the city, leaving 173 dead and 308 wounded. (I became aware of this terror only one year later when I saw a newspiece about memorial one year later - and this was also soon after I had discovered the apparently systematic function of the date and I had received the news of the withhold tax). Modern Language Review for October 2008 contains 11 titles and an 'extra' article "Venice's European Diaspora: The Case of James Leoni (1685-1746). By John Woodhouse" which could correspond to the Mumbai attack on the jewish centre Nariman House. There are traces of the other targets in the 11 titles of MLR October 2008, which contained the following article titles, to which I have added the main targets of the terrorism in Mumbai on that date 7 years before the essential 26 november 2015:

x. Venice's European Diaspora: The Case of James Leoni (1685-1746). By John Woodhouse = Nariman House

1. The Earliest Known English Ballad: A New Reading of 'Judas'. By John C. Hirsh = explosion in taxi in 'Wadi Bunder' = Badi Wunder = Ballad Judas (?)

2. 'For my synne and for my yong delite': Chaucer, the Tale of Beryn, and the Problem of Adolescentia. By Ben Parsons = Badruddin Tayabji Lane behind Times of India building

3. 'I Will Not Weep': Reading through the Tears of Henry Mackenzie's Man of Feeling. By Ildiko Csengei

4. X Marks the Spot: The Place of the Father in Chrétien de Troyes's Conte du Graal. By Irit Ruth Kleiman = St.Xavier's college

5. Violence: A Touch of Anxiety among the Narbonnais? By Lucy C. Whiteley = Cama and Albless hospital

6. Michel Tremblay's Experiments in Naturalist Theatre: L'Impromptu d'Outremont and En circuit fermé. By Michael Cardy = Chhatrapati Shivaji Terminus railway station

7. Satire and Social Commitment in Tabucchi's L'oca al passo. By Joseph Francese = Leopold Cafe on Colaba Causeway

8. Zoophilia and Zoophobia in Miguel Delibes's Las ratas. By Jeremy S. Squires = Oberoi Trident at Nariman Point

9. Luise Gottsched the Satirist. By Hilary Brown = explosion in Mazagaon

10. 'Mich in Variationen erzählen': Günter Grass and the Ethics of Autobiography. By Rebecca Braun = explosion in taxi in Ville Parle

11. Focalization in Pushkin's Eugene Onegin and Lermontov's A Hero of Our Time: Loving the Semantic Void and the Dizziness of Interpretation. By Andrea Lešic-Thomas = Taj Mahal Palace and Tower near the Gateway of India

Could be title 3 could be the Nariman House jewish orthodox centre - while the 'extra' article would be a way of refering to me and my computer's location. As is seen from this correlation, the terrorist targets and the titles are only vaguely relevant - which could mean that the terror could have been designed after the periodical was issued. October 2008 was the first issue of MLR after I had completed the last 16 poems under the title "Trident and the leak he was - the star". I have not studied the articles and the targets of Mumbai enough to conclude that these were planned in advance of the october issue. The terror was (according to the single terrorist who was captured alive) carried out by 'Lashkar-e-Toiba' - a terrorist organization which, according to an article I read on the internet, do suicide terror jobs for those who pay for it. Which means that it could well have been Downing Street 10 (their secret service, that means) who had contacted 'Lashkar-e-Toiba' and paid them for the job. I have earlier speculated that the group could have been established at the time when I wrote on a Toshiba laptop - hence 'like your Toshiba'. One could speculate that the attacks on Mumbai, if they were not planned and correlated with the issue of MLR, could have been selected on the map according to the names of locations which had some similarity with the titles in the october issue - and if that were the case, then it could have been about my discovery of the parallel text to the novel earlier in the month.

However that be, in november 2009 I was notified that the state of Norway had imposed a withhold tax of 15 percent on all pensions paid to people living abroad, which means also my pension. The administrative work with this 'withhold pension' (called 'kilde-skatt' = 'source tax' in norwegian) started apparently in early 2009. It means an overall cut of the pensions with 15% - which could be interpreted as 1) a 'Klipra connection' ('klipra' means 'scissors off') and 2) the hairdo which is called 'bolleklipp' - as if one puts a kitchen 'bowl' = 'bolle' or 'jar' sort of on the head and scissors around the edge - the world 'bolle-klipp' can be recognized as 'Boulez Pierre' ('klippe' = 'cliff') = Pierre Boulez who founded IRCAM in 1976 after he had been chief conductor of the british BBC symphony orchestra 1971-1975. One could speculate that England had a role to play when Norway was declared a new state after Napoleon in 1814. Had the danes 'applied' for the liberation of Norway (under danish government - a part of Denmark, simply) by giving jews civilian rights on a par with other danes? Or had the liberation been planned long ago by british fictional authorship of a medieval fantasy kingdom in a glorious past, a sort of Tolkien world in the far north - in a desperate british attempt to solve the problems after (as goes the hypothesis) Satan could have revealed himself in Nottingham in the 17th century or even earlier - and the era of old norse vikings was planned to have about the same historic value as the era of the early christians or Robin Hood? (Could it have been in June?) See Bergman's 'The devil's eye' which seems to be about this theory of a revelation of Satan in Nottingham as a historic background of WWII.

My 16 poems in the last part of TEQ could have been targeted with the 11 article titles and terror targets in Mumbai for the TURN in the 11/16 ratio. Or a sort of diagonal over the [re]view - for hijacking my work.

We must only hope that the current international symposion on global warming in Copenhagen is not an international support rally for Lashkar-e-Toiba - cp. my title "If you're going to København" and the norwegian word 'ifjor' = 'one year ago' - or for cultural pollution and the UK/US war against poetry and intellectuals generally. How on earth is it possible that people just stand there watching while England (with their state church traditions) whips up a WWIII starting from 26 nov 2015 - the Mumbai attacks against India would come in addition to the bombings of Moscow and China and very much else - as tells my analysis of MLR - there is apparently not a single mention anywhere in media available to me that it likely would have been England who paid 'straw-jacking' terrorists for the attack on Mumbai (the name of 'Jack Straw' seems to have been at the end tip of a calendarial telescope of factor 1 with terror on the joints zooming in on the UK general election 2001 and the name of the new foreign secretary pronounced the day after), and as long as nobody protests against that 'foreign policy', the world slides agains the new global crisis which would serve to lend even more global confidence in the moral integrity of that state-and-church wellness philosophy. One would of course guess that England needs support from USA for this policy. When the terror in Mumbai was after the US election of Obama but seems to have selected targets which gave it a shade of being planned in advance of the election, it attaches also to that election of the US president - and it is well possible that the soup is cooked by way of my authorship.

Some days or a few weeks before the meeting in Copenhagen, there was a book published in Italy on 'Fazi Editore' by an Oscar Caplan: "L'ipotesi di Copenhagen". I have not read it but it is presented in the genre of Dan Brown (da Vince code style, probably). I don't know if it is possible today to make a computer transform of my book by way of a 'novel writer' program and I have no reason to believe that Caplan's book is such a transform of mine. It is the title which is telling. The book is allegedly written only in italian - but the author is english or american. My 'Copenhagen' book contains a very strong theory or hypothesis on the nature of human language. The publisher have another book (same genre, I think) on their list and presented these days by an author by name 'Zoran Drvenkar' called 'Sorry'. (I recall I once met a 'Wenche' who told me that she was on her way to witness an open skull with the dizzy brain as part of her education). There are two important break points in my novel 'The Dreamer' (which the Mumbai terror could have been about) and those relate partly to the hebrew parallel text and partly to the collection of car numbers in the novel. The first break is on page 385 and corresponds to the end of the second part of TEQ 16 (up to the end of the parallel with Midori's recording). The novel continues immediately after this break point: "I then went out to take a copy of Cook (1986): 'The brain code'". The other break point is on page 438, at the end of the collection or 'recording' of car numbers - after the last car number had been recorded. There follows very soon after this, on page 439: "I was out copying Werner & Caplan (1963): Symbol formation". This parallelism in the text could in principle have been the background of the two titles of Fazi Editore - by 'Drvenkan' = 'The brain code' and 'Oscar Caplan' = 'Werner & Kaplan'. (I lived in Oscars street in Bergen when I was taken to the psychiatric hospital in 1999). 'Sorry' for the copying, the 'car' numbers etc. This of course makes it relevant to wonder if Caplan's book could be a 'copy' of some sort of either my novel or poetry book. The book by Caplan is presented as a 'trhiller' - I recall I saw the 1981 film 'Aiutami a sognare' along with Hiliry Harvey whom I think sang in the film or at least had some connection to the music there.

My books should have been published - it is 'not permitted' to reject this sort of book - and therefore, when nobody helps me find a publisher for them, other books are published instead - with 'similarities' of various forms . It is a very unfortunate sort of interest which my work is met with. This sort of culture is clearly what the 'nazis' (which seems to mean 'Britain', according to the evidence in MLR 1923, 1941 etc etc) plan to use for making the new global crisis. Then why should it be left to little me to tidy up in it?

If Fazi Editore publish these books on behalf of english interests, the purpose could perhaps even have been to create the idea that e.g. Venice could be rescued from a 2015 threat against the landmark by directing this interest towards me - sacrificing the 'Jesus' for the others or something like that. Which would be in the british (which is a royal country!) interests for keeping it going with support in Italy for the british initiatives as long as possible.

Why isn't there anybody helping me with these problems of enormous importance for the future of the world? Demonstrations against political summits or conferences with tomatoes and vague double-talk or slogans against lodern ranguage meviews and things like that does not help - that could well have been arranged by England themselves. Or to give a speech starting with a hidden allusion to a link between MLR and some terror may feel powerful - but that is only the power of the terror untill it is spoken in explicit and unambiguous wording. One can say anything which is a fact, and if one has not facts but only beliefs then one can say what facts the beliefs are based on. Nobody was ever insulted by that. A reference to 'lodern ranguage meviews' is much more insulting.