The art in Venice and the bomb in Bologna

John Bjarne Grover

The article discusses some things of potential relevance in arts of Venice to my authorship on the background of the political effect of the Bologna bombing in 1980 with a particular view to a possible british strategy of potential tacit and illegal annexation of the copyright to my authorship - not the least on background of the data in the article on my novel The Dreamer.

The art in Venice

This is a somewhat edited version of the original article in which I did not want to make substantial claims about the main art exhibition 'Mapping the studio' in Venice in 2009 - distributed on the Dogana exhibition hall and Palazzo Grassi. In this new version of the article I present some viewpoints but there is still much which could be said in this connection. Websites for the exhibition:

http://www.exibart.com/profilo/eventiV2.asp?idelemento=73593
http://www.exibart.com/profilo/imgpost/rev/593/rev73593(1)-ori.jpg
http://www.palazzograssi.it/index.php?option=com_content&task=view&id=17&Itemid=87&lang=en
http://www.palazzograssi.it

The front page of the presentation material for the exhibition shows the sculpture by Charles Ray of a naked boy who has found a frog and holds it out to be seen. The frog is held in it back leg. The sculpture - which is outdoors on the tip of the tongue of the Dogana tip - is enlarged relative to normal body size and the boy could therefore, and not only because of the physiognomy of the body, be called a 'grower'. If 'Jump' is the frog, the sculpture could be a 'Jump Jame Grower'. Modern Language Review July 2009 - the exhibition had then just opened - has 11 titles and the mid #6 is "The Early Reception of Francis Jammes in Italy. By Shirley W.Vinall". Which could mean that the JAME is of some interest. MLR April 2009, before the exhibition opened, has also 11 titles and the mid #6 is "The City as the Fragmented Mirror of Poetry: Corrado Govoni's Early Works (1903-1915). By Francesco Capello" which could sort of mirror my feeling in the exhibition inside on the Dogana that it relates to my poetry work The Endmorgan Quartet.

The exhibition of contemporary art is divided on the two major exhibition halls Dogana and Grassi - an enormous lot of square metres in total. It is composed of artworks from the François Pinault collection and curated by Alison M. Gingeras and Francesco Bonami with the collaboration of Emanuela Mazzonis. A catalogue 'Mapping the studio' is published. Briefly, the hypothesis which arose in my mind was that the Dogana exhibition could relate to my poetry work 'The Endmorgan Quartet' and the Grassi exhibition to my (then unpublished) novel 'The Dreamer'. This followed after my discovery in november 2008 of the hebrew-talmudic rooting of my novel and the israeli attack on Gaza in Christmas 2008. It was after this that I had to write the article about the apparent british state terrorism relating to my book - an article (more than 300 book pages! still unedited but a lot of work nevertheless) which claimed some time and studies. I concluded that Modern Language Review has been publishing since its beginning in 1905-1906 articles which in 'undertext' format present major acts of terror and fraud before they really take place in the real world - which probably means that MLR - which is published by a state-based organization - present national british responsibility claims on terror and fraud. The evidence from my studies was quite impressive. I have even concluded that it is well possible that MLR quite simply represent themselves with indexations of my person - which could serve to associate the terror and fraud with my person - and when the same person of mine seems to serve to represent the jewish-genetic diaspora, the ultimate function of it could be to dump the public blame for the terror and fraud on the diaspora and other victims of british state terrorism.

It appeared to me that there are reasons to believe that my novel 'The Dreamer' was stolen from my computer possibly as early as 1995 but certainly there is evidence of such possible theft in november 1999 - and that it could have been used as a template for terror in Russia, China and other places. The purpose of such template-use would be to create a recognition in these people of my authorship behind the terror. That could be the political reason if these two works of mine were the hidden template also for such large-scaled exhibitions as these two in Venice 2009.

I can mention two very obvious cases of similarities with my work in the Dogana exhibition:

1) Room 8 (out of 19 rooms) shows a wooden root of a tree by Fischli & Weiss plus some spider-web forms in mainly brown plastic by Mark Grotjahn. That combination in this room 8 very much resembles my study of the revelation in the broken tree in Vilnius relative to the spider web in the bathroom presented on this web page.

2) Room 13 shows works by Rudolf Stingel: 1) A large passport photo with marks from staples and stamp and the photographed person with closed eyes and 'Che Guevara' sort of jacket, plus 2) some huge silvery surfaces with chicken-wire pattern which could be seen as a variant of a brick wall. This room 13 therefore inevitably resembles the continuation of the new revelation in Vilnius with the passport photo and the brick wall with Lenin's face.

These two rooms - out of 19 - are so strongly representing the essential ideas in my articles on the web that it is hard to avoid the recognition of my authorship as somehow relevant to the exhibition.

Other aspects of it relative to my poetry work are vaguer but more or less present. The first room seems to present the idea of an encoding of my work in the exhibition, including a horse on the wall. Room 2 (the work 'Fucking hell') then would correlate with my book TEQ 1 ('Hammerfest'). The last room 19 shows Huang Yong Ping's "A football match of June 14th, 2002" with a huge comet or asteroid stone coming in over a football stadium - thereby resembling my idea of recognizing my vision of the nineties - of the huge motorcycle coming in from outer space and crashing like a comet into the ground next to the university building in Oslo - as the background of my 16th and last book in TEQ in parallel with a recording by Midori Goto. Room 18 could invoke ideas of 'Gentlemen' (my book 15) and room 17 ideas of my 14th book - not my way of thinking of book 14 but maybe some nazi ideologists could think that way (an infinite room of endless mirroring of the sculpture of a skeleton in a cupboard - a la Mengele's victims on a 'space travel' - for representing my own poetic semantics - that appears like a british misunderstanding). Room 12 (male and female genitals etc, Gober, Lozano) seem relevant to my title TEQ 11 = 'Winter Princess'. Which means that room 13 - Rudolf Stingel with the lead-coloured surfaces with chicken-wire pattern could serve to represent my title 'Lead lushions in a bowl' for my book 12.

Why should MLR be interested in this exhibition? That could be for reasons of a british-governmental wish to associate my work with british state terrorism in e.g. Russia and China. Which from my point of view would resemble a rape of my authorship. There is no crediting of my work in the exhibition as far as I could see - and if one finds that there are sufficient similarities with my work then it is called fraud and swindle - concepts very closely associated with british culture and politics, concepts which I do not want attached to my work.

If they have used my work for curating the exhibition, of course my name and the title of my work would have to be on the front page of the presentation material to the exhibition. 'Jump Jame Grower' is no crediting - that is called harassment if it is supposed to represent my name.

This is the reason why one could walk over to the second part of the exhibition wondering what they have done there. Already in the first room the riddle is solved: It is my novel 'The Dreamer'. It is really solved already outside on Campo San Samuele - where there is an american car with photo of a nude over the bonnet, if I remember right - a 'car nunber' - in a work by Richard Prince called 'Covering Hannah'. The 'car number' outside is covered with VINyl (cp. MLR July 2009 title #6). A 'car number' outside and many of them inside: For example, Rudolf Stingel again, with one wall of threedimensional wallpaper flowers in white in one room and apparently the same in black in another - a big 'car number' of the 'whelp aper' type. Paul McCarthy's 'Bear and rabbit on the rock' is another 'car number' (norwegian 'bil-nummer') type.

The first room in Palazzo Grassi tells of the early and important line in my book: "I would not go to the other side of the rails if I were you", following by a comment on a person on the platform who makes some steps behind an old woman - a 'strange mechanic dance'. These are in the work ny Jean Tinguely showing a fantastic mechanic machine running back and forth on rails, and a dance floor with disco music and photos of nazis on the wall. This is the opening page in my book and the opening room in the exhibition. The last line in my novel is 'I may write about it later' and the last work in the exhibition is Rob Pruitt's "101 art ideas you can do yourself" - a long series of ideas to artworks which can be made some other time. It is the last work one sees in the exhibition in Palazzo Grassi when completing the second floor and going down the stairs and out.

It took me some time, but not so very long time, to find out what could have been the purpose with the exhibition if it were supposed to represent my novel - since my novel (at the time of the opening of the exhibition it was totally unpublished and I had never let it out to anybody but my computer was probably burglared in 1999) is long and contains a lot of material and to look for that randomly in the exhibited artworks would be futile. I concluded, though, that there seemed to be a correlation with some relative precision of the works in the order they were presented in with material in my novel which could be associated with the morph KON or KUN - 'cone' and variants. I have not studied this in detail but have found some examples which have some suggestive force. On the second floor, room 32 out of 39, there is a room with works by Adel Abdessemed and Michelangelo Pistoletto showing a series of big bores (apparently of the type which can be used for drilling in wood) in front of a mirror wall. The ratio 32/39 corresponds approximately to the date 28.4.95 in my book (going from July 1994 to end of May 1995). That date starts as follows:

28.4.95: Last night, I lay in bed to fall asleep. A distinct and clear hallucination: As I lay on my front (stomach) side in bed, I heard a clear sound of a SCREW being screwed either in or out of the floor planks. I knew immediately what it was: Somebody had gone into the basement room and made a 'cone' sound in the ceiling.

Jeff Koons is not in this room but in room 28 right across the atrium. Computing the ratio 28/39 (there are 39 numbered rooms in the exhibition at Palazzo Grassi) and multiplying this with the 203-204 date entries (one date is listed twice) takes it to the entry for either 5 or 7 March 1995 in my novel. 5 March starts as follows:

"5.3.95: Out to see a couple of exhibitions today (Sunday). At the Museum of Contemporary Art, several interesting pictures".

The entry for 7 March starts:

"7.3.95: A few days ago I came into my bedroom and found the bed displaced five centimeters out from the wall on the one end, and not on the other. I had not done it".

I don't know how representative this precision is for the rest of the exhibition, but there are reasons for some alarm. It seems that the morph KONE (also in Richard Prince's (Untitled (de Kooning)) works - cp. the outdoor 'car number') is the cue. It means 'wife' in norwegian. Searching for the morph KONE and variants takes it to 24 September with the following extracts:

24.9.94: I went to work at Frysja around eleven. [...etc etc...]. Then, as I came into the Frysja street where I had seen the three cars of yesterday, I looked up at the rooftop where the crow had been sitting last night. I then got the complete justification of my interpretation of 'goup' as 'group', which, I admit, was a little shaky in yesterday's notes. The crow had been sitting just above the sign of the company which is in the house, and the sign was 'KONE'. I now saw that the neighbour house had a big sign on it saying 'KRONE'!

24.9.94 is date 33 of the 204 - and 33/204 x 39 (the 39 numbered rooms) takes it to 6,3: In room 6 there are the works by Wilhelm Sasnal from work environments (factory etc), and these pages in the novel contain an exceptional story of temporary employment or at least some paid work. Nasal is not an R but something nevertheless. (See MLR July 2009 title 10 for a possible R/N rewrite into 'Modenr Larguage Neview').

I search for the form 'Kuhn' and find it at the end of date 26.12.94, which is #88 out of 204 which gives the ratio 88/204 x 39 rooms = room 16,8. In room 16 there are the works of Kusama and Lozano which perhaps could interpret the peculiar observation I wrote on this day about some period of time:

"Reality sort of burnt down to the 'raw basics' in sexuality and numbers. I was no longer surprised, and not even interested, when I observed a highly significant number at a highly significant place in the last weeks, and the content of the voices interpreting these occurrences was really uninteresting to me",

which does not mean 'raw sex' but my observation of basic gender phenomena. The works in room 16 show (Kusama) a square matrix of tube-ends (a matrix of 'numbers' it could be), and (Lozano) one picture of a cone and tube and one with a curving and straight form. 'Kusama and Lozano' could be about 'Konami and Losama' = 'my wife and laid together'. The line with the defining morph is the last in the date entry:

"This is the content of Kuhn's concept of normal science".

On 8.2.95, there are mention of both 'Kuhn' and 'cone'. It is date 126 out of 204, hence 126/204 x 39 rooms makes for room 24,1. Room 25 contains a 'Foodscape' by 'Erró' and street scenes by 'Gelitin'. The date entry in my book is rather long but contains the following characteristics:

"Then I went out for a walk to calm down. Afterwards I went home, and I had what felt like a real boulimia attack. I ate three oranges, three bananas, one portion of macaroni and a box of canned peaches right down, standing by the kitchen counter. Then I felt more nauseated than ever and went to bed". [...] "That night, I lay with a distinct feeling of being inside a golden cone, being lowered down in a place where signification is reset". [...] "Adjustment to this control function is obtained by reference means. Today, as I walked in the streets before I obtained this new state, I was constantly met by people in the street going in my way, crossing the street to come to my side of it and walking in front of me, passing close to me even if the sidewalk was broad, and so forth. There is a constant control excerted by these means"

and the discussion is much about this sort of 'thought control'.

There is a 'cone' on 15.2.95, a long entry with various ideas, entry 133 which means 0,65 x 39 = room 25,4. Room 26 is Raymond Pettibon's drawings, reflexes for many of which can be spotted in the text. Another 'cone' on 21.2.95, entry 139 which gives room 26,6: Room 27 is Paul McCarthy's "Bear and rabbit on a rock". The long entry starts with the single word 'Photography' and is much about morphs and contains also the form 'HOV DOKKA'.

The conclusion is that it is well possible that the exhibition in Palazzo Grassi represents a KONE-RAD - a wheel or advice about the wife/cone/KONE etc. I am reluctant to make a definite judgement on the topic, though, not only because I have not studied it in detail but also because my own discovery in november 2008 was that my book was in parallel with a fragment from an ancient hebrew talmudic text - and then why shouldn't it be in parallel with a modern exhibition? That is a sensible way of reasoning - but it is wise to keep the alternative aspects of an abuse politics in mind as a possible explanation which is outside the field of art.

It is well possible that this exhibition distributed in two giant exhibition halls are the summer reflex of what even could have been targeted by the bombing of Gaza in Christmas - about my discovery of how the structure of 'The Dreamer' (Palazzo Grassi) relates to the structure of TEQ (Dogana) via the hebrew of Erubin. (Notice also the 6 months from the event in Maria Hilferstrasse in Vienna to the israeli bombing of Lebanon in 2006). And so the valuable discovery of mine on the fragments of hebrew could in principle be persecuted in this way with a sculpture of a boy having found a frog as the 'emblem'. The sculpture on the Dogana tip can - on the condition that my computer was subjected to secret surveillance, and if it were not then the issue of references to my work is not interesting - be seen to represent me ('Jump Jame Grower') with my discovery of november 2008 and could be seen to sum up two aspects of the formula "he is a proffer": 1) 'ein framifrå froskar' ('a protruding frogger') = 'ein framifrå forskar' = 'a distinguished scholar' and 2) he has an 'opinion' = 'opp-inn-igjen' = 'up-in-again' which could be about a variant on my housing circumstances. I had a housing contract which lasted untill 20 July 2009. At the end of May I was on the outlook for a new flat but received an electronic offer for renewal of my then current contract - the electronic message was a 'bozza' ('draft') for the new contract. It must have been between this date and the date 21 July of the new contract that two of the neighbours died: One right across the narrow lane (1-2 metres distance) and the one immediately under me. These have reflexes in the two neighbours in Ehamgasse 23 in Vienna. 'Up-in-again' could mean that my tenancy contract was renewed. The key is then in the formula (the front page sculpture) 'he is a proffer' or simply 'he is a professional' = 'he is a secret agent'. I have found that the british strategy could be what seems to be the story of the Finanzierungsbeitrag from Vienna. I paid apparently 3200 euros in Finanzierungsbeitrag (and more than 500 in a 'Kaution') which should have been returned to me when I moved out in 2008, but which was not. If one assumes that a neighbour had been replaced with a 'copy', a turnaround of the roles could have created the idea that if I - in the course of the time when I lived in Ehamgasse - had been replaced with a copy of myself, then it would be wrong to pay to the cruel and cynical agent-copy those money which really belonged to me!

As far as the presence in MLR July 2009 of the concept of the new housing contract is concerned, I can tell that I paid the 'spese' (the fees) for the contract on monday 29 june, by bank transference. Some hours later, a freight train from La Spezia to Pisa in Italy derailed. I think the neighbour underneath died in July. Obama in Moscow mentioned the 'drift' there had been the relations with Russia - and 'draft' relates to 'bozza' like 'drift' relates to 'pizza' or 'Pisa', approximately. That also invokes the role of the name of the neighbour in Vienna - via 42.666% of my 'Hammerfest' with 'Picca Willanowitch' and 'kjökken'.

The british strategy could be this: 1) To claim that the original me was a secret agent for England and worked on instructions from them, including the authorship which they then would claim was their own, and 2) this secret agent of theirs had been cruelly replaced with a cynical agent who is not their agent (but for example represent Russia of China or something like that). Then the following obtains: 1) The authorship of mine is the intellectual property of the british government, and 2) my person is a cruel and cynical agent who does not get his money back - and who is not credited as the author of the works which form the base of the exhibitions in Venice.

That could be the reason why I have not got my Finanzierungsbeitrag back. If, in addition, the two neighbours in Venice were murdered by british state terrorism, the construction of swindle and terror looks very british indeed. It must be added that the neighbour across the street had a name resembling 'Wien' while the neighbour underneath had a name resembling the one in ÖVW who was responsible for paying me back that Finanzierungsbeitrag. Which could insinuate that I had hit back by murdering the name who should have paid me the money. Which of course I did not.

I was never an agent and I was never replaced with a copy of myself.

It is the turning-it-around which would be the british trick. That seems possibly to be contained in the film 'Volver' by Pedro Almodovar which can be seen to be an interpretation of my current housing circumstances in Venice. There are the names on the doorbells in the 'sotoportego' - including 'Carmen Maura's similarity, not only in name, with a neighbour whose neighbour above is a sort of 'Cruz' and above that even one whose name could be the reason why letters from Moscow take 20 days to reach me. Most importantly, though, would be the neighbour couple immediately above me (not the one below) in the year 2008-2009. The male had apparently an 'other side of John' name plus a family name strongly resembling the 'Burdach' name the author of the first article in Deutsche Vierteljahrsschrift from 1923. This periodical is the german correlate to Modern Language Review. The first article was written by 'KONRAD BURDACH' - which could be the KONE-RAD of the Grassi exhibition - a wheel of KONEs. The female (not to be confused with the teenage daughter in the film) had a name of high relevance to the 'Traaher' complex discussed below - a long history since the sixties, including the deaths of two norwegian foreign ministers (Frydenlund and Holst, both in Gro Harlem Brundtland's governments). Rather interestingly, the actor playing the murdered father in the 2006 film (here in the image of him at 12:40) is similar to Jörg Haider who died in 2008 apparently with british responsibility claim published a day or two before his death. Similarly, in Almodovar's 2002 film 'Hable con ella' one can recognize the name 'Dereka Mikula' who was murdered in Son in 2003. Is it 'fyllekula' ('bare drekka') in the first scene and 'de rekker/vrikker med kula' in the last? The story is that 16 year old Mikula was alone at home with her boyfriend and he dozed off and when he woke up he found her dead on the floor - he claims to be innocent but cannot explain what happened. This story from 2003 could find a relevant comment in the film - by the long unconsciousness of the female actress - and perhaps even in terms of the 2002 Moscow theatre hostaging which called for sleeping gas for neutralizing the terrorists. If so, one could see this 2002-2003 of 'Hable con ella' ('the broken L' of Venice - same as 'the L word' TV series?) as a prelude to the 2006-2008 of 'Volver'. That is when it gets very interesting to observe that 'Volver' even could be a parallel-plagiarism of my novel 'The Dreamer', possibly in a much more precise fashion than the Grassi exhibition. There are 250128 words in the original 1995 manuscript which could have been stolen at least in 1999. Computing these words against the 6570 seconds of the film takes it down to potential millimetre precision in the parallelism. That is when facial similarity of 'Paco' with Haider in the picture at 12:40 correlates with the car number CBAJ 666 in my book - as if Jörg Haider were a spy! The glass of hermetics (is it beetroot, like the stain in the Abstellraum in Ehamgasse was said to be - from an exploded hermetic glass of beetroot?) in the film at 06:03 correlates with a reference in my book to 'Birchwood, Hallett and Preston', as if it were the wall and floor of the Abstellraum. I have speculated that the wall and floor - with a Blut-und-Boden symbolism - could find a negative interpretation in the sotoportego in Venice. Cruz plays a 'half critical' role - as if she were one half of a nuclear bomb - see the front page to the film. I have no reason to believe that this bomb really is in a basement in the sotoportego, but the train line from Salzburg to Vienna - over Wels, Linz, St.Pölten, Obere/Untere Purkersdorf (cp. 'Burdach') and of course the essential Rekawinkel (me? cp. Rekustad 1977-78) and Wien Hüttelsdorf - seems to find some echos in the street. Wels-danslefsa, L'instans-F-sa, etc. I have not studied all the millimetres in the film of Almodovar, but I have looked at some of them and they seem at least as convincing as the Grassi exhibition. But I have not made any conclusions on the reason for these parallelisms, just as I have not with the Grassi exhibition - but notice the strange Mikula phenomenon from Son.

In short, if the idea of such a 'Linz' nuke in a basement could serve to soften the local authorities for new british advances in the field of art and science, the exhibitions could be seen as an attempt to get my november 2008 discovery into the same field of british interests. But the 'project' on Jörg Haider - after Klestil 2004 - could be the original british interest and the film is from 2006 - well before I made my discovery.

Could be the strategists have bit the hook of 'fuck' in my Endmorgan Quartet and presented the Dogana exhibition as 'I fuck ya[r]' and the Grassi part of it centered on the morph 'KONE' = 'wife', hence 'I fukyarwife' as the motto for british power-based moralism. 'Why F' then suggest 'I ukyar' or simply 'eg juksar' = 'I cheat', 'I swindle' as a british responsibility claim on the story (sagas, dead sea scrolls etc etc).

I notice 'han skone' = 'the man with the shoes' (= 'the italian'?) vs. 'hans kone' = 'his wife'. Fanny 'Jeff'-imovna Kaplan. 'Omn-i-po-tente'. 'Movern Language read you'.

'Han skone' ('the man with the shoes') seems to be the main british strategy in an attempt to tease the italians into a new round of fascism. Variants are 'hans kone' = 'his wife' and 'hansk one' = 'gloved one/onanism'. Norwegian is a language with some specialties on this matter, since 'hans kone' means 'his wife' in the sense of the other man's wife while 'sin kone' means 'his wife' in the sense of one's own wife. 'Sink one' would be the 'one' in the sink ('det gikk i vasken') and 'si nkone' ('say nkone', 'say nwife') could be a joke on african pronounciation combined with the theme of 'wife'. 'Fucking his wife' could be a main british strategy in politics, culture, art, everywhere.

There were also the combined deaths of Farah Fawcett Major and Michael Jackson which attracted some attention in the news. These could be parts of the same project.

There were some news today 3 September 2009 about a 'No Global' action against the film festival which started in Venice I think yesterday. I don't know what the group is about.

The bomb in Bologna

The planned function of me in the mythological political theatre seems to be the interface to the jewish-genetic diaspora for the modelling of it relative to the planned next holocaust. If I am the utmost representative of that diaspora as the child of Sachs and Celan and even these could have been engineered for these roles, then much would have been obtained from a british-nazi point of view if they could succeed in making people reject me - and in particular if the diaspora rejects me. One of the elements in this would be the systematic conclusion that I could not be the son of these two poets - and that would also be contained in the most essential aspect of Hitler's nazism - his swastika symbol meaning that administration is stronger than human genetics. It is well possible that Nelly Sachs was engineered to have a broad and short face - the horizontal bar - and Celan a narrow and long face - the vertical bar - in the cross to which the four angles are attached for the swastika. This is called 'hake-kors' = 'chin-cross' in norwegian and the proof that administration is stronger than genetics - which means that administration can alter people's physiognomy - is in my chin which is too weak compared with Sachs and Celan. The conclusion is supposed to be that if these were my parents, then my chin would not have looked like that. That is the nazi-planned triumph of the power of administration above genetics - which could be part of the strategy of trying to make the diaspora reject me and keep to the admonitions of Israeli state administration - could be for the administrative goal (the postwar state of Israel means that there has to be administrative logic governing the israeli Jews) of making the diaspora reject themselves. It is the new 'Dreyfus' on the form 'refused'.

The strategy seems to be called 'John Step-on-me' = 'John Trå-her' = 'John Step-here' as a rewrite from 'John Gröver'. That even lends emphasis to the step-parents relation - for 'John Step-heir' - which would be relating to the administrative and not the genetic parents. 'Don't step on the grass' = 'trå ikke på gresset'. This rewrite from 'gröver' to 'tråher' suggests that 'jewish-land' = 'jödeland' rewrites to 'Grydeland'. There was a classmate of mine in Molde in the sixties called Finn Grydeland. He had an elder brother who was a policeman who drowned while diving in search of a missing person. It was called an accident, but Ragna Gröver emitted so much signals around the tragedy that I had to remember it as something peculiar. I suppose I had the chance to guess that it could have been a murder - for the reason that I was a classmate of Finn and that is why he lost his brother. It means that I am the Step-heir whose presence in the 'jewish-land' of my genetic parents spreads death and destruction - for the political program of divide-and-conquer on the jewish-genetic diaspora. Hadn't I been in his class his brother would not have died - something like that. One can spot the importance of this early story in the name of the norwegian foreign minister Knut Frydenlund from the late eighties. At Seiersten school 1971-73, there was a schoolmate (same age but another class) called Arne Johansen with whom I played some music. He had a younger brother Steinar who played sax and we also played some interesting music together around 1978, I think it was. (We played in the library where I worked and in the ballet school of 'Kotty' who was living in Voldgaten close to my 1978-1980 home - she was rather much resembling Geraldine Chaplin - if I am not mistaken - in 'Hable con ella' and could have been a template for that character). In the mean time, I had known Mette Krötöe (daughter of 'Ole Krötöe' whose name can be recognized in the bombing of 'Cole Rudder') who also was a classmate of mine at Frydenberg Gymnas in 1974, before I quit the school at Christmas. She was my girlfriend in 1975 and told a story about a young girl age 4-5-6 or thereabout she had come to meet at the central bus station. The girl lived nearby there along with her two parents who were a little offroad: The father allegedly knew an odd way of earning money, she told me - if he had ten 1000 kroner banknotes he could scissor them up in parts and glue them together again in such a way that it made up for eleven 1000 money banknotes - and he had earned one thousand money on the trick! I could not take complete confidence in the story (and would not have tried that trick myself) but classified it as meaningful for something. Some years later, could be around 1980 or even later, I was visiting the Grövers in Labråten and was masticating dinner between my two jaws on the terrace when Ragna Gröver suddenly told me that Arne Johansen had been found dead on the railway line in the tunnel opening close to the Krötöes. He had, she told me, suicided by lying down across the rails when the train came. An unsuitable moment it was of telling it when I was chewing the food but one would believe that it could have been for precisely the reason. Now this railway tunnel is not only close to the Krötöes, it was also close to Glemmen church on the other side - for which the congregation can be called 'the religious community' = 'tros-samfunnet'. This rewrites in the same way as 'jewish-land' = 'jödeland' into 'Grydeland' on the form 'tros-samfunnet' = 'gröss-om-funnet' = 'horror-about-the-finding' of the body. 'Von[d] Grösser' = 'Dreadful Horror'. One adds to this the mastication in the mouth which is the opposite of the discharge from bowels in the other end which could be called 'drete' ('crapped') which relates to 'Krötöe' in a similar fashion. To this comes the Kursk-and-Cole which is an enormous global turn-around machine which selects my person as a 'step-heir' by the step-parents birthdates and thereby applies to my digestion channel with that reference. Mette's mother was Laila Oddveig Krötöe - cp. the 'odd way' of earning money. If Finn Grydeland has a reflex in foreign minister Knut Frydenlund, Arne Johansen could have one in Frydenlund's follower (or there was one inbetween) Johan Jörgen Holst. Both of these FM's died under mysterious circumstances - Frydenlund apparently from a sudden cerebral haemorrhage while in the process of excreting on the toilet ring during an official dinner, and Holst apparently from a sudden cerebral haemorrhage (due a shot from a gun) while in the process of ejaculating in bed with a woman. Both cases could have been about 'the man in the cupboard' and it meant that whether this way or that, the 'onr-over' John Step-heir was not the thing for these 'jews'.

The abduction of Ingrid Betancourt was on Tone Gröver's birthday 2002 - on 23 February - that important numeral '23'. 'Finn-gr ödeland' = ' the finger he destroyed'. 'F-Ingrid Betancourt' = 'finger he bit short' - and hence it could have been about my (according to this intrigue) alleged unwantedness in the jewish-genetic community of my two genetic parents. That would likely have been the reason why Celan came to visit me in Odda in 1960 - to tell me that I was not unwanted, and one notices the two book titles 'Fahrt ins Staublose' and 'Fadensonnen' - and it could have been the reason or background for the numbness in my lefthand side after the newspiece on Betancourt. I suppose it could have meant to me that Celan had held me in my left hand and maybe we went for a little walk outside the house in Odda. 'Toneff' was the name of a norwegian jazz singer and I think even a signature on a letter in return for my legal deposit of my novel 'The Dreamer' - but the letter did not mention the books I had delivered and hence was no real receipt. Which looked a little special to me on the background of arts and films etc.

It was in 2002 that I was sitting near Notre Dame in Paris and tried in my moneylessness and tråher-rejected ditch-existence to sell a little pamphlet I had written about political scandals surrounding my person when an american came up to me and showed me a 'trick' with a US banknote (one or ten dollar banknote, I don't remember which). He showed me how to fold (not scissor, though) the banknote - approximately one tenth of it over the next tenth - in such a way that the building depicted on it looked like one of the twin towers in the moment when the jet crashed into it on 11 September 2001. The resulting image looked just like the picture which was seen in all newspapers in the following days. Could be he was a friendly person who tried to tell me that one had to realize that 11 September 2001 was an american project which had been planned since long and included even such tricks as this way of pretelling it to the american people on all banknotes since many years ago. Could be he knew about the story with the banknote-scissoring person from Fredrikstad as well and that is why he told it to me. Such dollar banknotes were on all american hands every day many times a day and they had looked at this picture over and over again through many years to assess the values of their lives on earth. It was in the eighties - probably in 1983 or 1984 - that I came walking up Karl Johan when Erna Hauge, whom I knew from Frydenberg Gymnas and also more privately for some time, came out from an intersecting road with a man. Some years later, it probably was, I came walking Karl Johan again, could be around exactly that corner, when I saw a number of such US dollar banknotes blowing in the wind on the sidewalk where I had met her. I now guess that it was the same sort of banknotes as in 2002. Somebody would have dropped them on the ground just before I came around the corner, otherwise they would have blown away. I recall somebody stepping on the banknotes for preventing them from blowing. Cp. 'John Steponme', as if I should have been the banknotes calling for a step in the wind. John Step-heir. 'Seitenstettengasse' is the location of the jewish community in Vienna - a street and house with some similarities with Krumgata in Oslo where I lived in 1994-95. 'Erna Hauge' could mean 'to earn a lot'. The scene could also have served to encode the concept of 'manna/money from heaven'.

The 'responsibility claim' point at 42666% through the 2002 film 'Hable con ella' shows a wallet on the ground. It could contain such banknotes.

It was in 1973 that I was acquainted with Petter Enok Skau Jakobsen who allegedly was my age (16 at that time). He seems to be #7 on the Eisenhower doctrine where I am #6 - and if that doctrine has a 'pushdown' structure it means that there is some systematic relation. He had a friend from school 1971-73 called 'Pål Aanonsen' - I think they had been classmates if not only schoolmates. Aanonsen had in those days long 'curtain' hair - nearly down to his belt or thereabout, at least well below his shoulders - which it could have taken him some years to grow. Erna Hauge had the same sort of hair but it was perhaps more natural for a girl - and she was a little older. It could have been these elements which were invoked with the bombing of the central railway station in Bologna on 2 August 1980 - on the form 'Pål Aanonsen' = 'Bologn-onsen' = 'the Bologna masturbation'. This bomb was at the time when I had just moved from Voldgaten 1 in Fredrikstad in to Oslo where I had needed a place to live and the composer Ragnar Söderlind, whom I knew from Fredrikstad, told me that he lived in the house of Björg Moen in Nordengveien and he could ask her if there was a free room for me. She agreed to let out a room for me in the basement. I moved in there probably in the late spring (I don't remember now when it was but assume that it was late spring or early summer 1980). There were in the house three rooms let out to bedsitters who shared a toilet in the basement. There was an occasion when Ragnar Söderlind locked himself into the toilet and could not get out. He panicked and asked if I could push some musical notes in to him through a low ventilation hole in the door while he was waiting for the locksmith to arrive. I rolled up a leaf of piano pieces by Grieg which could go through the circular ventilation hole and recall that I commented on it to him through the door, something like this: "Is Grieg piano pieces okay with you or do you need something more interesting?" This comment certainly could have been noticed by a microphone in my nearby room with the door open. As far as I remember, this could have been before august 1980, could be even before july. It was in any case Söderlind who was my connection to the place, and I now find that the Bologna bombing could be related to the houseletter's name Björg Moen: Bolog-na = Blog-Ma = Bjog Moen. This could also have been the background of the murder of Rafik Hariri = auto-blog-rafik Hariri as the british laugh on my 'auto-biographic' diary novel 'The Dreamer'. (I don't know when one started using the word BLOG about diurnal web pages - such as mine was for some years - but I suddenly became aware of the term not long ago - could be less than two years ago by now - with a slight feeling of growing old and losing contact with the gallopping technological development. What is a 'blog'? I asked myself - and had never heard the word before, I think as late as 2008). Having reached this analysis I concluded that if I looked up Modern Language Review for July 1980 I would probably find the name 'Ragnar Söderlind' in the first title if the bombing were british. Here are the titles of the articles:

1. The 'Kharjas' as early romance lyrics. By Richard Hitchcock
2. Compound words in Milton's english poetry. By Archie Burnett
3. The son of God in 'De Doctrina Christiana' and 'Paradise lost'. By Gordon Campbell
4. Two readings of the 'Lai de l'Ombre'. By Sarah Kay
5. Rimbaud's 'Sonnet'. By Roger Little
6. Metatragedy in Anouilh's 'Antigone'. By Redmond d'Hanlou - (or is the autor name 'd'Hanlon'? my handwriting is not certain)
7. Marinetti and the english contributors to 'Poesia'. by Shirley W.Vinall
8. Four rare editions of 'La Celestina'. By Clive Griffin
9. Psychological insight and moral awareness in Grillparzer's 'Das goldene Vliess'. By Edward McInnes
10. Utopia in Mecklenburg: Peter Hack's play 'Moritz Tassow'. By Peter Graves
11. Yuri Olesha's Three ages of man: A close reading of 'Liompa'. By Andrew Barratt

"The 'Kharjas' as early" = "Ragnar Söderlind". The Grieg notes (not banknotes!) in the ventilation hole could have been romances - I don't remember - but some lyric music it was. One notices in the british scheme the close relations between Archie Burnett and Andrew Barratt which could apply also to Peter Graves for the rolled-up Grieg notes through the low ventilation hole to the locked-up composer inside. I don't remember when this toilet story was but it could well have been before July 1980 according to my memory today - but I would let some space open for doubt on this point.

This means that the Bologna bombing probably was british state terrorism which could apply by Eisenhower doctrine 'pushdown' mechanism and classmate function - cp. Grydeland and Johansen - on Petter Enok Skau Jakobsen as #7 onto me as #6 (see the phonological similarities of titles 6 and 7) for the 'classmate' function which ultimately massaged the disgust of 'dreadful horror' by the jewish genetics into the american hands which every day counted their values on earth.

In title 6 one could perhaps spot a campo on the lefthand side of Canal Grande. I notice also the 1952 film 'Monkey business' with Marilyn Monroe. Titles 6-11 seems to index the sotoportego where I live today (I was eventually squeezed out of Ehamgasse in 2008 and moved down to Athens, but was there squeezed further on to Venice - and after some offers for flats in the narrow range which my slim economy could take, all of them with some more or less suspicious tag to them, I finally found this one which was perfect for my resources - which means that it would not even have been necessary to squeeze me out of my first lodging in Venice before I landed where it could have been planned since long). That means that the first half of the titles of MLR July 1980 could apply to Ehamgasse 23. Notice the function of the house number 23 in Almodovar's 'Hable con ella'. A son of man as a Redeemer in the sky - a nuclear bomb or whatever - could be the theme of the first half. It is a pity indeed if the target is Venice.

It was in probably late 1981 or early 1982 that I went with my then girlfriend over the Töyen center area and we met Ragnar Söderlind in the subwalk right under the suburban line there - which perhaps could be recognized today as the 'soto-port-ego of Töyen'. New US supreme court judge in 2009 is Sonya Sotomayor - cp. also 'Farah Fawcett Major' who perhaps resembled Mette Krötöe somewhat. The name of the girlfriend from the Töyen district could even be recognized as relevant to not only the Oklahoma bombing but even the Mikula story - which does not mean that she was involved.

In the late sixties, there was a norwegian TV series (in the only channel there was) called 'Logikk på skjermen' = 'Logic on the screen', education in simple symbolic logic for the people. If A is B and not-C is not etc. Handbook could be bought in the bookshops, with training courses etc. It was run by philosopher Bernt Vestre. Today it is easy to see the purpose with the series: Burnt Vestre = Menace Vestre = Venice Mestre. Venice is typically the 'centro storico' which all tourists come to see, while Mestre is the inland part of the same place, less spectacular but a reasonably big place. Between these there is Porto Marghera where the train stops now and then - cp. 'troppo Gemara' = 'too much of the jewish talmud'. Also, 'Logikk på skjermen' rewrites in the same way to 'shoah gikk Palermoen' = 'shoah went the Palermo' as the other side of Italy, which means that 'Logikk på skjermen' rather precisely indexes Venice. There is also the phenomenon of 'Björg Moen' in this construction - and that could be exactly the reason why one used the name for the Bologna bombing - 'Logikk på skjermen' gives 'shoah gikk Palermoen' and hence 'jeg sykla Björg Moen' = 'I bicycled Björg Moen' - or 'shva-lig Björg Moen' (cp. 'svalgangen' in Voldgaten 1). I recall Olav Skundberg with blonde girl on the back of his motorcycle in the mid seventies - they were going for a trip down to the mediterranean sea and up again - I suppose it was not Björg Moen who was 'Olav's [s]kumper' - that was probably a phenomenon on the name only. Same body size and colour of the hair is what I remember. (I don't suspect Moen of being an agent). When at the time of the Oklahoma bombing I got the rejection letter from Michael Noonon ('mediterranean'?), it felt as if a huge black cat was coming through the air and landed on my back. Söderlind's lock-in on the toilet did not include 'mörkt på doen' (dark in the toilet) but it could of course in principle invoke the idea. The 'Burnt' of Venice could be e.g. either a Wels nuke from above (Velstandslefsa) or a Linz nuke below in the basement. The TV screen links it to my person as 'movern' of Modern Language Review. But if A is B and C is not, then Bernt Vestre = Bernt Söstre = 'Bernt's östre'. I recall both Bernt and Aron Eidsvig seated at the end of the (dinner mastication) table on Bjarne Eidsvig's 70th birthday on Vaagstranda, on 6 July 1969. Could it be that Aron was seated east of Bernt = Bernt's östre? Then the purpose with the program in the end of the sixties - before the dinner party, I would believe, or around the same time - could have been just this reference from Aron Eidsvig to me as 'modern'. It would be me as 'modern' and Aron Eidsvig as 'movern', the one who moved the 'modern'. But that could be that other dinner party, hypothetically in Brinken on Christmas Eve 1957. There had even been a TV program made from the same oyster farm, with the room with the dinner table and all that (I recall the program maker Roald Øyen seated with a child on his lap in that room in a break or was it afternoon or evening tea with Laura and other members of the family - the program was made in the late sixties, could be in the event of Eidsvig's 70th birthday).

Which means that the norwegian national broadcasting with its series of logic on the screen could have arranged for this celebration of the grand old man Aron Eidsvig = Adolf Hitler as the rapist of the jew[s]. A piece of news, that was. A niece of 'pus'. The possible niece had by then not yet been injected into my dinner-masticating jaw but it was a year later that it could have happened, and the foetus of the niece could well have been made in the mean time (from a sister of mine and Adolf Hitler / Aron Eidsvig or whoever it could have been). Could be that was the 'logic on the screen'. Which means that it would be the superstitious medieval 'logic' of the injected foetus from Hitler and his 'östre' ('östers') = 'his sister' ('Easter') which would be the menace on Venice. The construction could even have served to create this identity of me (if it were my genetic sister who were the mother of the foetus) with Bernt Eidsvig due to this 'Bernt Söstre' = 'Bernts Östre'. But Bernt Eidsvig was not running an oyster farm - it was his brother Bjarne Eidsvig who did so. Cp. 'Ilse Blumenthal-Weiss'. But if this threat is from a nuclear bomb (Wels, Linz, whatever) on or in Venice, it means that double reference of Adolf Eichmann and Bjarne Eidsvig in Nagasaki and Hiroshima. Which means that Bernt Eidsvig was Adolf Eichmann. Could be that is what I understood here in Venice - and the logic is based on the Bologna bombing (cp. Hiroshima/Nagasaki). I think the dinner was salmon = laks = Sachs. Could be for 'the lax of the modern', as goes the nazi logic.

This 'Son of Man' as the aborted foetus in my masticating jaw - a jaw which could be the very hallmark of Hitler's nazi swastika administration - could be the first half of the titles of MLR July 1980. Then it would be the Bologna bombing which was the driving motor in the construction - and that would have been a british bomb, according to this analysis of MLR July 1980. One guesses that the british bomb could have been for the purpose of invoking the name of the houseletter Björg Moen (because I lived in the house at that time) - a name which means something like the camouflage birchwood on the hoods of soldiers in the field - or even the 'royal birch' under which the king and his son was hiding when the germans bombed Molde in 1940. Hence 'gutta på skauen' and the idea of a russian invasion of Norway - which is that 'russian roulette' strategy (Russia has attacked nearly all its satellite states since 1924 except Norway) which keeps Russia somewhat in control with the development of new nazism on the european continent. The Bologna bomb could have served to redirect this control onto a british control with the development in the US democrat party - for example for getting Bill Clinton into the White House. It could have been this which culminated in the attack on Manhattan in 2001. One notices: Bolog-na / oblog-na / oglob-ma / oklahoma. This means that 'blog ma' = 'Björg Moen' is the common factor in name for the two bombings - in Italy and USA. When, therefore, the US authorities bail out 800 billion dollars on my arrival in Venice, it amounts appoximately to the value of Venice where there are nearly some 30-40.000 doorways behind which there are many storeys and to estimate 20 million dollars for each doorway is probably not too much when the Doge palace and the more than 100 churches - with those treasures of art - and fondamente and campos and everything are included. The bailout was apparently pumped over the Atlantic to Europe - which means that if planned fascism starts anew in Italy, it would be engineered by UK/US who thereby comes to acquire the invisible authority. A future fascist government will probably not bail out the equivalent sum, though, but rather try and acquire it from USA in compensation from what they could have lost in 'programs' on the place. Certainly there could be much public support in Italy for such a claim. But that could be when it goes the wrong way - and US authorities can remote-govern Italy with much invisible power. (I am no expert on political matters and don't know if this analysis makes any sense, but could be it does).

Hamartia (Gröver/'Mengele' reported from his alleged studies in greek - cp. Clinton's Lewinsky affair with relevant touching - that the word meant 'sin' in the sense of 'missing the target'), hence Moksleiva, Berchtesgaden etc. The train line from Salzburg to Vienna could be the contents of 'Berchtesgaden' where Chamberlain had the chance for a sleep-over with Hitler.

The italians/venetians must understand that although this could be the road to money and promises for the future, it looks more like the road to the destruction of the city. One cannot trust England after these 3 centuries. An international 'Declaration Of Disgust' against the british administration could have to be the needed way unless the britons hurry up with the explanation to the story and confess and regret their historic sins. That declaration of disgust need not entail an element of persecution - it could mean quite simply that the world does not like the britons when they behave like they do. Why such emotional forms? Because there is only one way forwards and that is that the britons confess and regret. And when they don't, then there is only one alternative way and that is that somebody else tells the story. The people of England are encouraged to disarm their administration and its secret service and present the truth of history for the world.

News today = 'tilg odel up', which could mean british state terrorism because it is about a 'tilgodelapp' of mine, at the time of the opening of the film festival in Venice? OL er innan. That is how it could be more or less constantly. If you read a newspiece about some massacre - gunmen storming a place and shooting a lot of people - it is often the case that one can trace it to what could be british state terrorism. I asked for raisins in the shop but they had only dried figs. A microphone heard it and that is why the Fig Club was attacked half a 'yearl ater'. It is that sort of world. Nobody can guess why, but certainly the data exist in the local administrations. That is why an international 'Declaration Of Disgust' against the british administration probably could come to be the right thing. It should contain a series of concise examples which tell the reason. Treblinka, Mahatma Gandhi and things like that.

The Bologna bombing was at 10:25 AM on 2 August 1980 in the waiting room in the railway station of Bologna Centrale.

'Il secondo agosto mille noe v kjente og tanta' = the moment (second) when he ('the mill[er]') discovered that there was something strange about her there. Who could that be? If it included even the aunt (tanta), it could perhaps be about JFK (chief 'miller') if the aunt was e.g. a rebuilt Marilyn Monroe after 1963, and he could perhaps have been able to identify her there if he were a rebuilt JFK. But if both were rebuilt, who would it have been that were not the same as before?

Ragna Gröver has a mid name 'Augusta'. She was in a car accident in 1981.

10:25 = dieci venticinque = the jets went in the shinke = the jets went in the Manhattan (2001). Or 'jets went in the chin-que' for the injections of school dentist Aulie in my 'chin'. Or rather the 'chin-que' could have been the syringe aslant into my jaw which means that the jets went through the metal tube of the syringe. Which could mean the underearth political panic of a Black Sea Loop spurting from Budapest through Vienna, Vaduz, Switzerland and into France. It could be that this is what the britons can offer parts of the US political stage - for extending their influences there.

This 'Miller' and the strange environments could be contained in the address of the apparently only shop selling bookbinder's gear in northern Italy - which is in the satellite village to Bologna called Granorolo dell'Emilia (in the district called Emilia-Romagna). 'Granulato' could mean something like 'knudra' or 'rynka'. Knit-brow? Knit-Brown? Third eye? 'Rynka panne'? I notice that 'go-stol' or 'gå-stol' is the sort of rack-crutch which people can use when they have suffered a stroke ('blod-mental') or are too old and weak. 'Ilse Blumenthal-Weiss', the friend of Nelly Sachs who also had known Rilke (not 'Runke'! - cp. 'Reinhard Bunke' or 'railer maria rinke' - 'dieci venticinque' - 'die tyven til skinke' = 'Ehamgasse'?) peripherally, could be the concept. Ilse Blumenthal-Weiss was a neighbour or at least lived close on Jackson Heights in New York (thankyou) to 'Lazer Ran' (who published his book on Vilnius and Martin Weiss in 1974). Could be this means that 'blod-mental' with 'laser ran' means the third eye with laser tools on me in 1975. Did I meet Ilse Blumenthal-Weiss with a red ruby on her finger - as a greeting from Sachs? And is this the 'red ruby' of Ehamgasse-Venice?

The code could even be 'Interrail'. I was with Knut Stene Johansen on an 'interrail' trip to France and London in the summer 1975. What could have happened in Paris? I did not know about Celan (even if I could have got the name from him in 1960). We were equipped from the Krötöes with the address to Suzanne Runacher, another graphics artist, whom we visited. Could be the bomb in Bologna also served the purposes of divide-and-conquer on my relations to my genetic origins. On the background of the apparently widespread knowledge of the story, I suppose other people would (in absence of knowledge of the country) take it for granted that I had heard about it in Norway. Hence he had chosen the other side - with support from his family and so forth. A secret agent for the nazis, that would mean.

People could even have asked the norwegian authorities explicitly: Is John Bjarne Grover informed about the story? To which the answer could have been that "he has got every detail he needs to have a full overview" - with recourse to such details as the millimetre tremble in the voice when Ragna Gröver was talking about an 'endive'. Then he has got the story of the Balfour declaration. They had spoken about Bjarne Eidsvig's inability to earn money and great talent for getting hold of some ("if he were broke, he could just go into a bank and then come home for dinner with a new car"). Which would mean that I had been informed about a secret agency of his and hence also the Klipra connection. WWI quite simply.

The jets went in the skinke = the jets went in the ham. Means Manhattan 2001 - which consequently could have served the same purpose of wedging in between me and my world. Now he lived in this address in Venice - isn't that a goodenough reason to believe that he is an agent? It is the same story all the time - and it is still the case that I have never heard a word about all this.

Granorolo dell'Emilia in the periphery of Bologna - hence Bologna = Ilse Blumenthal-Weiss? - 'Hilsen del-vis' = 'hilsen Delsay' = 'greetings from the suitcase/Koffer' = 'radiation from the Linz-bomb' = 'Linzerstrasse'. Granorolo dell'Emilia can be reached probably via the Central Bus Station which is very close to the central railway station. Such bookbinder's gear can be aquired from 'Renkalik' www.renkalik.it who is selling in or via many shops, but people I have consulted on the issue all tell that such bookbinder's gear can be bought in or near Bologna only.

Hanne Skjefstad (the name could be taken to mean 'he is chief-place') who gave the party next to Apenes on 5-6 May 1978 (Aldo Moro was found in the back of the car on 9 May 1978) told me that she is the daughter of a miller in Moss. One morning Rudjord asked me to join him carrying her freezer up from the basement. One notices the corresponding scene in the film 'Volver' (2006) at 46:43 which is 42.666% through the film.

I don't know if 'Ku Klux Klan' could be the concept.

I wrote soon after 22:00 on 4 September 2009 on my computer an analysis of the Latvia-Kazakstan axis in the arts biennale in Venice. The next day there were the news that the british expedition after the Latham 47 engine of Roald Amundsen had turned around and their web page was

REF A rock, the skeleton of a whale and a ladder - that could mean the idea of climbing in my window in ped-rocky environments with a ladder. The resolution of the search gear was 2 x 2 cm - and then we must hope that they talk of searches in water and not from satellite. Do the british 'explorers' simply follow me with satellite camera? A couple of days later there was an ad for a concert in my local surroundings which could be telling of similar concepts: Although this concert (with 'spinettis'?) probably has nothing to do with the turnaround of the british expedition, there is the 'miller' again with pa-rock-iale of the talented (whale?) which could be found ('son trovaso') perhaps by ladder. Could be a coincidence, of course. And handwritten documents, even such as could be handwritten on a computer, could be dated with C17 (isn't C14 safer?) analysis for the 'VESPAn' = 'Westbahnhof' as the end station of the train from Salzburg to Vienna, via Wels, Linz, St.Pölten, Obere/Unter Purkersdorf, Rekawinkel and Wien Hütteldorf. Such dating for a 'fill-lip' should not be done with a thor-hammer on the skull of mine - I hope that is not what they are offering (as 'TILBY'). I tried to find out what was first - the british flag called 'Union Jack' (apparently since 1606) or the pirate flag called 'Jolly Roger' or quite simply 'Edward England'(!), three flags which share some features, but I could not find out of it. Which flag is a 'plagiarism' of which, if that is the story? It is of course possible that the british 'death cult' - which seems to find its origins down there around 15-1600 - took its national emblem for reasons of being explicit on the matter of their foreign policies. Did the britons quite simply PIRATE the idea to their flag from the PIRATES?

Having observed this, whether a coincidence or not, with 11 September 2009 coming up, I returned to my analysis of the arts biennale by the Latvia-Kazakstan axis and 'Central Bust Asian pavilion' on Zattere facing Giudecca for adding some more to it - when I found that the lines I had written on mc computer late 4 September and on 5 September was gone! I had not deleted it and nobody else has access to the computer, which never is attached to the internet and which only I have access to and which should not have a wireless LAN or other remote communication equipment. There is the story, though, that this computer did not function when I got it over from Greece in 2008 and I had to buy a new motherboard to it, and that had to be ordered via a shop - in such cases one only has to hope that there is no extra radio gear installed on it when it finally arrives. If they follow me with satellite camera (2 x 2 cm resolution?) they can of course see me go into a computer shop and when some minutes or time later there goes an order from this shop to a distributor for a motherboard which can go into my computer, they can put 2 + 2 together for the conclusion that this motherboard has been ordered by me. Such wireless LAN (for example not detected by the setup) can be both for tapping and interactive writing. British secret service writing inbetween my keystrokes - for the idea that it is their authorship? Who deleted the lines about the arts biennale?

The turnaround of the british expedition looked as if it were motivated by the exact wording in what I had written on my private computer - which now is gone and hence I have no proof or way of showing the possible relevances. How can I be certain that I have not done it myself? I cannot remember that I deleted those lines (and I don't think I wrote it on the internet-connectedcomputer which I also have, a small portabl one), but one can of course never be 100% certain, could be the logic. But if I had deleted it myself (or I wrote it on my internet computer and somebody had deleted it via internet) and argue here that I am entitled to speculate that somebody else did it, how can one trust my reasoning and accusations? That element of doubt could be the purpose with the story.

Access to a computer for secret or other surveillance is probably called TILGANG in norwegian and ZUGRIFF in german. TILG-ang would be the TILG ODEL UP from the attack on the drug rehab centre in Mexico while ZUG-riff could also be detected from some stories. In addition, I went several trips down to Athens after having moved in here in Venice for getting my luggage. On one of those trips the train between Thessaloniki and Athens stopped on a small station and the travellers had to change to buses (although the station was not central). It was said that there had been an accident, and police and I think ambulance stood waiting on the station but there seemed to be no hurry. Is it that there is always TILG-ang = ZUG-riff to people's vitalities in crowded environments? There was later some news about a ferry which capsized, I think it was, in circumstances which seemed to index this story.

It is fully possible that the idea is that if there is TILG-ang or ZUG-riff to my personal private computer, then there has to be some reason for it. One of the pretext reasons could be that there is surveillance because of international terrorism, which could mean that they survey my computer in order to find some stuff for modelling international terrorism, the other is that it is not possible to find out why there is such TILG-ang: They could have installed radio equipment themselves or I could have given them access by my own authority, on the dirty deal that I write on my computer and they use the material for modelling terrorism. The keystrokes of the dirty beast in the revelation.

Which also means that if it were I myself who had given them access, there would not be much weight in my accusations against the terrorist policy.

All such arguments are nonsense of course and if they install secret radio gear - an extra wireless LAN which cannot be switched off in the setup, for example - there is not much I can do about it except trying to buy a new computer. But that costs money and I am constantly held low economically by the persecution which has driven me from place to place. If they even type directly into my computer they could do that for pretending that they have authority to my authorship.

Is such 'secret service' wireless LAN default in all commercial personal computers? The nazi revolution is progressing at an enormous speed and soon it can be too late to stop it.

The use of a 'LATHAM 47' found ladder, so speak, for climbing into my private environments - that could mean simply that they give themselves access or TILG-ang or ZUG-riff / ZUG-ang to my computer, as in Mexico. I was also into the mexican pavilion in the arts biennale - which seemed to me to say quite simply 'murder of Jörg Haider for the concept of Blut-und-Boden'. In the first room some vast hides hung in the air, probably occasionally showered from behind for fluids running down in a gutter on the floor, and in another room some other big surfaces apparently soaked in blood from murder, as it seemed to say in the information. By axes? Jump Jarneggs? I don't know if the exhibition could have been a comment to or for the current political situation in Europe.

http://news.yahoo.com/s/ap/20090911/ap_on_go_pr_wh/us_health_care_outrage_analysis

This article published on 11 September 2009 seems like an echo of my writings on my computer in the preceding days. "Dom bara juger!" = "they're only lying!" But if they know what I write there they must have given themselves TILG-ang ('tilg odel up') or ZUG-riff. In particular if they even can write into my files themselves. Such illegal tapping is a way of destroying my authorship.

The strategy is likely to pretend that I am an agent for the terrorist politicians or pirates - which I am certainly not. "Secret surveillance of a computer is motivated by international terrorism". Which could mean that they tap computers in order to use the material for giving shape to terrorism and for claiming that the victims of the surveillance are the organizers of the terror.

The story seems to be a matter of ACCESS and could have its origins some months ago (I don't remember if it were as early as late 2008, but probably some time into 2009) when I - after having discovered the origins with Jensen and Lenin and Aung San soon after WWII - sent my 'I tell you, Estunates' (the three first parts, which was finished in book form at that time) to Aung San Suu Kyi in Rangoon. In early May, an american called John Yettaw obtained illegal ACCESS to her house in Rangoon, according to the news, and both she and her illegal visitor were sentenced for the hospitality. According to the web page, Yettaw had also been there once before in 2008 when he did not get in contact with her but the believer had donated some books to her - and the page tells that she was not in contact with him but had mentioned it for her doctor who told it on to authorities who took no action. 'John Yetta w' in norwegian means 'John guessed her' - which then probably could be seen to apply to my poetry in parallel with Midori Goto's recording. It could mean that I had 'guessed her' music - which I sort of had - but since the key to the story is the word ACCESS it could be intended to mean that I (for example as a british secret agent) had ACCESS to secret sources in e.g. Sony who published it - or tape recording from her kitchen where she could have discussed the plans with somebody - and then by secret contacts obtained a copy of the recordings already early in 2007 and made my poetry on basis of that, with headphones and CD and second by second through it. This is the BRITISH MODEL of how one writes that sort of poetry. It is not mine - and I am no agent for England or anybody else and my poetry is not fraud. Yettaw 'was charged on May 14 with illegally entering a restricted zone, illegal swimming and breaking immigration laws', according to the web page, which could be about SUMER (swimming) and MENGE (immigration laws), which then could be about the 'muse' called Adolf Hitler injected into my jaw/chin in 1970-71. That is another possible aspect of the same BRITISH MODEL OF POETRY. This was while entering an illegal ZONE as 'Stalker' which then suggests Celan close to the house in Odda before he continued to Stockholm on the other side. This move from Odda to Stockholm could be symbolized in the transform of SACHS into ACCESS = TILGang, ZUGriff. I did change the spelling of my name in the autumn 1999 shortly before I was brought to Sandviken Sykehus (a psychiatric hospital), which as a phonological form resembles 'Aung San Suu Kyi' - only some small changes in the name is needed for the identity, and that seems to be the theme of the Bologna bombing: Knudra, Knit-Brown etc. The attack on the 'drug rehab' in Mexico could similarly be about 'TILG ODEL AP' for TILG-ang. In the early summer or late spring, if one wanted to go to Vienna with night train one had to make the reservation 24 hours before departure, which could be telling of some 'ZUG-riff'. Wrong way, that could be, if the 24 hours were for the authorities to have 'ZUGRIFF' to the travellers' plans and the permutation of their co-travellers. The story is likely to be an attempted repeat of the circumstances of the Betancourt case to the extent that it has its origin in the visit of Celan in 1960. I was in Sandviken Sykehus while Gro Harlem Brundtland was chief of WHO.

If this letter of mine to Suu Kyi is the story, one could also speculate whether it could have been stopped on the way. In principle, a british satellite camera with a 2 x 2 cm resolution could have seen me put it in a mailbox and then they could have put 2 + 2 together when scanning the contents of the box for the conclusion that this was the letter I had sent. Could be they even recognized it from the satellite camera photo! It is therefore possible that it never came further than the first sorting juncture where it could have been lifted out by international british secret service.

Do I get post? I hardly get anything but formal notices from the bank and other monetary communications. But I cannot find out if that is because nobody writes to me. Do the letters I send reach their destinations? I have sent several copies of my novel 'The Dreamer' to libraries in the good hope that the italian post functions but do not know if they have arrived or have been stopped on the way. I am probably not as isolated as Aung San Suu Kyi is, but it could be that there are some similarities in some way or other. If there is a systematic similarity, the present story could have been about modelling me in the role of Hitler. And the britons in my role. Certainly there cannot be a social life for me as long as I am followed by a british quasi-divine eye from the sky.

What is the problem of international secret service?

The problem is that they are secret and therefore not under democratic control and people who work there are eager to strengthen and consolidate their own way of thinking and organizing society. They work for the power of the administration and therefore they inevitably construct and collect power and do not understand what is wrong with a secret agent working as scholar, author, publisher, film maker etc. The secret agent is helped forwards by the power which they are creating and little by little the borders are pushed towards a society which favours power before truth.

The problem is that this is the way of thinking in the national secret services and the public does not get a chance to control them because they are secret. Therefore it is inevitable that the people in the national secret services of e.g. Europe collaborate on consolidating their own worlds - their ways of thinking and living. That is why national secret service could welcome the longterm goals of british secret service and collaborate with them on longterm goals which could be unfavourable for their own country's interests but favourable for the world of this administrative branch in the long run.

If all secret services have been working for this bomb on Venice for setting the Black Sea Loop going, what will the italian secret services do? Is it worth it to sacrifice the town for getting the dream of a secret service man turned into reality? With the Black Sea Loop they can get public opinion into computational control and can create a society which is 'in harmony with its own goals' (sth like that). That is when conflict and tension is history and people can turn the goals of their own lives (however much automata-like these may seem) into reality. It is called democracy. Of course one cannot really expect that italian secret service will join this project with speeding up the sinking of Venice, but one cannot imagine what advantages the national secret services can offer their administrations in return. That could be to make power and national advantages in great quantities - on the condition that it is kept SECRET. "When it cannot be avoided - and who can avoid such a bomb? - then it is better to join it than to waste the time and efforts on working against what cannot be avoided in any case". I am not saying that this is the way of thinking in italian administration, but one would expect it to be a part of the general problem and this logic functions ONLY as long as the plans are secret - and the public does not get the chance to stop them. If the longterm plans of a new holocaust cannot be avoided, why waste the time with opposing it?

All this is the one and only factor of SECRECY - and the longterm goals are not stopped when they are sufficiently into the future and when they are sufficiently close it is too late to stop them anyhow. And why waste the time and efforts on stopping the unstoppable then?

This is why international secret service is an inavoidable phenomenon and why they are constituting a new global social class which partly works against the interests of their own people and their own administrations. If this means that british secret service is 'the peak of power' - at least that kind of power - who can prevent the state of affairs which inevitably has to sail up under such conditions that e.g. the british prime minister never could come to be prime minister if he had not been a secret agent for his own secret service? Then he would be only superficial power and would have to ask for permission from the chief of the secret services for more serious decisions. And is that system going through in England, then it is soon going through in all countries. Electronic surveillance data are probably under control today but if international secret service carries through a more or less invisible coup of Europe the enormous databases could be an easy way to control with the opinion - in particular when combined with a Black Sea Loop.

That could be the nazi revolution. Adolf Hitler is the big guru for this revolution. And that is not a joke. The plan is probably to refurbish that historic 'revolution hero' and present him some decades ahead as the author of Nelly Sachs' poetry. People would laugh their heads off today by that plan but when secret service comes to gain total control with the public sphere, nothing is impossible of that kind.

The problem is that they don't understand what is the problem with this plan. Bad for Sachs, they say, but good for history and themselves. Which could be the logic of international secret service. It could mean the end of human rights.

The most important reason why all this is inevitable is that the secret services have not told the truth about WWI and WWII. And then people's confidence in their own (non-british) secret services is the motor which drives the international nazi revolution forwards. All this secrecy on the essentials of history must come to an end. And that means that England must come out with their secrets - otherwise others will have to do it for them.

The Central Bus Station

The conclusion is that my person seems to have been used for quite simply cheating the opinion by the simple trick of 'verboten'. My 11th birthday was in the exact mid point of Per Borten's government 1965-71. 'Central birthday' = 'central bus station', the place where Mette Krötöe had met the young girl - and one should notice that the central bus station in Bologna is very close to the central railway station where the bomb went off in 1980 - in fact as close as to deserve the label 'classmates'. Which means that there is a close link to his 'Per Borten' = 'verboten' in terms of the 'Central Birth Day-tion' of mine.

Hitler's swastika is called 'hake-kors' = 'hook/chin-cross'. If Sachs and Celan were engineered particularly for being my genetic parents, it is well possible that her facial physiognomy (by the eugenetics of the time) was modelled for a horizontal dimension - resembling e.g. Marilyn Monroe's facial look - while Celan was modelled for a vertical dimension. It anyhow makes for a cross - and with the hooks at the end it turns into a swastika. These hooks would be the hook = hake = chin of mine - and the triumph of nazism would be that they could prove by way of my chin that administration is stronger than genetics. My chin after puberty and school dentistry developed into a withdrawn and small version which hardly would be recognized as related to Sachs and Celan. Well that isn't entirely true - Sachs has a curve in the lower part of her chin which I have or had as well and one can see a relatedness there, but the chin is otherwise somewhat unsimilar.

What was the administration that caused the aberrant physiognomy? I do not know if Keith Abercrombie was in any relation to Heinrich Himmler - or even if it could have been the same man, which I suppose it was not - but one can see one move of his which could be of some relevance. It was in the late sixties that The Beatles published 'Abbey Road' and there are some cues to the name of Abercrombie in Lariano as relevant to the british project on Hitler's government. For example, the song 'Maxwell's silver hammer' could mean 'Max Aberbach' on the postcard from 1924 - the essential one for the death of de Gaulle, for example. The famous 'naked feet' on the front page photo of the record could be my famous chin. Isn't there even a white beetle there? Since one can spot some references to Keith Abercrombie on this record, that is the reason why one could discuss a possible administrative role of his - otherwise the reasons for such are minimal. I have no reason from my knowledge of him to believe that he is connected with the nazi administration.

For once, his name can be recognized as related to the name 'Max Aberbach' - and this could have been the original reason for the briton Abercrombie to have a role in this story. He worked after the war as an advisor to the chief of FAO in Rome - the food and agriculture organization of UN - and could therefore perhaps be called a 'chief advisor'. When this was about food, it could mean the mastication of the jaw. I think it was in the late sixties, around 1968 - could be around the time when Gröver/'Mengele' was at Harlem's institute SAO in Oslo - that he divorced from his wife and moved out to Lariano outside Rome. This is where I met him in 1981. LAL-HI.A-NO could be the LAL = the heil Hitler sign in cuneiform, the lifted arms, while HI.A was the plural morph in the same cuneiform, hence the thousands of swastikas and lifted arms in the Hitler cult in the thirties, while NO would be the reference to Norway. (Could this be a possible background of the now popular T-shirt theme 'Abercrombie & Fitch'?). It would be a strong reference to me as the meaning of the swastika in Norway. When Abercrombie divorced from his wife it could mean that the chin of mine withdrew from its normal position ('chin and visor'?) and did not develop normally. (The Bologna bomb in 1980 went off at 10:25 = 'dieci venticinque' = 'the jets went in the chin-que' which could mean that the Manhattan 2001 jets were identified as the injections of school dentist Aulie in my chin in 1970-71). Lariano is also close to the pope's summer residence. Whether this entails an indication that I was subjected not only to Hitler's rape but also to Mengele's chemicals, I don't know. One notices the SUMER residence of the 'papa' and the possible MENGE-le environments of mine in Norway at the conventional custody 'papa'. The pope is a sort of conventional 'papa' on earth. One notices also the possible plans for Hitler as the genetic 'papa' to a british-engineered 'people of Israel'.

It was probably in 1968 that the Grövers acquired a Grand Piano Klaver of type Schimmel - on which a Handreach Shimmler could play. It could have been around this time that I started losing my enthusiasm for piano playing.

It was also in the late sixties that I was in the back seat of the T-262 white beetle of Gröver/'Mengele' at Aure-Osen, when Gröver/'Mengele' used the word 'kaudervelsk' when we drove in under a leaf canopy over the dust road and I asked what the word meant. He said it meant a nonsense language. 'Kau-derv-elsk' clearly are the three main parametres of nazism and the word means that 'fridge of nonsense' which could be in the 'Horn Britt Buffals' on the postcard. This 'fridge of nonsense' seems to be the british responsibility claim on the death of Lenin some days later in 1924. When Charles de Gaulle died on 7 November 1970, that was 562 months after Hitler wrote his postcard - which is the T-262. This trip with the car to Aure-Osen with me in the back seat seems to be a possible background for Ted Kennedy's car accident with Mary Jo Kopechne ('aure-osn kaudervelsk') in the back seat - it attracted a lot of attention and has been clinging to his career ever since - and could have served to magnify the effect of me in the back seat of the T-262. Was that Aure-Osen story clinging to my career ever since?

Around the same time of November 1970, the car numbers of Norway were replaced with new car numbers and the old T-262 car was replaced with a new green beetle of Gröver/'Mengele'. I don't remember if the old number T-262 was replaced with a new one or not. (The car was sold I think to a Munthe-Kaas who worked in the national norwegian broadcasting - I don't know if it was sold with old or new number). New numbers had two letters and five digits. That of course is what administration understands of the car number story from my novel - and it could be the reason why british state terrorism apparently has used this novel of mine as template for their terror in Russia and China and other places. And the reason why Venice is something special for me. Coming from Venice into a normal city with much car traffic is for me a difference due to the presence of cars and their numbers. Could be it means for me all that administration which could have hampered or redirected the development of my body in the years after 1970 - and that is the invisible wall I constantly run into in some trafficked environment. Even only Piazzale Roma (where cars and buses can travel to the edge of the centro storico) leaves me in a lower mood. Certainly this phenomenon of car numbers since 1970 could have been the reason why the administration that seems to have stolen my novel 'The Dreamer' from my computer - since they would tend to think that it is about the 'administered' jew who is lost in the web of car numbers. The novel certainly is about just the opposite, of what is beyond this trivial administrative level. Could be for precisely such reasons.

12 May 1970 is the day when Sachs died and Celan was buried - and the same date of 1968 was when the new postal codes were introduced in Sweden - perhaps not the least for the construction of 'frau Röver' relative to Norway and Brundtland. That construction would be of a similar type - for the idea that administration can govern the development of the individual physiognomy (cp. the three Kretschmer types).

This phenomenon is also likely to be the reason why there seems to be such extensive fraud on my authorship - if one tries to make an identity between me and 'everybody' for spreading the idea that administration governs even the genetic conditioning of the body and also of thought.

In short, there seems to have been (at least since the late sixties) a lot of administration (the examples I have used here are probably or possibly very little compared to what has been going on) which could have served to hamper the development of my chin - and possibly other aspects of my physiognomy - but the chin is likely to be a typical expression of the nature of 'the others'. It should serve to prove that administative logic is stronger than the genetics - and hence even the state of Israel has priority before the jewish-genetic diaspora in this sense of it. That would have been the meaning of Hitler's swastika symbol.

My view is that this is no surprise and does not mean much. It means that if the mind is rooted in the substance of the body by genetic factors, clearly the state of the mind and its relation to the collective historic consciousness can also affect the development of the body. This is the crisis since 1968. It is likely that the collective consciousness can do almost anything if it wants - a flying saucer now and then is no problem - and to alter the development of a chin is probably no big thing for the historic consciousness. But to take that in the sense of administration as the alternative to a mechanistic view on the genetic disposition of the body is to misunderstand. Power struggle is more mechanistic than poetic logic is, not the other way round. The relation between poetry and matter is the real story - and that is not administration. But administration has been running a war against poetry - could be for precisely these reasons. The whole story with 'frau Röver' and Verboten and all this could be quite simply an attempt to get the poetic-semiotic link between sound and matter under administrative control.

This administrative 'deformation' of my genetics comes in addition to the administration of the 'dreadful horror' interface to the jewish-genetic diaspora. That is another aspect of the attempts to spread the principle of administrative control with the development of physiognomy and consciousness.

Gro Harlem Brundtland

It was on 12 May 1968 that the new postal codes were introduced in Sweden. That was two years before 12 May 1970 with death and burial of Sachs and Celan - and the birthday of Ragna Augusta Gröver. The postal codes for Söder and Tantolunden seem to contain the 'Aktion Reinhard' = 'Eidsvig Ragna' link from Söder (Holmqvists) to Norway. The issue of MLR April 1968 is the one within whose scope not only this 12 May 1968 but also the 11th birthday of mine can be found and it is interesting also because it can be seen to contain the name of 'Gro Harlem Brundtland' in the first three titles:

1. 'King Lear' and renaissance paradoxes. By Brian Vickers
2. Narrative distance in 'Jane Eyre': The relevance of the pictures. By Jane Millgate
3. T.S.Eliot's 'Long unlovely street'. By A.A.Mendilow
4. Imitation in Ronsard: 'O de Nepenthe...' By Grahame Castor
5. The idea of 'judgement' in Montaigne. By S.John Holyoake
6. Aspects stylistique des 'Mémoires' de la Rochefoucauld. By D.E.Secretan
7. An unpublished letter from Ballanche to Lamennais. By A.J.L.Busst
8. The use of colour in 'La Naussée'. By D.J.Fletcher
9. The textual history of Tirso's 'La Venganza de Tamar'. By Alan K.G.Paterson
10. Old english 'dryht' - a new suggestion. By D.H.Green
11. Parallel attitudes to form in late Beethoven and late Goethe: Throwing aside the appearance of art. By R.T.Llewellyn
12. Halm's 'Griseldis': A landmark in nineteenth-century german drama. By Peter Skrine
13. The stage as metaphysical institution: Zuckmayer's dramas 'Schinderhannes' and 'Der Hauptmann von Köpenick'. By E.Speidel
14. History and cruelty in Peter Weiss's 'Marat/Sade'. By John J.White

For the idea that this issue encodes the name of either one or both of Ragna Gröver (custody mother) and Gro Harlem Brundtland relative to Sachs' (genetic mother) letter of 31.5.63, see the article on my novel and MLR.

1. 'Kingel' is the (gossamer) substance which an 'arachna' ('a Ragna') spider (author 13) produces - closely affiliated with the substance of semen - and 'kingel-vev' = 'spiders web' such as often are found in a 'corner' = 'krok' = 'hook' = 'GroH'. Logical paradoxes denote steps of development of knowledge and hence growth. As a paradox the kingel is outside the penis-head and not inside the scrotum. Hence in the style of 'braine fickers'? For the renaissance paradox, one notices the possible role of the paintings in Chiesa di San Trovaso in Venice - with the dates 1444 and 1556. Even the idea of 'potato print' could be relevant to this, since 'GRO' is the word for the beginning roots ('gro-er') that shoot out from a 'mother potato'.

2. When the jets crashed into the twin towers on Manhattan, it was with 'Harlem' on the other side. Then it was about the 'narrative distance in 'Jane Eyre''. The 'relevance of the pictures' could be quite simply the banknotes seen so many times before the picture occurred in all news after 11 September. By 'J and Millgate'. Hence title 2 means 'Harlem' at the time when Gro Harlem Brundtland was chief of WHO - which means the issue of a global VERBOTEN strategy. Harlem is on the other side of Manhattan relative to the twin towers. If this also is about the 'jets went in the chin-que' of the Bologna bombing in 1980, it could mean school dentist Aulie's injections in my jaw. Recent biographies on Josef Mengele tell that he had a norwegian girlfriend called 'Almud' before the war. This name is new to me as a norwegian name - but one recognizes the T-Almud of the B-Aulie school dentist.

3. The toilet's long and unlovely street = the bowels for emptying = Brundtland, g-Röver. Eliot's famous title 'The waste land' is not only about the landing of the waste from the bowels but it could here also be about the brown ground after the 'hardlimb' 'Velstandslefsa' rocket has been lifted = GROwn and fired. But if title 2 means Harlem by way of the attack on Manhattan in 2001, this title 3 could mean Brundtland only after some later catastrophe with the firing of a 'Velstandlefsa' missile (which significationally seems to be encoded also with the train line Salzburg-Vienna). Notice the mirror of title 12: 'Halm' is norwegian for the dried stalks of e.g. wheat, typically used formerly as filling in mattresses, and clearly this issue of 1968 could not be about a german-drama 'mattress' in the FYRROM in Labråten 58 although it could be understood as such later. The current debates about the name of FYROM ('Former Yugoslav Republic Of Macedonia') = Macedonia could be about such an interpretation of this title 12. Clearly 'T.S.Eliot' can be taken to mean 'T-262'. One notices also some interesting parallels to the titles of MLR July 1980.

Hence Aure-Osen Kaudervelsk = Mary Jo Kopechne by a 'd/p'. A.A.Milne = A.A.Wilne - hence 'Dereka Mikula' (2003) relative to Oklahoma bomber 'Timothy McVeigh' - for A.A.Winnie Pooh (cp. Gordon Brown?) and A.A. Mini-Pooh = knerten = Knatten = Akropolis - and Lille-bror = Venice? Hence the 'Veles'-tandslefsa missile with the Minston Churchill = the youngest Churchill, youngest dr.Urgent. Minsten = attpåklatten = att-på-Knatten = the ruins on Akropolis. Atpok-natten = Aberknatten = Abercrombie by the logic that 'röver' = 'night' in 'Long Knives Night' for 'Jump Jarnegg Röver' - which means the Ernst Röhm putsch of 1934. Val-knatten = Valer-knatten = Johan Borgen's home. His wife wrote 'Urtehagen på Knatten'. 'Jan P.Syse' was carried out on 'Valg-natten'. For 'Winnie the Pooh': Christopher Robin was ambassador to Vilnius around 2000. Whether this means that Velestandslefsa could target even Venice I don't know. It seems that the missile could be targeting Athens for a case of landmark terrorism on Akropolis which would settle the name of Gro Harlem Brundtland by the third and last name as a landmark for british policy. When 'Harlem' could have been the reason for 11 September 2001, there are perhaps reasons for alarm as far as Akropolis or other landmarks are concerned. That is when the question of Venice as the alternative is not a joke. Please do not take faith in UK/US propaganda telling that I am involved in or masterminding anything such of terror plans. The attack on the drug rehab centre in Mexico in early September 2009 could perhaps have been intended for something like that relative to the date of 11 September - which then could be about affiliating me and my literary work with the third step in a 1-2-3 of Gro-Harlem-Brundtland. That would be BRITISH plans and not mine.

7. The author 'Busst' clearly could comment on the Bus Station, and combines with the next #8 for Busst Asian. The 'balance' is the mid point in Borten's period, for which reason this 1968 title could be telling of the Central Bus Station as a part of the 'package' on me already then.

8. The use of colour in 'La Naussée' = in 'la oss nå se' = 'let us now see' = the use of colour, hence onset-truncation - by D.J.Fletcher, which then could be about station, tation, asian for the indexation of 'Nelly Sachs' = 'neglesaks' = 'nail scissors' in MLR April 1957 for my birth (Gottfried, Gotfried and Otfried - clearly the acts of a 'nail scissor'). The use of calling for me ('land aa se' = 'sheep o-ho-i' = 'the lamb') could be for referring to the location Norway of 'la norsie' = Gro Harlem Brundtland. Here presented as the daughter of Nelly Sachs? Or quite simply me, is that the concept?

From the article titles of MLR April 1968 one can also recognize some further names which could have some relevance: 1-3: Gro Harlem Brundtland , 4-7: Jens or rather Thorvald Stoltenberg (her foreign minister in a later government)?, 8-11: could be Charles Abercrombie (cp. Beatles 'Abbey Road' around the same time), 12-14: Mary Jo (not Jojo!) Kopechne (cp. the 'FYROM mattress' and 'Macedonia Veles' of 'Halm's Griseldis' = Charles' FYROM?). But Kopechne (who was about the same age as Brundtland) died in 1969 (the death certificate said 'asphyxia by immersion', cp. 'mer[d] på kjøkkenet') and as far as I know Abercrombie is not into politics but his name could of course have been used for a british 'chin' program on me - as in 'dryht' - and hence this record by the Beatles. One can also spot traces of the concept of 'blyglassvinduet' or 'blyinnfattet vindu' = 'the stained glass window' in some of the titles - there was such a window in the house of Grøver/'Mengele' in Molde at the time of 'Aure-Osen' - it was to the left of the Shimmel grand piano they acquired around the same times. These readings of the names are admittedly coloured by my own personal background and certainly one can read other things out of the titles if one wants, but on the other hand if there is some substance in the assumption that MLR relates to my person in some way or other, it could be an interesting observation nevertheless. I can add that Keith Abercrombie himself told me in 1981 that he knew only one norwegian politician and his name was Thorvald Stoltenberg. One could also refer to the location of the norwegian national library in Mo in Rana - and perhaps other aspects of Brundtland's career - as interesting for this interpretation. Of some interest could also be the observation that 'Thorvald' could mean 'the choice among two' - here e.g. among two landmarks. There is a churchyard on top of a sort of a knolly hill in Veles - could be for the concept of 'Churchill'. This means that if the development in Macedonia relative to Greece develops, it could be about this 'thorvald'. One could even speculate if the Arne Treholt case could have been about lending emphasis to certain and not other aspects of this complex, such as the 'dipper' role shared between two of the '13' - cp. the idea of a 'redentore' role of a hypothetical missile towards a landmark, in which case that 'other' role could be left open to somebody else, such as e.g. me.

1968 can consequently be seen as the time when Gro Harlem Brundtland (born on Hitler's 50th birthday) was launched for her political career - at the time of my 11th birthday - and it was the time when the 'swastika' program on my chin could have started - with the death of Sachs, Celan, de Gaulle. One could speculate that Gro Harlem Brundtland could have been the entire purpose with the attack on USA 11 September 2001 in the role of chief of WHO, for which reason the purpose with the attack could have been the indexation of the chief of WHO for a global scope of a Verboten program. MLR April 1968 was the issue for the date of my 11th birthday, which eventually turned out to be the exact mid point in Per Borten's government. The beginning of his government in 1965 was on the background of indexations of Celan and when he resigned it was because of a 'leak in an airplane' which he repeatedly called a GLIPP - which one could recognize as the KLIPP = 'scissoring with a Saks' (cp. also the theme of SACHS vs. ACCESS) which could be about Sachs reading the letter which she had got from Celan in Paris already on the airplane back to Stockholm - ignoring perhaps a secret service agent sitting in the seat behind her and reading the leak of the classified information over her shoulder, as if he should have had ACCESS. It was this letter (about me, that would be) which she refers to in her own letter back to Celan soon after her arrival in Stockholm - and a few days later she seems to have lost it. It must have been stolen from her flat! There is no other chance than for Celan to travel up to Stockholm again to give her a copy, to avoid that the letter with the vital information be the basis for media intrigues instead of the information she needed. On the way, he travels via Odda to visit me. Which means that Per Borten's resignation in 1971 - on the day which put my 11th birthday in 1968 in the exact mid point - could be seen as having its cause in Celan visiting me in Odda before he continued to Stockholm.

The new postal codes of Sweden were introduced on 12 May 1968 - exactly two years before the death of Sachs which was exactly 10 years after the arrest of Eichmann. Those postal codes seem to have contributed to the construction of the 'frau Röver' phenomenon bridging from Stockholm to Oslo. Celan disappeared on 20 April 1970 (and was buried on the day of death of Sachs), which was 'frau Gröver's birthday. Celan's day of disappearance was consequently the birthday of Hitler and of Gro Harlem Brundtland. This adds importance to the role of Brundtland and the birthday factor.

The arrangements for constructing the VERBOTEN label on me - by this mid point in Per Borten's government - were sufficiently big to have some global effect. Gro Harlem Brundtland - chief of WHO at the turn of the millenium - could therefore launch herself under the flag of 'opposition to Verboten' in the sense of opposition against me, for example on the background of this alleged family saga since before the war - supported by the program on me contained in the Eisenhower doctrine - while in actual fact her program could be precisely the 'verboten' one. She would not have to be explicit on her stance in these verboten matters in order to harvest the political profit: For example, when I was notified that I had got a 2 months stipends in the autumn 1992, her son Jörgen suicided (in fact, as told a later news article, while she was in Brussels and her husband at NATO on Kolsaas, cp. 'nabo-trussel' = 'threat from the neighbour' - and I notice the deaths of two neighbours of mine recently), and when I started the stipend period in the research center, she announced for the Labour party that she would resign as party leader although she continued as prime minister. It apparently was a heavy blow to her career that I got a humble 2 months stipend, and the voters could probably even be filled with sympathy for her as the victim of that 'dirty beast-nis of Verboten'. This sort of strategy would make it unnecessary to be explicit on the exact meaning and references of verboten and dirty beastnis - and the general swap-mechanism could serve to put her in my role and vice versa, which could affiliate her with an invisible label of 'dr.Verboten'. My career has been as unsuccessful as her has been successful. Could be there are some correlations to be found on a closer study. The Bologna bomb went off when I moved from Fredrikstad in to Oslo in the hope of taking up again the career which was broken off when I quit the studies at the university in late 1976, and the Oklahoma bombing was correlated with my attempt to have a book published. This story - or 'family saga' of Gröver/'Mengele' and Gudmund Harlem - could have its correlate in the celebration of Brundtland's (and Hitler's) birthday in 1970 at the time when Celan disappeared. Progress for me and my genetic family would apparently have meant setback for Brundtland and her conventional affiliates for whom the program could have been that administration is stronger than genetics. When I got a 2 year student stipend (including study period in Hungary) in 1990, Gröver/'Mengele' allegedly died from cancer (I think, though, that it was announced before I was notified of the stipend) and Celan's wife Gisele Celan Lestrange died in the autumn 1991 around the time when my residence permit in Hungary expired. (I had at that time never heard a word about this story and therefore never got the chance to meet her for her version of the story before she died - but when KSJ and I went to Paris in the summer 1975 we were equipped with an address to a female parisian graphics artist whom we visited - not her, though, but another). If she died because I had got a stipend it could have been intended to mean that she was on the 'other side', along with Brundtland and Gröver/'Mengele', but it could also be in the meaning that she died because I had to return to Norway. Hence this trick of the name and 'family saga' could have been applied to e.g. Italy via the Bologna bombing, with the metallic loudspeaker propaganda (have you seen that incredible scene with Hitler giving a speech to the people from a houseroof?) on the form: Do we want that 'dirty business' of 'Verboten'? - to which the italians could have replied with a unison 'no' (they did not want more such 'Bologna bombing' - or 'Reichstagsbrand'?) and thereby welcoming the british secret service program which could have had only one thing on its mind and that could be 'verboten' strategies on the continent set agoing with the sinking of Venice for a new fascism in Italy. The trick is very simple but the arrangements around 1968-1970 were big enough for a considerable effect, in particular if one adds the US banknotes and similar effects. 11 September 2001 also had a certain 'birthday' style - with Ballons (balloon as the condition of a victim with chemicals in the blood - with a feeling of being pumped up like a balloon - Pentagon and the crash in the former diamond mine of Lambertsville would have symbolized that) and Funhattans - and the similarity with the folded banknotes. Clearly all this story - with me and the 'swastika' chin - would be the reason why the Bologna bombing indexed me. There is even a certain 'Balloon-onsen' in the Pentagon and Lambertsville crashes which means that the 'verboten balloon' indexed by 11 September 2001 could be localized to Bologna ('balloonia') and Venice ('fun-is') for the 'funhattans' and 'för-natten' with the 'Oklahoma' = 'å klö homa' = 'to scratch/pick the bottom' - to scratch/pick the 'folded ba[n]cknotes'. (One notices also the norwegian 'Orkla ASA' firm which had a sensational growth in the years before the bombing - the director was also chairman of the norwegian research council). That is precisely why the idea that a destruction of Venice could have been thought of as a way to start a Black Sea Loop.

I don't think Brundtland has ever pronounced an explicit affiliation with a 'verboten' program. But the aura of the program around such themes as Pentagon-Lambertsville, jets-in-chin-que, MLR April 1968 etc could serve to attach the concept on her - and in particular a swap-function on me as 'Dr.Verboten' could add to it. This means that Brundtland as chief of WHO in 2001 could have indexed just this program without her explicit consent. But clearly if there is british or international secret service attention to my person, that would have some political reason.

What is the solution to that problem? The solution is so very very simple: Publish the whole story about how England organized WWI and WWII for the Klipra connection and the holocaust and the continuation into verboten and Bologna bomb and all this. One cannot out-power british-based power-freaks - and even smarter tricks will never do. It is only the truth of history which can prevent an outbreak of chemical administration. Blame the britons for what can be traced to them: That is the solution to this problem. Madmen throwing tomatoes and rotten eggs on britons for obscure reasons does not help at all - on the contrary all such activism makes it the wrong way, at least as long as it is not crystal clear what is the basic reason. But such publication of the history should be done before the Black Sea Loop starts for invisible subconscious underearth shock-waves of panic on the continent which could make it difficult to think clearly and to put the confidence into propaganda instead. My view is that Italy - on the explicit background of the Bologna bomb and probably much else - should expect England to come up with a sensible explanation or withdraw their embassy at least untill every aspect of this story is cleared out. As far as I can see, to join british interests in beet-root mysticism and things like that is only to ask for the much bigger bomb on Venice.

Conclusion

If the Bologna bombing was about a british wish to strengthen their influence in USA by getting Clinton into the White House, it could also have been about a parallel strenthening of their influence for a Gro Harlem Brundtland politics in Italy (and USA). Brundtland is Labour, England is Labour, in Europe one considers the US democrats left and the US republicans right. This means that european LEFT is 'Verboten' while RIGHT is not. One trick with the left-right could be the very simple one on me defined as the opposite of Brundtland - that one pasted the label of Verboten on me in 1968 and then verboten politicians can launch themselves for a collecting of votes by their program against verboten: "We don't want the dirty beast-nis of Verboten" (that means Kursk-and-Cole 2000 and Per Borten 1968) - and those lay voters who do not want chemical persecution and Black Sea Loop and new holocaust naively vote for Brundtland and Blair and Clinton and all those. When this means that LEFT is verboten and RIGHT is gestattet (the mixmax is reinforced by the leftist inclinations towards a 'ge-staatet' society), it also means that the european LEFT is rooted in Hitler's hijacking of Lenin's revolution. It couldn't be more absurd! That could be the origin of this bizarre form of political mirror-world wherein solidarity with the suppressed ones is carried out by verboten persecution. 'Carried out' - what do you mean? Cheap word games all of it.

The problem is so deep that e.g. communists would reject it very strongly and take it as an insult against their integrity. 'We are not nazis!' Well, depends on, I would say, if they understand history in the way that Blair is a better alternative because he is more 'left' than others. Why haven't they told the story - for example about the Bologna bomb? Not to speak of the Klipra connection? If that silence on the essential facts of history - those facts which the public desperately needs for disentangling itself from the political propaganda which keeps the mixmax confusion up and going - means that they prefer power before truth, for example on the cheap pretext that without democratic power no parliamentary representation, it may be that they are not so very un-nazi after all (according to the analysis of the 20th century history presented here). It seems that 'leftist-democratic' parties are most inclined towards a new round of 'national socialism'. It is likely that it is this story with 1968 and Brundtland which is the background for some of the events in Vienna after I moved in there in 2009 - and with the social democrat party SPÖ of Austria taking the power after the election in 2006.

It is likely that the whole complex is constructed precisely for preventing this confusion from finding its solution - and in the mean time the international secret service is building its underearth network of control for consolidating 'british' symbolic-logic power all over the world. That is for keeping it going in the alphabetic technology. Ge-staatet terrorism, that seems to mean, and the non-verboten parties are blamed for the terror. That is why it is so urgently important to understand what it is about. It is only by publishing the details of the history that one can come to grips with the problem.

I must add that it is totally out of the question for me to remain in a country which allows for secret surveillance of my computer with relegation of the ACCESS to it to outsiders. In particular if I am also followed by a satellite camera. Administrative logic since the war has been a war against poetry. I am not giving anybody permission to tap my computer. Is it a coincidence that http://news.yahoo.com/s/ap/20090911/ap_on_go_pr_wh/us_health_care_outrage_analysis seems to be about my work in the preceding days - about a very essential point in what I have been writing in recent days? If not, could there be an unsurveyed life for me in Russia of China or under some sky which is not immediately available to UK/US satellite cameras? Neither intellectual nor social life is really possible under condition of secret surveillance.

© John Bjarne Grover
First version on the web 26 June 2009
Second version on the web 3 September 2009
Last updated 12 September 2009