Three aspects of my relations with Italy

John Bjarne Grover

1) See this article: It is very probable that if I stay in Austria, such as I did under the first wave of covid-19, the mortality rate of the covid-19 disease in Italy is 15-20%, while if I stay in Italy, such as under the second wave, it is only 2-3%. This means that me staying in Italy instead of Austria during the second wave could have rescued some hundred thousand italian lives. The total number of coronavirus cases in Italy so far (by 7 february 2021) is 2636738 = 2,6 million, and if the mortality is 16% this gives 431878 dead, with a mortality of 3% it is 79102 dead: The difference is 342776, from which is subtracted the number of official deaths which is 91273: The difference is 251502 - that is, more than 250 thousand italian lives could have been rescued by me staying in Italy instead of Austria during the second wave of the disease. (Of course testing methods could be part of the explanation, but the numbers are interesting nevertheless).

[9/2-21: Why the BUGS in the math? It really is a surplus of 431878-91273 = 340605 = more than 340 thousand].

2) It is very probable that italian business, culture, politics, media etc have abused my work on a scale comparable with other countries (although it is my impression that there is less here than elsewhere). Bertolucci's 'The dreamers' (2003) looks (from a surface glance at it) as if it could have been a plagiarism of my novel 'The dreamer' (written 1994-95, completed for publication in 1998, selfpublished in 2008). [19/2-21: A puzzling observation is that the names of the three main actors (Eva Green, Louis Garrel, Michael Pitt) resemble 'Grini, Falstad, Mysen' - the three norwegian wartime imprisonment camps of my official grandfather Bjarne Eidsvig which could be indictative of a link to Adolf Eichmann]. Are even Dan Brown's novels (from 1998 onwards) plagiarisms of my 1995 novel? He has, I think I read somewhere, earned more than one billion dollars from his books. There have been several charges due to 'copyright infringements' against Brown - from Lewis Perdue (poo hisdery?), Michael Baigent (bikkja el semen = the dog or semen?) and Richard Leigh (like a ray?) - which in principle could mean from 'Ronk Røver' = 'John Grover' and official custody mother 'Klipras solstråle' = 'Ragna Grøver' - as if she had the authority to administer my copyright, which of course she has not (in spite of the names seemingly being turned around). It is likely that there are elements of this problem in italian culture as well - and so it could be said that the state or 'society generally' possibly owes me much money - could be millions of euros. Could it have been (norwegian?) intelligence or similar who roundhandedly had offered a pleasehelpyourself permission without asking me? But they dont have the copyright - and I have never given any permission to use of my work. [20/2-21: In Venice there are two shops of the chain 'Flying Tiger - Copenhagen', the name of which has certain similarities with the title to the book 14 of my TEQ called "If you're going to København": 'I fjør' = 'in feathers' = 'flying', while 'going to' could perhaps mean 'tiger'. This book of mine contains the proof that my work (TEQ) could not have been written on cueing from intelligence activities or other administrative interests: It is totally independent of anything such. I dont know if these interests of 'intelligence services' could coincide with the interests of the chain].

3) My work is contributive to italian society and culture. I point to the two studies i) on the two cycles in Caravaggio's work when compared with the third part (2014) of my 'Der Dornenstrauch' and ii) Tintoretto's 'Scuola Grande' compared with my 'Stillhetens åndedrag' (2016). The latter study can be expanded with the parallelism of my book with Luigi Nono's string quartet 'Fragmente - Stille, an Diotima'.

[19/2-21: I add to this italian cultural factor also this recent study which could add to The transfiguration of Venice the detail that the apparently spontaneous music in the air could be arising in the combination of my poetry and the 'alphabetic code' in the churches of Venice with all their treasures of art].

This cultural contribution is likely to be the factual reason for the difference in death rates - that my work is too important for the cultural development while the suppression and abuse of it costs too much for the world. That could be the reason why people are dying.

If the second reason is too heavy, it could perhaps be difficult for italians and others to recognize the value of the first and third. And then it is also too easy to ignore the value of my work as the factual reason.

If Brown's novels are plagiarisms of mine (I dont know if they are, or if Bertolucci's film is), this could have been a part of the reason why Trump lost the election - since he seemingly just let such things go: I mean, the second factor could in principle be a heavyweight like that. (Trump's politics seemed generally favourable for my work, such as the present article could be indicative of, but the abuse was apparently still going on). If the Weinstein case had its rationale in plagiarisms of my work, it was not me who was credited - it was the actresses who had played in the films who got even more money than they originally had got.

The world must not wait for me to bring such cases to court - since it is all too easy to win against little me. Of course it could be a major political issue to tidy up in all the mess and restore equilibrium - not the least for avoiding those very unfortunate side effects of a 'Klipra connection' (such as potentially Adolf Eichmann being understood as Aung San and perhaps even vice versa - for which 'reason' Aung San could have been shot in 1947, as if it were he who had murdered so many jews). There is perhaps still some way to go before people understand this easily.

Of course the plagiarisms and uncredited borrowings cannot continue and one must tidy up in the whole mess. It is extremely unfortunate for the cultural development with such abuse.

Hopefully the next republican candidate for the White House will have this on the explicit program - to stop all abuse of Grover's work and produce a complete description of what abuse has been, including a program of restoring integrity of the work. I mean, if e.g. a film or book is based on a work of mine, of course my work must be fully credited. But, of course, hopefully that can be reached before the next election.

Summary (11/2-21): It is very possible that the network of 'International Secret Intelligence Services' (or their related interests) have organized systematic abuse of my work, in particular 'The Endmorgan Quartet (TEQ)', for turning it into a tool for terror. This work of mine, more than 1700 poems over more than 1800 pages, is probably a substantial contribution to lifting the cultural level in the global community - and if this is turned into terror, it may be that people are losing their breath. There seems to have been very extensive abuse including plagiarisms and other forms of uncredited use of my works, without asking me for permission, more or less all over the world. If one looks up a distant newspaper from some faraway country, it is well possible that they indulge in ideas from my workdesk could be without even knowing about it, since it may come from the local intelligences or related networks. (A recent example from the paper edition of the italian La Repubblica 9 february 2021 p.15: This advertisement seems to be in potential extension from my article on Tintotetto's 'Scuola Grande', the detail of 'Christ's ear' discussed under 'Added on 7 february 2021' - that was two days before this newspaper - in the 'Tentazione di Cristo' - my pocket-camera photo quote from the reproduction in Valcanover (2015). The advertisement may perhaps be playing with the idea of a 'cutting edge' theory - but it must be said that this ad is based on material published on the web and not stolen by surveillance from my private workdesk and that is an enormous difference). Nobody has ever asked me for any such permission, and of course I would never have given any such permission to uncredited use: Of course my name must be presented if a work of mine is used. It is very possible that this potentially global abuse - instead of police investigations and cases in court against the criminals and payment of reparation money to me - is the reason for the pandemic Covid-19. Then there is only one remedy against the pandemic and that is to credit me as the source. Of course if that be done, then I would have enough money to buy a home, but so far there has been no signs of anything such and I have only my humble pension: Since I got it in 2002 I have not earned a single euro beyond the pension, but I have spent a lot of money on making the home-made editions of my own books for making them available in libraries where they can be consulted also by editors who could want to ask me for permission to publish them. My chances for book submissions to publishers have been spent and are probably irretrievably gone. (My last book submission was my 'Gentlemen' which I sent in probably 2005 to 'Jüdische Verlag' but the news emerged only some hours later that Chrysler and Mercedes had merged and I had to withdraw the submission).

Archives on me could be full of 'intelligence' lies: There seems to be a 'project' on describing all PTRSIM PIKs as 'the same' biography, making a long 'power sausage' out of the series, and by consulting a biography on Wittgenstein one finds that it includes stories of Wittgenstein being a murderer, homo, possibly pedo and other vices: That is probably lies all of it - possibly for being what the 'intelligences' themselves are struggling with and thereby facilitate a swap machine. Even Tschaikovsky now seems to be described as a homo - which probably only means that the western biographers could have such problems. It is possible that my two official sisters are 'conceived' as theoretic murderers on Mao and Indira Gandhi - and my official grandmother as a potential murderer of Lenin - could be for making it look plausible that I should have murdered the old mother Inger-Johanne Apenes in the night to 6 may 1978 - when Aldo Moro was shot in Rome. (Of course I did not murder Apenes or anybody else). It is likely that all these vices of PTRSIM PIKs are potential lies - and that e.g. the famous homo relation of Verlaine and Rimbaud is a lie only. It could have been the intelligence services that were homo.

In sum, it follows that my chances are small if I do not get help to find a housing solution. If a third coronavirus wave should strike against Italy before the vaccines take hold, and if I do not have other chances than to travel back to Austria again, it may be that the mortality of covid-19 will rise to 20% again. That could be many italian lives. But should I pay for all this rescue myself - with my humble budget pension and poor chances to succeed generally, and close to zero percent chances if application is needed? Of course, if people paid me what they probably owe me because of uncredited abuse of my work, I would probably have much money and could buy a house. But when will that be?

I hope the world can start unpacking the uncivilized PTRSIM PIK program - which seems to be essentially based on raw child abuse and personal persecution - and get the whole program down to earth and published in all its details, philosophies and traditions - as the shame it is for the human species. It must count as high treason - or at least high cheating - to involve in this program on state administration level.

[9/2-21: Why the BUGS in the math? It really is a surplus of 431878-91273 = 340605 = more than 340 thousand. The surplus may have been lifted by JFK or some accomp-L-ice in 1957? A story which I think was told 'på sløyden' = 'in a school carpentry lesson': Three 'kompises' went on a road and grew hungry, so they took into an inn and ordered a pizza, which they divided in three. They paid 30 money for it - 10 each - and left, but the owner soon got a bad conscience - they should have paid only 25 money - and ran after them with the surplus. 5 divides not well in 3 but he gave 1 to each of them plus another 2 which they could divide as they liked. He thanked and went back to his restaurant again. Now each of the three had paid 9 money each, that is 27 money, plus the extra 2 takes it to 29. But where is the last money? Had they eaten it? Was it the bad conscience? Is that why tipping is still normal in restaurants - for avoiding this strange 'silberstrahl' paradox? Of course there is the down-to-earth solution of subtracting (instead of adding) the 2 euros from 27 to reach the 25, but then there is no undermath PTRSIM PIK mystery left. It seems that this mystery is what still controls world politics. The fact is that the number of global deaths per day is about the number of italian infections per day. Isnt that ironic? It may have been in 1998 or 1999 that I discovered that 8 + 7½ = 3. It happened in Szolnok that I made a zinck surplus or cover over the postbox and painted it green - a sort of 'greenblatt' that was - and while this dried there came bugs up between the ceramic floor tiles in the kitchen - these disappeared and have not been around since. It is noteworthy that the logic of Tintoretto is not the same as the logic of Caravaggio - but do british feet and yards help at all? There opened in Vienna in the late autumn 2019 - a month before the Steiermark election - the joint exhibition of Caravaggio's work and Bernini's white stones, but I dont think they had credited my work on the bi-cycle of Caravaggio. As far as concerns the question of Brown's possible plagiarisms, I did stop at a 'Libro' paper-and bookshop at Johnstrasse in Vienna some years ago and looked briefly at the beginning and end of a number of 'kiosk'-y novels - and I did recognize the basic elements from the beginning and end of my novel in probably a majority of them. Could be that was a wave that passed and were gone, but it looked organized to me].


Valcanover, Francesco: "Jacopo Tintoretto e la Scuola Grande di San Rocco", Storti Edizioni, Venezia 1983-2015.

© John Bjarne Grover
On the web 8 february 2021
Last updated 21 february 2021