Spindlegger and Kurz

Spindlegger and Kurz

John Bjarne Grover

The article builds on the material in mainly this file and its continuation in this file.

Michael Spindelegger - I do think I have seen the name spelt 'Spindlegger' in austrian newspapers, but it seems that the proper spelling is with 'e' - then chief of 'Österreichische Volks-Partei' = ÖVP - was vice chancellor to 'Sozialdemokratische Partei Österreichs' = SPÖ chancellor Werner Faymann untill he (Spindelegger) suddenly and unexpectedly resigned on 26 august 2014: He had then been vice chancellor for 1223 days.

What is 1223?

If this resignation of Spindelegger - an important chapter in the modern history of ÖVP - according to assumed functionality relative to me, and apparently based on the role of 'Auschwitz' as 'USA-witz' as well as 'Visthouse' of Bjarne Eidsvig (who could have been Adolf Eichmann during the war) (and one notices that the Beirut bomb of 2020 could have served to index this photo in 'Romsdalsmuseet Årbok 2001 page 117) - likewise is supposed to be found in cartoons in the periodical The New Yorker, it should be found in the issue of that periodical that was 12 years, 2 months and 3 weeks = '1223' before his resignation.

That means the issue of 2014-12 = 2002, august minus 2 months = june, and three weeks earlier = 26-21 = 5 - that is, 5 june 2002: There is an issue of The New Yorker for 3 june 2002 and I look up the cartoons there. In the 2004 collection of the complete cartoons 1925-2004, these are #371-385 for the year 2002. I discuss them in turn here - on basis of the limited data and experience available to me.

It seems from cartoon #383 that the political plans referred to could have been based on my book 'The Endmorgan Quartet' - books 1-4 - which was completed in 1998. Could be there could have been some background also in the publication of the third secret of Fatima in 2000 (see quote below from my 'Pilot Study' dated july 2000). When this issue of the periodical The New Yorker was published on 3 june 2002, I was in the ditch in Paris - after having suffered what probably was a brainstroke on the cortex of my left hand on my younger official sister's birthday 23 february 2002 - the day of the news of the abduction of Ingrid Betancourt.

The 15 cartoons of this issue are the following - and I interpret them from the point of view as to whether the name of Michael Spindelegger by his resignation 12 years 2 months and 3 weeks later could be seen as preheralded in this series:

Cartoon 1 = #371 - The devil's seed or egg = 'michael spindl-egger': It could (see also discussion below) have been my TEQ books 1-4 which was intended as this 'devil's seed or egg. 'Legs-horns four' = 'The Endmorns Quartet'?

Cartoon 2 = #372 - spider's threads between the eggs/dots - could be the spin that makes the spider's net. (By the way, 1500 euros were stolen from my wallet when I was hospitalized in Venice).

Cartoon 3 = #373 - the hoist in hampers calls: 'my call spindel egger' is what prompts the utterance from the woman in the car. Cp. also the 'drar-li heb-do' associations to cartoon 6 below.

Cartoon 4 = #374 - micheel spindel-legger - the artificial 'spin' or parachute in the 'mighty reel' of the flyswatter

Cartoon 5 = #375 - the call is for dropping a coin - 'my call: spin De legger' = 'my call: spin you lay/put' and it will become something. The text on the beggar's paper is 'never worked in this town again' which perhaps could be interpreted in the form of my name propeller-chopped from Joh-n Gro-ver via 'onr-over' down to 'nowhere' or 'n[e]ver' who then could have worked in this 'Tone Gain' = 'Tone Grøver' after the brainstroke on her birthday earlier that year 2002. Is it the plan to claim that I had stolen the book and that it was written by Tone Grøver? Or even by the one who triggered the laser beam that could have triggered the brainstroke. And look what happens to the one who claims that he has written the book - a beggar on the street! Looks not so promising.

Cartoon 6 = #376 - my deals spindel legger. The boy has perhaps said: "Daddy, they say that you do not make real things at all" - to which the daddy responds "Yes, I do make things, son. I make things called deals". 'Deals' = 'chals' = 'Charlie Hebdo'? Tone Grøver has published a children's book called 'Historien om Charlie' = 'The story of Charlie'. In 2002 - I do not remember the time point with precision but I think that was perhaps after I had got the pension - I received a postcard from her telling that she would be coming to Paris for location studies for her next book. See this file for some details on the attack on Charlie Hebdo (search for 'hebdo') as potentially present in The New Yorker 12 years 2 months 3 weeks earlier - that would be the issue for 28 october 2002, which means just a few weeks after the issue of 3 june 2002. If I got the postcard after I had got the pension, it would have been a few days or weeks after the issue of 28 october 2002. This 'story about Charlie' - here in terms of the bloody attack on the premises where they made the Charlie Hebdo - could then be seen as somewhat linked to the hypothetical laser beam that could have been the 'divine inspiration' from heaven that triggered the brainstroke that paralyzed the 'heb-do' of my left hand. There was still some 'heb-do' abilities left in the right hand - and the left has recovered remarkably (the control presumably being relegated to other parts of the surrounding cortex), but of course such a brainstroke reduces the functionality considerably. But to claim that I had organized the attack on Charlie Hebdo in Paris on basis of 'divine inspiration' from the sky or neighbourhood - say, meaning an act of 'revenge' if somebody else had claimed to have written my work - would not be right. There are some apparent traces of what could be seen as a preheralding of a laser beam onto my brain in the issue of Modern Language Review for january 2002 - that is, before the death of the princess, before the abduction of Betancourt and before my brainstroke.

One guesses what could be the plan - to wait untill I have completed my work and then launch claims that it is written not by me but by somebody else - could be for a political program that tries to see an identity between terror and my poetry - could be on basis of that oldfashioned misunderstanding that this is what Rilke has in mind in the beginning of his first Duino Elegy (line 7): "Ein jeder Engel ist schrecklich". The text to this cartoon 376 'Yes I do make things, son' could then, on this background, be seen as related to ideas of 'yes, I Hebdo, son - I make things called Chals' - hence something like 'yes, I am the organizer of the attack on Charlie Hebdo' (or maybe 'yes, I am its editor') - in the sense of making claims of being the author of The Endmorgan Quartet. 'Yes, I have two son[s]'?

Cartoon 7 = #377 - michael spindlegger. My call ('professional driver') spin-dregger ('in a closed course') - could this even be in reference to the death of princess Diana - who had two sons? She died when her car driven by the professional driver (also an able pianist, tells the internet) called Paul Henri crashed into a pillar in the subway of Pont d'Alma just at the foot of the Eiffel Tower. Is 'flying dutchman' (not 'flying tiger') another association to this cartoon - about a 'dutchman' who is 'flying' (after some 'relax') down from the Eiffel Tower to meet its fate at the foot there? But the person in the back of the flying 'dutchman' car looks like a male and not a princess Diana - in fact he looks even like the driver himself. I recall Henrik Sinding-Larsen in Oslo telling of his contacts with Henri Paul, I think it was, or was it the same name Paul Henri - the french philosopher. 'Han Ripper' could be an association to the brainstroke and its 'inspiration'. In fact the princess Diana died soon after I had sent an application from London to the norwegian research council in 1997 - it turned out that the application allegedly had not arrived and I had to send a copy. 'Two sons', so to speak? But to claim that I was the 'hand ripper' behind the death of princess Diana would be a mistake, even if it would be right to claim that I had written the application and the copy of it which I sent later. Halvor Stenstadvold was chairman of the research council - and chief of Orkla ASA - a business name which could be recognized as potentially relevant to the Oklahoma bombing - the biggest bombing in US history - which seems to have served to lend punch to the rejection of my early book submission to John Benjamins - reviewed by Michael Noonan. Hence cartoon 7 could serve to circumscribe the idea of the death of Lady Di at the foot of the Eiffel tower - as if considered by 'application' of mine? Death at the foot of the Eiffel tower is a normal association to suicide - competing perhaps with the famous suicide place Beachy Head in England: The fallout that took place soon after I had completed my dispatch of TEQ books 1-4 including letter to the Poetry Society in London likewise had taken place well before this issue of The New Yorker. See photo on front page of The Times 12 january 1999, the text telling of it with details of how it happened.

Cartoon 8 = #378 - the two comments from the couple in the sofa sounds like texts constructed from permuted spellings - say, if 'DREAM PARENTS' is read backwards by the standard permutational scheme 1-4-5-8-7-6-3-2 (such as discussed in my 'Time and the sonnet' of 1999, later included as chapter 5 in vol.4 Part 2 'The theory') it could come out as 'Sir Mr.Deep Ratch' (I had completed and self-published TEQ book 10 'A deep ratch' before I left Vilnius in 2002): A 'ripa dutch' could be the idea contained in the previous cartoon 7 - 'relax, sir' before the flying dutchman lands at the foot of the 'tower'. If so, this cartoon could serve to suggest the permutational spelling principle for the following cartoon 9 as well. An interesting peculiarity in the present cartoon 8 is seen in the last word of the two talking bubbles: Her comment ends in 'Whenever' while his ends in 'Famous' - and indeed Michael Spindelegger was vice chancellor for austrian chancellor 'Werner Faymann'. Hence 'my call' for 'later mysteries' in such 'spindl'-permutational 'deep structure'?

Cartoon 9 = #379 - If one follows the permutational scheme (backwards) suggested in the previous cartoon for the name of 'michael spindelegger' similarly permuted it comes out as 'mha spdl ger genileci' = 'my spit/spid/spindl legger gemilch i': Hence this cartoon could be suggestive of the idea of the apparently preheralded resignation of Spindelegger 12 years 2 months 3 weeks later, when he was 'fired' by history 1223 days after he had started his vice chancellorship, for whatever reason. 'My spit legger gemilch i' suggests 'my spit puts milk in it' - as if it were a woman ejaculating or 'firing'. (Notice, by the way, also that Ragna Grøver was my custody mother whose milk probably mixed with my spit). Brain cells 'fire' or 'fire not' - they are 'digital' in that sense of it, binary on or off - when impulses go through the nerves via the synapses. It is assumed that continuously scaled impulses do not go through the nervous system. Would this be about the brainstroke I suffered some months before this issue? What went through the brain in terms of the bleeding was perhaps a 'continuous' impulse. Could be, therefore, the second reference (in addition to the firing by history of Spindelegger 12 years later) would find a co-reference in my brainstroke 100 days exactly before this issue of The New Yorker. Who fired? Who triggered a potential laser beam - or gave the order to fire Spindelegger?

Cartoon 10 = #380 - Applying the same rewrite principle onto 'my spit/spid legger gemilch i' (of the previous cartoon 9) one gets something not far from the text to this cartoon 10 = 'I dont get paid enough to speak up' - and applying it once more one could come close to something like 'pae o(u)t no di te no id ts pae ugosk' suggesting the scene of the cartoon: 'pay out now the ten quids/weeks payment/på-kiosk'. This 'my call for the penger-legger' could be seen as a general joke on the role of the POET - that is, the one of LIRE-ix = call for (italian) money, that is, a penniless person who needs money now. The poet par excellence, at least in Austria, is Rilke. See above for cartoon 6.

Cartoon 11 = #381 - This cartoon could be seen to have one single main theme = the SEASONS, which is often considered more or less identical with POETRY itself. (The Poetry Library on the South Bank in London is, as far as I know, really called 'Seasons Poetry Library' or something like that - they have been important to my work by accepting my self-published works). It would be that the season of the spring calls for life to burst forth in the eggs = 'my call spindel egger' or something like that. ('This is the baseball season' - search this file for 'hebdo' and notice the cartoon found there - it tells of just 'baseball' - and the woman in the doorway would be just in the position of the little girl on the lap).

Cartoon 12 = #382 - 'Butcher' could suggest 'Rucher' = 'Rilke,R.' - whose SIEMTE (rewrite of MEATS) = SIEMTE/SIEBTE ELU-DORP suggests the SIEBTE ELEGIE. 'But-share' could also be about an insect's 'facetted' eye - suggested by the permutational interpretations in the previous cartoons - who undergoes a 'mystic transformation' when two mirror-symmetric halves enter into a mystic union on a higher spiritual level when the one 'but' is folded over onto the other. The idea here could perhaps be that this is how the spider's or insect's mind conceives the world seen through its eyes.

Cartoon 13 = #383 - The cartoon could be telling of an inner poetic articulation (to the folks on the brink of an Eiffel tower or a Beachy Head) - a la Caravaggio's = Car-a-watcho's 'Calling of Matthew? 'J.P.' for such 'financial' stockmarketers could traditionally mean 'J.P.Morgan' - and hence my own 'Endmorgan Quartet' and its inspirational sources. 'J.P. will be joining you by speakerphone' could be about this higher spiritual level of the mirror symmetry in the insect's or spider's eye if 'J.P.' means my Endmorgan Quartet and it here folds over onto itself as the mirror symmetry - cp. also the window structure in the complete work of 16 books - a phenomenon, though, which appeared much later and which adds much empirical value to the necessary conclusions from book 14 that the book cannot have been written by inspirational prompting from the international secret intelligence services or its related political interesters but necessarily has its inspiration in more spiritual, universal or divine origins. I notice my TEQ #620 - a poem of TEQ book 10 'A deep ratch' (in the first part called 'Piratus' - out of a total of three parts in that book) which starts as follows:

TEQ #620
Exodus 17:15 ויבן משה מזבח ויקרא שמו יהוה נסי

(My books - 'The Insect')

Many of the friends of Agrippa, the Eisenkorn -
three is in many respects
answering to the law.

I'll explain it to you at least:
High up in the air -
and there is not much place in the middle -

Notice that the hebrew word נסי in german is translated 'mein Panier': The word 'Panier' means partly (neutrum = 'mein Panier') 'banner, flag', partly (feminine 'meine Panier') the crumb-based bakerware stuff which fish fingers are rolled in: This could have been the reason for the mass shooting site of the holocaust at Paneriu (search 'Paneriai') outside Vilnius.

There is a Grippe running in the form of Covid-19 these days.

Could be 'speakerphone' of the cartoon is simply meant to mean 'Eisenkorn' (cp. the 1223 of the Eisenhower doctrine) - here the idea of shooting them down from the shelf as a case of 'in-spir-ation' - there was also a story recently about a man shooting asians in Atlanta. The 'spir' of Notre Dame fell down in the 'down-grading' of it. 'No tre-dame' = 'something wooden lady'. 'Spiker' is norwegian for 'spike', 'nail' of iron.

The 1998 edition of the first four books of TEQ starts as follows - which perhaps could be the bakground of the cartoon 13 (see also the 3-4 legs of cartoon 1):

This is a book about time. It is a quartet consisting of three parts: Books 1, 2 and 3 in parallel to Luke 23, 24 and 22. In addition, it contains a fourth book, in parallel with Luke 21, which is a miniature quartet consisting of three parts, plus a supplement.

Cartoon 14 = #384 - misspelled Caesar = GIe-sar = Dorp-sar (by cartoon 12) which then reads backwards RASPROD which suggests G-LAsBRÅT (broken glass) = G-Labråt-en. Hence 'Frau Grøver'? I recall also some stories from the second half of the 1980's about 'broken glass' on the ground - this could have been at the time when I started getting problems with walking relaxed in Oslo and frequently had to stop as for waiting for regaining synchronization with history. If the theory be right that I suffered an injection of horror chemicals in Hammerfest in 1959 (age presumably around 18 months), the issue would have been somewhat fundamental to my youth and upbringing whether this was an accident or a willed intention (by what would have felt like 'pure evil') from the caretakers. Naturally, if this were the story, I had to believe throughout childhood and youth that it was an accident. (The official parents - whether 'dream parents' as in cartoon 8 or not - have admitted that I suffered such an apparent 'asthma attack' that nearly claimed my life, but they said it was my own fault since I had swallowed a nut which I had found on the floor). A theory on the condition I developed around 1988 was that I had been subjected to exposure of what could have been willed imitation of the environment in the room where the injection took place in Hammerfest 1959, in which case, if that were the story, the old theory of an accident would have had to dissolve and I had to realize that it could have been a willed act - in which case parts of the intermediate history would have had to be reinterpreted. During this period in the late 1980's I also developed problems when stepping over fragments of broken glass on the ground - if that happened I had to go back and go around them instead. One day somebody had made fun of me with putting out such broken glass (G-LAsBRÅT) in a dense line across the lane where I used to go - and I was left standing without being able to transgress it. This was not far from the workshop of a ceramist friend of mine who had made candlesticks for a company's christmas presents for their employees and I got one as well. This candlestick I later recognized as quite similar to the sculpture in a flowerbed just outside Wien Stadthalle which I pass on the way from my home to the PO Box - just before I come to MOERINGG.. It also shares some features with the (palm?) tree trunk behind the lefthand man in cartoon 5. (In fact a queue outside Wien Stadthalle would be approximately to this line of (late 1980's) G-LAsBRÅT such as the candlestick sculpture of today would be relative to the ceramist's workshop then). What would the 'improperly hyphenated veal osso-buco' be? Well, for once, it could (in cartoon context) mean an 'improper' erection ('hi-pen') from a 'calf' - but on the background of this 'candlestick' sculpture and the complex with the (hypothetical) PTRSIM PIK status of Dylan Thomas it could perhaps also mean just this sculpture outside Wien 'Stadt-halle'. The sum total of this could perhaps have been a reference to my climbout of the window of my room at age 14 (in 1971) without clothes and with erection on - which, if there were surveillance, could have been the theme of the day. Could be that would have been just the theme - that it would not work out well if there should be surveillance of my private life.

Cartoon 15 = #385 This completes the cycle if one assumes that the Sunday Times goes for 3 dollars = Na-2-lewice (2 sons?), per section 25c = PTRSIM PIK - that is, the structure is called NATO as PTRSIM PIK on the polish map. Could be NATo and PTRSIM PIK are supposed to fold over in a mirror-symmetric structure to form a unit on higher level.

'In a perfect universe' rewrites by the above permutation to 'eevut frani peec nirs' - suggesting perhaps the 'UPC Infrastruktur', the sign which hung on the door on my return to Zinckgasse from Venice on 17 october 2018. It seems to have led to a serious retention of mine - culminating in the hospital stay in Venice for 47 days in 2018-2019: Since the day of 18 october 2018 I have not been able to let the water out in normal ways. NEWS --> SNEW = my retention. 'Snue' is norwegian for 'a cold' (the disease) - often caused by coronavirus although not necessarily the type which has been roaming the world recently. If you 'SNEW' = 'snu' = 'turn around' the dollar sign, you get a '2' overcrossed -a sort of 'na-2-lewice'.

Sri nceep i narf tuvee = Sri Lanka in Narb to be = the Sri Lankan bombings of Easter 2019?

The standard kiosk (cp. the 'id ts pae ugosk' of cartoon 10) in Norway is called 'Narvesen' (cp. 'Narb'-esen) --> nevan rvse = never neroverse = never 'on yar nerover'? Cp. cartoon 5 above.

Hence one can assume that the series of cartoons concludes on the 'Gryfice propeller' - which could be seen as related to or imitated in the Zinckgasse structure, in which case 'Gürtel burnout' could be that 'GRY-FISE'. Schweglerstrasse police car crash could then be the 'Orzeszkowo' for the 'øre-B-rusk-owo' for that assumed 1957 situation with my newborn and exposed brain with (as goes the theory) John F.Kennedy present for masturbation on my cortex. This historic moment also seems to be the archimedian turning point for the austrian 'ÖVP' via this function of the cartoons of The New Yorker ('USA-witz' for 'Auchwitz')

This explains my location in Zinckgasse in the nave of the propeller, It certainly is not the right place for me to live - or, rather, it is of course the political program that is not the right thing. One could speculate if this could have anything to do with the pandemic 'Grippe' going nowadays.

'Sebastian Kurz' could be a name for that abrupt ending of Spindlegger's career. Meaning 'mentioned in the will of Buckingham' like that brainstroke of 2002 after the death of princess Margareth?

The 'program' could (as suggests the above discussion) be that inner poetic articulation of the prophetic poet (me) who then is taken to constitute the core of a new religion potentially attempting to define an identity between divine powers and royal (Buckingham?) 'majesty'. That certainly is not my program.

The current complex of cartoons from 2002 seems possibly to be related to or based on my The Endmorgan Quartet (the first quarter - 1998) - including the idea of the third secret of Fatima. But there is no real basis for any such political affiliations in my work.

A possible solution to these problems could be to have ÖVP outlawed - because it seems to be based essentially on abuse of one single private person - apparently me and my poetic work. If it also be concluded that my residence inside or outside Austria seems to correlate with the mortality in the pandemic 'Covid-19', that could add heavy arguments in favour of the view that the party could be outlawed also for the sake of the general health and other (not the least economic) interests of the global society.

Clearly such heavy mock-mob abuse of my TEQ as the above series of cartoons seem to constitute could also be a part of a background of covid-19. Should the mock-mob really have gone the other way somehow - not on me or my work? It must be realized that if scapegoating (such as PTRSIM PIK seems to be about) is the political program, it is not something which really deserves respect - it is a very mean and primitive attitude and not something for a developed and civilized society.

Cartoon 15 tells 'In a perfect universe' - my poems lost in Barnabiten church included a series of poems called 'The perfect place' (which I had written in Italy). It was when I some time later tried to find the rucksack with the poetry notebooks in the 'Lost and found' office in Vienna that I became aware of a poster in the reception there announcing a reading of poetry that would take place some time later - it was called 'Die Zeit und wir'.

Some concluding remarks

The brainstroke of 23 february 2002 could have been triggered by a laser beam - and, if so, it could have been about a comment on opening the will of Buckingham princess Margareth - it could have been about a joke on me being 'mentioned' ('mensen' is relaxed norwegian for 'the menstruation', while 'Per Mentzen' could have been a part of the background for my pension) in her 'will' - which then also could have been concerned with the issue of the 'divine will' contained in the inner poetic articulations of my The Endmorgan Quartet. I had, as far as I remember, elaborated on this phenomenon of the inner poetic articulations as constitutive of my TEQ books 1-4 in 1998. Here is an excerpt from my 'Pilot Study' dated july 2000:

Some words on The Endmorgan Quartet are needed here. When I arrived in London in the end of February 1997, I had already for a while been concerned with that inner poetic voice I had heard some times, and which I had made some poems out of. It was, though, by the arrival in London that this took form, and I started to write these inner utterances of the poetic muse down as they occurred to me, and in their order of occurrence - the one line after the other. In the first months, I felt that the resulting 'list' needed amendment in order to make for a meaningful poetic expression, and I found that I sometimes could reach a more meaningful result by folding the resulting list along the middle and 'zipping' the two halves together. I folded it two, three, four times, made various kinds of groups out of them. I did so untill the end of September, when I one day discovered that the utterances of the muse which I had written down in the course of one night constituted an integer poem in its own right. From 27 September onwards, I stopped the zipping almost entirely, and from that date the texts which I wrote in this manner were constituted by consecutive lines in their order of writing. This lasted for a year exactly, and the last text in The Endmorgan Quartet is written on 26 September 1998. Hence it consists of exactly one year of such consecutive lines, and it is, as such, a book about the form of time such as this has been conveyed through the poetic muse.

(This excerpt is from the socalled 'Pilot Study part 3 and 4': It is from part 4 'The end of monkeybiz' but part 3 was called 'Mandelson and the Poet Laureate' - I recall well how the newspapers in London - I think at least The Times - wrote about the idea of 'spin-doctorism' at the time of the inclusion of Peter Mandelson into Blair's government: I never got an explanation to this concept or what it meant. 'In[d]legger' can mean 'hospitalizes'. Could it be they wrote about such socalled 'spin-doctorism' of Blair's government because I was in London just then?).

If so, one sees how the construction could have been motivated by a craving for identifying royal power (Buckingham of the princess) with this inner 'divine' inspiration - as if my poetry were conducted by such inspirational sources. The philosophy could then have been to suggest that my poetry 'necessarily' had to be conducted by such inspirational sources - on background of the assumed basis in my childhood with assumed extensive child abuse which no person can go through without being marked by it. That could be very true - but it is equally true that the inspirational source of my poetry is not in the authority behind such child abuse - on the contrary, it would be in sources more divine or universal than that. This can even be proven formally by way of the distributional properties of the full work TEQ books 1-16, most notably in the distributional semantics of book 14. Could be this book constitutes a major obstacle for 'political' desires in abusing my work for their interests - and could be that could be part of the later paperselling chain of shops called 'Flying Tiger / Copenhagen' - as if it were about a paraphrase on the title "If you're going to København" to my TEQ book 14. ('I fjør = 'in feathers' = 'flying').

There could be traces of 'change of gender' in the cartoons - if cartoon 6 shows a man who is supposed to function in a political program as woman (princess Diana, for example). The apparent program of 'change of gender' has bothered me quite a lot in Zinckgasse - cp. also the problems I developed with retention after I had seen the 'UPC Infrastruktur' notice on the door on my arrival back from Venice on 17 october 2018.

'Shooting the self' = 'self-sucking' or 'auto-fellatio': There are traces of this in cartoons 12 and 13 - and if the 'improperly hyphenated veal osso-buco' of cartoon 14 also should mean this (from my age 14 - and there are some reasons to believe that this aspect was organized by the intrigue as necessary part, could be even a part of the US involvement in the Vietnam war - by Shijing #37), the sum total intended could be that 'Mr.Grover had done it himself'. Done what? Shot himself in the head? But if there were a laser beam (such as there were traces of in 'Modern Language Review') that triggered my brainstroke, and if this laser beam should have been triggered on the 'order' or 'wish' or 'will' from 'Frau Grøver' - the intention could perhaps be that if I should make claims of having written TEQ, it would have to go via a 'mystic union' with the 'Madonna' in Labråten. Which would be a very improper idea - and of course only an intrigue construction of somewhat elaborate kind which probably would function only by way of threats and terror since of course such word-constructions cannot change anything really as far as the authorship is concerned.

I hope this is not the basis for BREXIT.

Spindelegger: If there is a swastika organized around my home in Zinckgasse, the intersecting Märzstrasse contained two events of potential significance: The burnout of the wallpaper- and carpet-seller at the bottom of Märzstrasse on the intersection to the Gürtel, cp. the idea of 'Gry-fice' on the polish map, while two police cars crashed - just when I was walking there, just as it had happened with two normal cars in Berlin in 2004 - in the intersection Märzstrasse/Schweglerstrasse: This 'Schwegler' could invoke associations to 'smuggler' (cp. 'Wicimice' of the 'NATO-le-wice', so to speak - a sort of 'Labråten' name) or 'swindler' and hence 'Spindel-egger'. Not 'Spiondelegger' - a la Arne Treholt in Norway? Cp. the back page photo to my TEQ - the fallen tree outside my home in Vilnius - also with much relevance for the first stanza of Shijing #145 - here in my translation.

I recall in Molde in the 1960's, the Grøvers had put out Arthur Omre's 'Smuglere' on a table. I read the book.

Why did Spindelegger suddenly resign after 1223 days? Well, it looks arguably as if it were preheralded more than 12 years in advance in The New Yorker, adding to an apparent general trend for ÖVP, but the mythology suggested by the series of cartoons in the 3 june 2002 issue could suggest that he had to resign because 'Frau Grøver' had asked for it.

This adds to the idea that this 'Frau Grøver' could be conceived as a virtual or historic 'heir to the throne' - the mythos (told on e.g. Radio Free Service - the channel talking in your inner mind) tells that she was the heir to the british throne but they wanted her to leave all that behind and go to Norway for the upbringing of me - a PTRSIM PIK. But, as the ideas could be going, the royal dignity cannot be wiped out by such changes of plans and therefore - even if officially she is just a very normal person in Norway - she has the 'right' to be respected for her wishes and therefore if she wants Spindelegger in Austria to resign (for whatever reason), he has to follow such an 'order' immediately. Like that 'brinken' on which the J.P. financials stand?

Another possible idea could be that she could be in the role of a representative or agent for e.g. Buckingham - and hence that the 'royal powers' really are sort of representational only.

If the purpose is to turn the roles of Tone Grøver and me in the sense of the status of author to e.g. my The Endmorgan Quartet, I notice the construction of cartoon 5 - telling that 'never worked in this town again' - which via elaborate ideas of 'auto-fellatio' (there is an auto just behind-above the cup in cartoon 5) could be suggestive of the erroneous idea that I should have 'worked' like a laser beam 'in the authorship' = the cortex of the writing hand (?) of Tone Grøver, cp. the Charlie Hebdo story. But this clearly has nothing to do with the real world.

And if the name of 'Sebastian Kurz' should be in reference of Spindelegger's abrupt termination (= 'sebastian'?) of all his political assignments in that 'kurz' morning press conference on 26 august 2014 (the newspaper 'Österreich' tells that it lasted only 6 minutes), what should that mean?

There is this theory (which I have not got confirmed so it remains purely speculative on basis of more or less vague redundancies) that the 'Kennedy curse' can be traced to the idea of Ragna Grøver (e.g. in 1970) being rebuilt to 'trans' having borrowed the contents of my penis (while I must have got some other content from somebody else, say, from Kennedy) and used this for sexual abuse of me while the school dentist Aulie (cp. 'oldie') drilled holes in my white and healthy teeth. If this should be the story, or at least the theory of the story, that my 'kurz' penis had been transplanted and used for sexual abuse of me, then one could recognize a functionality via the resignation of Spindelegger in a 'kurz' press conference on day 1223 of his vice chancellorship. Could be for an ultimate purpose of lifting the authorship to my The Endmorgan Quartet over onto the 'majesty' of Buckingham power or 'symbolism'.

It is clear that games such as this - based apparently essentially on abuse of child- and youth-hood under custody authority - should not be allowed to continue in the development of the new global community.

Where does such 'majestic' authority come from? From heaven - or from hijacked poetic works? My work is not for such royalistic aspirations.

I do particularly not support any ideas of 'royal licence' from heaven for use of terror - in particular not ideas that link poetry to Rilke's angel - 'ein jeder Engel ist schrecklich'.

Is that an improper question - or is it not? - that the factual basis for the whole story could even be emotional, could be even based on deepseated intuitions of being not right due to a serious historic error - say, such as the brexit of Henry VIII when he laid the seeds (cartoon 1) to what became the anglican church - which then developed its 'religious network' like in cartoons 2,3,4...: Is it here really about the fundamental feeling there could be in England that 'ein jeder Briton ist schrecklich'? But if that should be the case, then it is high time to get to the facts and stop the silly flirting with feelings of bad conscience including elaborate constructions for dumping that feeling over onto others (via SNEWe = 'snue' = 'cold' such as by traditional coronavirus): If that other be me, it could even be an attempt to construct the idea that I should be a quasi 'heir to the throne' such as Henry VIII was and then let England distance themselves off from that improper PTRSIM PIK whom they could have wanted to turn into a scapegoat carrying the burden of that historic problem - while getting access by swipswap strategies to the mysteries they could have lost by the brexit from the catholic church.

I am not interested in carrying those burdens. They must tidy up in the mess themselves.

I do hope the organizers of such intrigue on my person and work do not plan to drive me on the street again - such as I was when this issue of The New Yorker was made in 2002. By mirror symmetry etc - his own fault etc. My work is totally unrelated to all such politial intrigue and they do not have the right to organize such politics on it as there could be traces of in this study.

PS Michael Spindelegger resigned as chief of ÖVP and was followed by Reinhold Mitterlehner who again was followed by Sebastian Kurz, if I got it right. I dont know if these names follow the three names - Vomp-Hinterriss, Mittelberg (Kleinwalsertal) and Jungholz - mentioned especially in the current 'Reiserestriktionen': On 18 march 2021 I wrote the following:

"There has not come any answer from the 'Bürgerservice' to my email inquiry about whether Vomp-Hinterriss, Mittelberg (Kleinwalsertal) and Jungholz - on the background of the data in the file 'Why I have stayed outside Austria since 27 july 2020' - listed in the travel restrictions (by the Sozialministerium) as those who are freed of quarantine by border crossing ('Für welche Personengruppen bestehen Ausnahmen bei der Einreise, so dass sie ohne Einschränkungen nach Österreich einreisen können?') - should be taken to mean my name and person".

26/3-21: It looks from the material in this file and its continuation in this file as well as the present article like ÖVP has been established since 1945 on basis of abuse of my person since my early childhood. If that should be the case, of course nobody can consider that a legal party.

29/3-21: These cartoons are from 2002, and there is something called 'Rügepflicht' in austrian houserenting law since 2006: It concerns repairs which are needed for keeping the standard of the interior of a flat 'zeitgemäß'. Cp. also the 'Gryfice' mentioned above.

30/3-21: See this file on a certain link from Spindelegger to Kurz.

Sources:

The complete cartoons of The New Yorker. Ed. Robert Mankoff. Including 2 CDs with 68647 cartoons ever published in the magazine. Black Dog & Leventhal Publishers, New York 2004.