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Electric Dreams Volume 01 Issue 20
=========================================
Electric Dreams
Volume 1 Issue 20
31 December 1994
==========================================
---Back issue and the FAQ available via anonymous FTP at
sppc1952.uwsp.edu
--For mailing list info,subscriptions,dreams and comments
send to Cathy: cathy@cassandra.ucr.edu
--Send questions about dreams & dreaming to Matthew:
mettw@newt.phys.unsw.edu.au
--General comments, articles and ideas to Richard:
RCWilk@aol.com
=========================================
CONTENTS OF THIS ISSUE:
Editor's Notes & Day Residue
Dream Resources: A new addition!
Article: Bringing Dreams to Kids! Part III by Jill Gregory
Comment on Val's Past Life Regression by Richard
Comment on Sierra' Broken Figurines by Cathy
Comment on Martin's Execution Times Three by Cathy
Comment on Matthew's Black Hole Sun by Cathy
Dream: Her Grave in the Basement by Richard
Comment on Richard's Her Grave in the Basement by Bob
Dream: The Dangerous Train by Martin
Comment on Martin's Dangerous Train by Bob
Dream: Car Problems by Sierra
Comment on Sierra's Car Problems by Bob
Dream: Voyeurs by Cathy
Comment on Cathy's Voyeurs by Jay
Comment on Cathy's Voyeurs by Bob
Comment on Cathy's Voyeurs by Richard
=================================================
Tagesreste - Day Residue
=================================================
Well, it seems everyone is out for the holidays so we have
a short issue. Besides our usual and delightful dreams and
comments, Jill finishes up her three part article on
bringing dreams to classroom settings and offers some good
advice on how usefully to render dreams without always
turning them into mirrors of our problems. We are starting
a new section on dream resources and encourage you all to
send in any resources you find on the net. Best wishes to
everyone for 1995! - Richard
=================================================
Dream Resources
=================================================
About Dream Resources: I've had several personal requests
for information on the wider world of dreaming and so we
have three projects we are adding this issue to the D-R
section. The first is a joint effort with the _Dream
Network Journal_ to add subscribers to both and increase
cross awareness. The second project includes the posting
of national and international resources, conferences and
meetings. Lets hold off for now on local and regional
meeting announcements - though reviews of these are fine.
I do hope that there will be an internet site for local
meetings soon. And finally the addition of (coming soon)
bibliographic resources and book reviews on dreams and
dreaming. If you have something to post or run across
something related to dreaming on the net, send that to my
address. RCWilk@aol.com
--Richard
_Dream Network, a Quarterly Journal Exploring Dreams &
Myth_.
Since 1982, we have been providing encouragement to
dreamers, information and networking services,
internationally. Each issue contains a section on The Art
of Dreamsharing & Dream Education, the Mythic Dimension
and articles which respond to Questions posed in the
previous issue. The classified section offers
dreams/readers the opportunity to initiate and engage in
research projects and to form or participate in existing
dream groups.
Sample issue: $5.59/One Year/$22.
We have a wonderful 44 page booklet, The Art of
Dreamsharing & Developing Dream Groups that would enhance
dreamplay on Electric Dreams: $5 + $1 (P&H).
For Information, email to ossanah@delphi.com or subscribe
via VISA, Mastercard, AmEx: 1-800-To-1-DREAM(800-861-3732).
National Dream Registry
Yes, its finally going to happen. A place for dreamers
to send their dreams and have them statistically grouped
and analyzed as part of a large biographic and demographic
database. As this project gets online becomes operational
we will have more information. If you can't wait and want
more information now, you can email John Gallagher for
the next few weeks at: 71652.1616@compuserve.com or
snail him at: 125 West 79th Street - Suite 1R New York, NY
10024
ASD Conference XII
The twelfth annual conference of the Association for
the Study of Dreams will be held in New York City June
20-2, 1995. For information write to: Jane White Lewis at
29 Broad St., Guilford, CT 06437-2613 or Don Kuiken at
University of Alberta Department of Psychology, P-200
Biological Sciences Bldg., Edmonton, Alberta, T6G 2E9,
Canada.
I missed last year's conference in Leiden, but I went
the year before in Santa Fe and I'm sorry I can only give
you a glimpse at just how much fun I had. Workshops,
lectures, talks, seminars, and costume dancing - new
techniques, wild science, imaginative approaches, art,
literature, research, spirituality, and so many
fascinating dreamers, dream authors, dream therapists,
dream artists and dream theorists. ASD XII looks like its
going to be just as fun, if the sneak preview by Don
Kuiken in the ASD newsletter is even half way accurate.
(1994, vol. 11-4, pg. 16). Montague Ullman, the
internationally known researcher and dreamworker will be
lecturing and giving a seminar, Carlyle Smith will speak
on dreams & memory research, Stanley Krippner will have a
workshop on dreams and personal myths, Deirdre Barrett
will be offering a workshop on dreams and hypnosis. This
is just a small sampling. Hope you get a chance to go and
don't forget to bring a costume for the dream ball where
people come as their favorite dream. -Richard
Also, if you are interested in information on how to join
ASD and receive a quarterly journal _Dreaming_ , the
quarterly newsletter _ASD Newsletter_ and some cuts on
conference rates, just send your request snail mail to:
ASD P.O. Box 1600 Vienna, VA 22183
================================================
Bringing Dreams to Kids!
By Jill Gregory
================================================
(In our last two issues we reprinted a story by Jill
Gregory, the director of the Novato Center for Dreams and
a central figure in local and national dreamwork. In those
articles she relayed her experiences of teaching dream
skills to a Fourth grade class. In this final selection,
Jill gives suggestions for teachers and dreamworkers
interested in working with children.
Previous articles my be found in ED1-18 and ED1-19
via our ftp site (see first page) or in their original
printing in Dream Network Vol. 7 #2&3 , 1987).
Suggestions For Parents
We protect our children from physical world
dangers and traumas of even minor impact but abandon
them to horrific repeated traumas in their dream world.
This is not due to malice, but rather to ignorance. I
would encourage parents to pay more attention to and
validate their children's dreams and share appropriate
dreams of their own with their children. Such sharing will
strengthen the family bond and increase the general level
of personal sharing in the family.
Suggestions For Teachers
I encourage teachers, whether or not they are
knowledgeable about dreams, to bring dreams into the
classroom. Introducing the topic of dreams is important
because you are validating a large portion of the
children's lives that may not be validated anywhere else.
Let them know that dreams are a welcome subject in the
classroom.
Encourage them to include dreams in their sharing
time. When having the kids practice language skills such as
sentence construction, grammar, spelling, paragraph
formation, etc, have them use a paragraph from a dream as a
basis for the exercise. The teacher will find that the kids
are much more interested in the sharing or language skills
exercises when their dreams are the subject.
Tips For Dreamworkers
Dreamworkers who bring dreamskills and resources
to children are serving humanity in a very important role
that is as yet little known or acknowledged. I encourage
dreamworkers to include children among their "clients" even
if it means volunteer service. Dreamworkers should feel out
teaches and groups or organizations for kids because there
may be golden opportunities, openness and support where you
do not expect it.
I would like to offer some tips for those of you who
may be contemplating or bringing dreams into the classroom.
Most importantly, the more involved a child is in the dream
activity, the more they enjoy it and benefit from it. It is
better to keep if brief and get them actually doing
something with their dreams.
Another tip is to be sure to present dreams in a way
that is inclusive of children with little or not dream
recall. I handled this by facilitating a conscious dreaming
experience, one on one, for those with no recall. By not
teaching the same thing to the rest of the class until
later, these non-recallers now had their own expertise and
other kids were curious about their experiences. Also it
gave them material to work with using all of the dreamwork
methods I presented. In at least one case conscious
dreaming was a positive and empowering experience (a boy
found a tranquilizer gun to use to subdue his monsters)
which opened up sleeping dream recall.
Other ways of accessing dream material is to ask
children what dreams they think they're having but
forgetting; dreams they would like to have; dreams they
have been told by someone else; or dreams from literature.
Your can help make it safe for them to share dreams
if you share from your own dreamlife--your wonderful dreams
as well as your scary, unpleasant ones. It is important to
be flexible enough with your time and attention to be able
to stay with powerful negative scenes. Don't leave the kids
hanging! Stick with it until there is an improvement in the
imagery.
In a dream drawing exercise, for example, a child
drew monsters with big teeth pursuing him and planes
shooting at him from overhead. All of his friends had been
killed. He was inside the earth with volcanos burning his
feet as he ran and ahead of him were bad guys with knives,
What we did was add pieces of paper and he drew what
happened as the dream progressed. Finally he added some
cool water to soothe his burned feet. Them he deepened the
water and pictured himself swimming away from the monsters
and bad guys who apparently didn't know how to swim. The
planes lost interest and went away. He found safety
standing on an island. Then we stopped drawing and imaging.
He had not reached final resolution but was now in a more
positive situation.
Another suggestion is to allow mystery. Don't feel
that you need to know all of the answers. They will ask if
something is true or possible and do you know if that's
what happened to them. Allow that mystery. Present an open-
minded viewpoint that includes different levels of
understanding and different interpretations of experience.
This will help you avoid the pitfall of invalidating a
student's experience or their own understanding of it
without needing to present or defend any particular
position. You don't want to limit their own openness to
exploring their won dreaming with a pronouncement no
counter balanced by other viewpoints.
Focus on changing dream scenes and actions in a
positive direction rater than trying to get at the waking
life correlations and issues since this is not appropriate
in a classroom setting. It may cause problems with parents
and education authorities as well as making the child more
vulnerable to self-revelations which may cause regrets
later. This is more appropriate to family counseling or
individual child psychotherapy.
Pay special attention to protecting the privacy of
each student during the writing or drawing dreams. Do not
permit teasing or mocking of their dreams or dreamwork by
other children. If possible, seat them far enough apart so
that each can have their own private space. Kids can be
awfully cruel and one disaster can shut down a whole lot of
sharing.
Finally, be positive, value each dream, be fair,
patient, enthusiastic and high energy. You set the tone.
You create the space for their sharing. And these
attributes maximize the potential for the course to bring
good things to the class as a whole. One of the techniques
that helped shape my role with the class was to follow the
1 to 1 1/2 hours of dreams with leading them in singing.
Sometimes we sang acapella, sometimes with guitar or piano
accompaniment. It always would balance out the energy,
unify the group and add another dimension to our
connection. I became a source of new and funny songs and it
was nice to end dream presentations with music.
Three suggestions from the students that I would
like to pass along are first, to keep a file in the
classroom of the dreams that they are willing to share,
that all can browse through or add to at any time. A second
suggestion was to weave a new story or dream which
incorporates portions of many dreams (including conscious
dreams). Finally, they wanted me to be available to
participate in their dream dramas.
These suggestions show a level of interest and
awareness which is quite high. I was continually surprised
and elated at the sophistication of their dreams, One boy
reported that he had his first "quadruple" dream. He
reported seeing four vertically stacked bunkbeds, with a
different family member sleeping on each bed. Coming out of
each person's head was a cartoon-like "balloon" containing
that person's dream. Each of these four dreams were
completely different and he watched them all transpiring
simultaneously.
What good things are in store for students in a
dream class? Mrs H.(the teacher) asserts, "...dream
techniques enabled my students to better understand
themselves, to have a sense of power over their won lives,
to be creative and to cope with or find solutions to
problems in the real world."
As of this writing (1988) some nine months after the
end of the class, Mrs H. is continuing, on her own, to
include dreams in her classroom teaching. My daughter,
Shamrock, has become the local kid authority on dreams, She
often helps others with their dreams, sometimes on her own
and occasionally by relaying information or feedback from
me. Some of the children still get together at recesses and
do dream sharing even thought they are now spread out in
three different fifth grade classes. As for me, I have been
invited to do and in-service training for interested
teachers at Lu Sutton school.
The way I see it, bringing dreams to kids is helping
them reclaim their birthright, just as it is for all of us.
I would like to class with a recent experience from my own
family which illustrates the value of helping children
develop their own dream skills.
My daughter Shamrock told me a dream which
involved a mother putting dirty diapers back on her three
children instead of using clean diapers from the box of
"Luv" disposable diapers that she had with her in the
living room. Shamrock said to me, "I think I know what this
dream is telling me. I've been getting mad at my little
sister a lot more than I used to. That's because I'm mad at
her for a lot of things that she's done and that bug me. I
need to change and show her my love in a cleaner way. I
need to forgive her for just being a little kid and doing
things she's not supposed to do. [And] I think this dream
is also telling you and daddy the same thing about how you
treat me and my sister lately. When you come to tell us
something we're doing wrong don't remind us of the times we
did it before. Its just like putting dirty diapers on a
baby. Show us your 'luv' in a clean way."
When I related this to my husband he surprised me
by saying that he had noticed the same thing and was
getting ready to talk to me about it. The power and
simplicity of the imagery of the clean and dirty diapers
proved helpful to my husband and me in changing how we
approached our children when they did something wrong.
Shamrock's foundation in dreams and dreamwork
enabled her to serve our family in a timely,
non-threatening and profound way. Bringing dreams and
dreamwork to kids increases their social and academic
skills as well as life skills in a way that benefits the
child, the family, the school and the community.
Jill Gregory can be contacted at the following address:
Novato Center for Dreams PO BOX 5879, Novato, CA, 94948
(Special thanks also to the Dream Network Journal, in
which this article originally appeared - See Dream Network
Volume 7 No. 2&3, 1987)
================================================
Comments on Val's Past Life Regression - First Dream
By Richard
================================================
(See Electric Dreams 1-19 for Val's Dream)
If this were my dream I would be interested (since
it is so early and appears in the form of a past life)
how this *particular* past life functioned for me as an
ur-myth, in how my life stories and perhaps
life series have followed or deviated from this particular
image, and
what general opportunities the image offers.
The mention of Versailes (Versailles with no "l" =
noel?, no double ll or "no parallel" ?) I would find quite
revealing. My limited understanding of Versailles is that
it is a very historical and complex place. It is the symbol
of royal extravagance as well as of revolution and
freedom. I felt at first tempted to see this dream place as
an early manifestation of the larger self; what better
image than a complex palace at the center of the world?
But the reference to the whore and the dreamer's early
struggle with consciousness/ unconsciousness (sleep/wake)
shifts my attention just left of the self to this being an
early pull towards consciousness by the Great Whore, the
mediatrix of the unknown. A necessary manifestation for
creativity, but a little hard on a developing child. Her
appearance early in life is often gripping, ripping and
dramatic. If this were my dream I would be interested in
how, throughout my life (or many lives) I felt that my
gifts and talents made others envious and exposed me to
attacks from collective (and personal& family- mob
mentality) values and opinions. And if so, was my journey
of my talents then one of being captured, shackled,
humiliated, imprisoned with the hopeless and abandoned,
beaten and made to feel guilty and wrong - and for what?
This would be for me the key and where this passion
play reveals its mystery. Unlike a person (or part of a
person) whose talents are easily recognized by the
social environment, the creative individual must each day
make him/herself anew. What they have , that is so
envied, is known only to the creative person him/herself
(the "crime" may not even be know to him/her).
But the mob can only see that it is outside the
law, that it appears like a privilege that, like court
member at Versailles, must be cut off, nailed to a cross,
burned, imprisoned. And perhaps it does- in a sense - need
this torturous process to become aware of itself. The
talent, the mystery, the creative urge (for me) often
begins, like Marie-Antoinette to gaze at its own beauty,
to forget that the light was created to see in the
darkness. Thus the night sea journey. It is so significant
to me that the crime is not mentioned and there is
darkness at the end of the journey, for it is the most
personal of the mysteries I find at the darkest of moments
(and, less dramatically, when I turn my talents toward
the darkness before it is a crisis). In other words, we get
to choose our crime of selfhood. Or is it a choice?
======Comment by Cathy on Broken Figurines by Sierra (Vol
I, Issue 19)======
This dream seems to me to be about betrayal. The
dreamer is encouraged to hit the art by the artist or
shopkeeper to prove its worth. The art fails. This could
be anything that the dreamer has been challenged to test
the worth of and been disappointed by--a friendship, a
service, a book, etc. The failure that should not have
happened is then wrongly blamed on the dream--at a high
price. The dreamer is put in a double bind--not to hit the
art is to anger the artist, to hit the art is to break it
and anger the artist. The dreamer cannot win. The
retarded friend may symbolize the frustration and
entrapment of the dreamer.
======Comment by Cathy on Execution Times Three by Martin
(Volume I, issue 19)======
This might be a dream concerned about the afterlife. The
repeated executions suggest that death changes
nothing--whether this means there is either an afterlife or
no afterlife is not clear. The attention to the clothes to
worn at the death suggests that death is merely a
superficial change--a body change, not some sort of
spiritual evolution.
======Comment by Cathy on Black Hole Sun by Matthew (Volume
1, issue 19======
The dreamer in this dream is god-like in his power
to regenerate the earth and "cure" it of what seem to be
evil in the dream--carparks and cities. The dream seems to
be a protest about the way the earth is and a powerful
wish-fulfillment of destruction and rebirth.
The final image of the black swan intrigues me--is
it a since of failure or success? Black swans could be an
image of rare beauty--an endangered species flourishing.
Or the blackness could be a symbol of evil, as the black
swan functions in the ballet Swan Lake.
================================================
================================================
_ Her Grave In the Basement_
by Richard
================================================
================================================
I'm at my step-father's house, and I start to go into
the basement. He tells me that the basement is off limits.
Still, before turning around and coming up I see
something. It looks to me like a grave. I have an intuition
that its his ex-wife's grave, but I think to myself "Why
would he allow her to be buried here when he wouldn't let
her *live* here?"
We all go outside to work in the yard, my mother, my
little sister and Loring, my step-father.While raking the
grass by the steps to the driveway, I uncover a large hole,
and again the chamber-basement and grave-like thing is
revealed. I'm afraid for a second that I'll be punished,
but Loring just casually says "Well, I guess I'll have to
deal with this now."
------
Richard's note: My mom was married to Loring for about a
year when I was 12 years old. He was an older and
well-to-do retired insurance manager but became touchy and
paranoid. My mother left him, and we took nothing but our
suitcases. This is the first time I've recalled a dream of
him.
======Comment by Bob on Richard's Her Grave in the
Basement======
It appears as if Richard's dream concerns someone's
"shadow self" or the part of our psyches we all keep
hidden, but the stepfather may be symbolic of someone else.
In the dream the "hidden" dead first wife is coming to
light if not life. Possibly, there may be some kind of
"buried" or repressed problem in Richard's life (and
possibly concerning a former relationship) which is
emerging into consciousness. Richard may feel that this
problem could force him to "pack his bags" and leave,
although the "departure" could be emotional rather than
physical in nature.
As always, if the dreamer disagrees with this
interpretation then it is wrong. Only the dreamer knows.
====== The Dangerous Train by Martin ======
I am the engineer on a train that is full of my
students. The train gets quite out of control, and I fear
what is ahead. There is a dangerous curve around the
mountain, and we just barely are able to stay on the
tracks. I find the station manager and ask his help.
======Comment by Bob on Martin's Dangerous Train======
A teacher is supposed to be in charge of the learning
environment, but advancement is so fast Martin may get
derailed. Martin needs help to "stay on the tracks."
Possibly, Martin may have been offered a promotion, or has
had his work environment changed in some way, so that he
now feels he has lost control. Martin's dream mind may be
telling him to get professional help in getting his work
(or personal?) environment under control.
As always, if the dreamer disagrees with this
interpretation then it is wrong. Only the dreamer knows.
====== Car Problems by Sierra ======
I get into my car. It's my '65 light blue Chevy, and I
have always loved this car, I get a lots of attention for
it. I'm in a parking garage, and I have a lot of trouble
steering the car and finding the way out. Somehow I do get
out, and its very snowy on the road, and I can't control my
car. I run off the road and into a tree. Later there are
police and firemen all around. I'm extremely frustrated and
hit the steering wheel and cry. There is something wrong
with the tires.
======Comment by Bob on Car Problems======
Possibly Sierra's dream indicates she is parked in a
long-term relationship. While the Chevy (the relationship)
is parked, it is safe but it is not going anywhere. Sierra
feels the need to alter the situation, but it's dangerous.
Once out of the safety of the garage she loses control (of
the relationship). The snow on the road may indicate
that the emotional warmth or passion of the relationship is
gone, and once realized the "snow" can cause the "Chevy" to
become damaged (beyond repair?)
Cops and firemen are authority figures, and they
are also professional "helpers" and "life savers." In
Sierra's dream they seem to just mill around, unable to
help, because the Chevy is already damaged. Since there is
something "wrong with the tires" the Chevy isn't going
anywhere, which is the situation at the beginning of
Sierra's dream.
As always, if the dreamer disagrees with this
interpretation then it is wrong. Only the dreamer knows.
===Voyeurs by Cathy===
I'm lying on the floor of a hotel or rooming house
bedroom in front of a dresser. I am eating candies that
are lying on the floor in wrappers in front of me. It is
day but the drapes in the room are shut. I am supposed to
be invisible to the people in the room. A man and a woman
are acting in a movie that I believe is being filmed, but
there is no presence of any cameras or film crew in the
dream. The man collapses on the floor for some reason, and
I observe it is Kenuku (?) Reeves and look closely at him
to see what he looks like "in person." He is naked from the
waist up, and I observe that he is not very muscular, but
his torso is attractive. I eat some more candy and wonder
what the woman will do now that he is knocked out.
Then a blast of air in my ear startles me. A man
and woman in the next room have a spy hole into the room
and are watching. I leap up panicked. I run into a
hallway that appears behind me and look in the room of the
spying couple, hoping to catch them having sex. Instead
the man is looking through a straw at the other room, and
the woman (who has green hair) is sleeping on a huge pile
of dirty clothes.
======Comment by Jay on Voyeurs by Cathy======
This is an intriguing dream. Perhaps the person lying on
the floor is the pleasure-seeking, non-thinking part of
yourself. Perhaps the man is someone you know in the
non-dream world. Perhaps the women with him is your
normal-thinking persona. But who is [it that] kenuku
reeves [represents]? and How is it that you knocked him
out? The man and woman in the next room seem to me to
represent jealousy, perhaps yours or someone elses. Or
perhaps they represent feelings that sex is 'dirty.'
======Comment by Bob on Voyeurs by Cathy======
The "unwrapping" of that which is covered can be very
enjoyable, but voyeurs are "low" people (the dreamer is on
the floor unwrapping the candies) She is watching a couple
who are "making a movie" out of their relationship (i.e.
the emotions they exhibit may be in reality be "a show"
they're putting on for others rather than a display of
genuine emotions. The man then passes out. In the dream
Cathy notices the man who passed out is an actor. She
looks closely to see what he looks like "in person," and
wonders what the woman will do about the unconscious actor.
This may mean that Cathy wants to get behind the false
emotions (the acting out) of someone she knows, and is also
curious about what his mate will do if he "passes out" of
her life or leaves her.
Cathy then becomes concerned about her voyeurism
being exposed. Her concern is aroused through a blast of
wind on her ear, which may mean that in conscious life she
is "hearing" something that she may fear will expose her
covert interest in the love life of two friends. Cathy
then realizes another couple is watching. She wants to
catch the other couple being intimate. Instead the man is
spying through a straw, and the woman with green hair lying
on pile of dirty clothes. Could the man looking through a
straw be someone who Cathy considers a "straw man" in her
conscious life (someone who is morally weak or a puppet)
and could the woman with green hair lying on a pile of
dirty clothes be someone with a jealous nature who is
constantly absorbed with malicious and often sexual gossip
about people? (The woman is lying on a "bed" of "dirty
laundry" and dirty laundry is often used as a description
of gossip).
As always, if the dreamer disagrees with this
interpretation then it is wrong. Only the dreamer knows.
================================================
Comment By Richard on _Voyeurs _ by Cathy
================================================
Hmmm, I feel like a double voyeur getting to comment on
this film _noir_ dream. If this were my dream I'd be
interested in how the sweets might be a doorway into the
imagery. I might wonder how my daylife repression of
sweets, literal or metaphorical, might be getting rid of
too much. That is, how my holding the line on daytime
sweets is pushing away more than initially anticipated.
There is, for me, some kind of special place that eating
sweets undetected (invisible) takes me. Its almost like a
dream place itself.
The dream seems to take the sweet-eater outside the
drama, and yet beside the drama. This seems to be a
bedroom drama, but if we were to see this as an Oedipal
fantasy, we would have to cry "Displacement!" as it is the
man/father, not the woman/mother who collapses. The
sweet-eater seems hardly effected by the collapse, and so
there is emotional invisibility as well, or a security so
deep in the sweet-place that the sweet-eater needn't help
or feel obligated to help the woman. After all, its just a
movie. Still, the sweetness of proximity to the Movie Star
comes though. Perhaps it is only available when he
collapses. If it weren't for the blast of air, there
would have been even more time to consider what the woman
would do with him. But there is that blast of air (mental
intrusion symbolism , a poisoned dart or a sweet whisper of
secrets?)
The sweet-eater becomes panicked. Some people say
that anxiety comes from fear of loss, but the sweet-eater
still retains some sense of being a watcher and so perhaps
we can view the anxiety as fear of gain. It is also said
that we become the most anxious when we are about to *get*
what we want, when we feel close to our deeper desires. But
which is it? Is Kenuku the object of desire separated only
by a blast of air and the spies the sublimated substitution
, does the sweet-eater desire both or are the spies part of
a more complex inner plot? So sweet, both naked Kenuku
and to spy on spies and catch them doing it. Either way
Sweet-eater's hopes go unrealized.
Who *are* the spy intruders? The man looking through the
straw (a strawman like in a straw man argument where the
opponent sets up a false issue and then attacks it, making
it seem as though he/she has destroyed the competition, but
really not addressing the issue at all. Hmm, maybe there is
some displacement) and the woman with green hair on a huge
pile of dirty clothes.Where the sweet-eater expected the
nuptial conjunction, there lies a disconnected couple,
connected by crime rather than mutual recognition or
pleasure. Well, not really crime - more like espionage.
In the most secret of rooms it is the woman is now
collapsed and it is the man who watches. A kind of shadowy
opposition to collapsed Kenuku and his watching actress. In
the place where things are expected to come together there
is intrigue. I find it useful to see dirty clothes as
persona/ appearance to the world concerns, but what about
that green hair? Green is a color that people use to
symbolize just about anything, from money, to greed, to
floral vegetative earth,to envy. Many designers say that
green is "The color of the 90's"(80's was blue). We don't
have the dreamer's associations here, so I can only comment
on the collective choice of green. It seems to have
something to do with substance, in all its manifestations
from
rich earthy life to decaying snotty greed, its all about
things or our relationship to things.
Are there any astrologers reading this? Isn't this what
would be called issues of the 2nd house? Anyway, if she
is somehow an indicator of substance relation, and the mate
(in crime or otherwise) of the spy-guy, (and we assume that
this relationship somehow works for them), then they can be
said to bean inner dynamic of the main drama (Kenuku and
the woman) brought about by the sweet-eater, or along with
the sweet-eater.
Is this getting too complex? A simpler view might be to say
that the leading man is brought down and it suspiciously
appears to be connected to an inner dynamic - perhaps by
the straw man spying rather than taking care of his
green-haired mate's dirty clothes. But this is getting
rather paranoid and I'm getting drawn into my own
characterization of this as a detective movie or mini
"Casablanca". If I keep my general associations but see the
dream as furthering some essential process, then Kenuku
*must* be brought down, perhaps so that the sweet-eater can
get a closer look and have a chance to catch the couple in
the other room.
Whether this is a lesson to the dreamer or just a pleasure
of the sweet-eater is unclear. I think how I will
appropriate the dream for my own use will be to use this to
help me see what happens in my own sweet-eater areas. Is
there a way to have more connection to that invisible place
where sweets are so sweet without getting captured by the
drama, or is that just part of the price of looking at
Shakti dance?
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