Title: Electric Dreams Volume 1 Number 20 File: Electric Dreams 1(20) ========================================================== Electric Dreams back issues are available to the public and listed individually. For an index of Articles and dreams on Electric Dreams, See the IIDCC Research Tools area. ================================================================ ========================================= 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? ================================================ If you have access to the World Wide Web you may want to check out this URL: http://sppc1952.edu/. ================================================ Electric Dreams is an independent electronic publication not affiliated with any other organization. The views of our commentators are personal views and not intended a professional advise or psychotherapy. ================================================