Prophets And Poets
message/ you have direct contact with god in dreams
My name is Frank Whitfield. I am a psychologist who lives and works in Paris, France. For a number of years, I have been intrigued by the dreams of a prolific dream-writer named Steven Collier, who was born in 1952, and who lived much of his life in the small town of Portsmouth, Ohio, USA. Collier died at the age of 95 in 2048. Twelve years later, in 2060, I was born in Portsmouth. Now in the year 2087, at the age of 27, I have developed an affection for Collier's dreams which has inspired me to compile some of them into meaningful stories.
This is the tenth time that I have created a story from a small group of Collier's dreams in which a particular person, place, or thing appeared. In this memoir, Bob Dylan was mentioned or appeared in each of the following dreams.
Dream of: 16 July 1982 "Under The Cross"
mental torrents of
power may be sources of
After standing for a while in the lobby of an apartment building and looking at some books, I walked upstairs to an apartment where Birdie (my dark-haired girlfriend from my late teens) was living. I stood in front of the apartment door, knocked, then stepped to the side where I did not think Birdie would be able to see me through the small, round, peep hole. No one said anything from inside, but suddenly the door opened and Birdie stood before me. I asked, "Well, you just open up your door like that without making sure who it is?"
When she replied that she knew that it was me, I asked, "Well, how'd you know it was me."
She answered, "Well, you hadn't been here in two or three days. I was expecting you."
I walked into the apartment and began talking. Recalling a book I had seen in the lobby, I reported, "Well, Bob Dylan has out a new book now."
Actually, Bob Dylan had not written the book to which I was refering – it had been written by Carlos Castaneda. I even had the book - which I had bought in the lobby - with me. On the cover was the image of a man whose features could not be discerned. A shadow stretched out from his feet. The total impression of the man and the shadow was of two shadowy figures standing there. After I said, "The name of the book is Under the Cross," Birdie asked me what the title meant.
I had the impression that Castenada had become a Christian. Referring to Castanada's old beliefs before he became a Christian, I said something like, "He kind of, I suppose, rejected those old ways. But in this book he re-experiences these torrents of power which apparently came surging forth. And that was mainly what the book was about."
I was thinking that the "torrents of power" derived from his former beliefs in sorcery, and not his new religious beliefs.
I feel blessed to have been given the calling of creating stories from Collier's dreams. The more I read and assemble his dreams, the more I feel the hand of God working on Collier's mind and speaking to mankind through Collier's dreams.
Although I had heard songs by Bob Dylan before I discovered Dylan in Collier's dreams, I listened to the songs more closely after beginning work on finding the story in Collier's dreams of Dylan, and I would agree with Collier that Dylan was the most effective songwriter of the nineteenth century.
I sometimes have a similar feeling of the hand of God at work on Dylan's mind and speaking to manking through Dylan's songs. It seems to me that in both cases of songs and dreams, God is declaring the power to communicate through beautiful language.
Dream of: 23 July 1982 "Song Played Over And Over"
poetry and dreams
may have the same source in the
I was watching a scene unfold in an open field surrounded by trees where a group of people had four or five large, hot-air balloons of various colors, including red and blue. The people had tied the balloons together and were about to ascend and escape in them because the people were about to be attacked by a group of Indians.
One man disagreed with the idea of using the baloons to escape. Apparently - once upon a time - he had owned a balloon and now he did not think these balloons would fly. The others, however, were adamant about using the baloons to escape, and suddenly the balloons took off.
Although most of the women and children had already boarded the ballons, some men still on the ground scurried about and some grabbed for ropes hanging from the balloons. Some ropes looked like rope ladders, as if they were designed for the men to hang onto and climb. The balloons continued ascending until only one long rope was still hanging down.
The man who had disagreed with the baloon-escape project was still on the ground with a couple other men. They grabbed the long rope and the balloon continued ascending.
The Indians could be seen riding up furiously on horses in the distance. I began wondering whether the Indians would be able to shoot arrows and hit the men who were still dangling from the ropes. I thought perhaps the men in the balloons might also have arrows which they could shoot down at the Indians.
The scene changed to what appeared to be a deserted encampment of log houses next to a lake. Through the trees which surrounded the lake, I could see red in the sky and realized the balloons were coming to this encampment which was the place which the people escaping in the balloons were trying to reach.
The balloons were being pulled on a rope by a large, metal machine-contraption chugging along in the sky. The contraption was as large as all the balloons put together. When the contraption and the balloons were almost over top the encampment, something suddenly happened and the balloons and contraption began falling. While the contraption fell close to the log houses, most of the balloons fell into the trees.
The balloons were punctured and dangled in the trees. The people climbed out of the balloons and walked toward the houses where they gathered around an old, gray-haired man who had been the person driving the machine-contraption which had pulled the balloons. He, apparently, had devised the entire plan of escaping in the balloons and reaching the encampment.
The encampment was several days journey by foot from where the Indians were, and since winter was approaching, it appeared that the Indians would not be able to reach the encampment. If the people stayed in the encampment during the winter, they would have to leave early in the spring before the Indians were able to arrive.
Since people were supposed to be already living in the encampment, and no one was there, the people began asking the old, gray-haired man where the people were who were supposed to be there.
Although the old, gray-haired man appeared to be insane and did not seem to know what he was talking about, the people needed to know what had happened to the people who had been living there before. Finally the old, gray-haired man said he would take the new people to where the other people were. After he made a little speech about how the people here could go with him, several people decided to accompany him.
For a long while, the old man led the way through weeds and bushes while the others followed, until the old man finally stopped and told the others that it was going to be a three days march.
Even though the old man had not said anything, I suddenly realized that he was only intending to lead these people to the graves of the other people - who had already died.
Looking more closely at the old man, I realized that his body appeared to be that of a lizard. Although he still had the same face, he appeared to be a man-sized lizard. The more I saw how peculiar he looked, the more he reminded me of the main character in the movie E.T.
Abruptly, I realized I was sitting in a room watching the old man in a scene on a television screen. The movie was a very early one - a precursor of some of the modern day movies of the genre. I particularly noted what a good job of makeup had been done on the old man and I generally thought the movie was an important one.
As I watched, the movie changed into a series of colorful animated scenes with people dancing around, and I became completely enthralled. The music, which seemed like early rock and roll, was also good and played a large role in the effect of the movie. The movie reminded me somewhat of the movie Tron which compelled me to realize even more the technical importance of this early movie.
As the animation and music continued, the scene focused on the blue cover of a record album lying on the street. On the album cover was a picture of a man standing in the rain. I realized I had seen the cover somewhere before, but I could not remember where.
I then looked around the room, and saw my girlfriend Louise sitting there and holding the very same album cover in her hand and looking at it. When I asked her if I could see it, she answered, "Well, don't you have this album?"
I replied, "No."
She replied, "Yea, that's right. I've only heard one song at your place."
I knew she was referring to a song by Bob Dylan - she said I played the song over and over.
Then she mentioned something that she had dreamed, which upset me. When she said she had told me about it before, I replied, "The hell you did. I know what you told me and you didn't tell me that."
For some reason I was becoming quite irritated with her.
I looked back on the television screen and saw the lizard man there. The people were trying to decide whether they should spend the winter in the encampment and then tear down the houses in the spring. They thought they could use the wood from the houses to repair the bottom parts of the balloons which had been damaged by the fall.
Then they could try to fly on out of there.
But they were unsure what they were going to do.
I have my own personal theory that beauty leads us to God. Actually finding God, however, is not the same as finding beauty, but as one approaches God, somewhat as Dante did, one may have a greater appreciation of beauty.
I am sure that Collier wanted direct contact with God and I suspect that Dylan did also. Perhaps both of them sought to allow God to speak through them. Which brings us to the crux of this story - did God actually speak through Collier in his dreams?
A look at the hard facts might help. From all the information I have been able to obtain about the early years of the Internet, Collier was the most prolific dream publisher in the world at least into his 60s. Although he did not focus on the voice of God in his early years, he did so later in life.
I have not yet been able to prove that God
communicates to humans in dreams. Yet supposing that God was trying to
communicate a message to mankind in Collier's dreams in which Dylan appeared, I
wonder what exactly that message would be.
Dream of:30 November 1983 "Deteriorated Songs"
the source of all art
is essentially the same
with every artist
I was sitting in a room which was my bedroom. When a fellow walked in and sat down on the bed, I looked at him for a minute. When I finally realized that he was Bob Dylan, I asked, "Are you Bob Dylan?"
He said he was. After we began talking, he told me that he had bought some land in a farm-area in Kentucky and that he was going to move into a cabin there. Although he told me the name of a city near the land, I did not recognize it, and I asked him where the land was in relation to Lexington, Kentucky.
After I told him I had a Cabin in Ohio, I looked for my photo album which contained a picture of my Cabin (on my paternal grandparents' Gallia County Farm), but I could not find the album anywhere. When I told Dylan that I had built my log Cabin myself, he seemed quite impressed.
Thinking that I would not mind living with Dylan in the wilds of Kentucky, I asked, "Puedes hablar espaol?"
He answered, "What?"
He had seemed to understand me. I continued, "Puedo ensearte espaol."
I explained to him that I had told him in Spanish that I could teach him Spanish. He seemed pleased with the idea of my teaching him Spanish.
I was unpacking my cassette tapes and other things from a large chest. I told Dylan that I had been living there for several months and that I had only now begun unpacking my things.
I wanted to ask him why his songs had deteriorated after he had become a Christian, but I did not know exactly how to pose the question. I also wanted to know if he intended to continue writing songs.
Angels are often portrayed as messengers. If God were really going to send a message to mankind, it would seem to me that God might begin with an explanation of why humans exist.
I would be tempted to look at Dylan as a symbol of an angel. God, therefore, may be saying that there is a reason why God does not directly communicate with us, but that God instead sometimes sends other intelligent and living beings to us in our dreams to communicate God's messages to us.
I find that theory of angels difficult to accept because I want to think that God has direct contact with men and that God is the ultimate creater of dreams, just as I want to think that I am the ultimate creater of any beauty which I create.
Believing that any other intelligent being has contact with my mind is disconcerting, yet I do believe in such contact from God. Angels are not entirely out of the question.
Men need other men in order to create beauty.
That theory si
Whether God communicates
Important issue: are the haikus and the images created by Steve or by Frank
does one stand or kneel before the source of all creation
The question has arisen as to whether Collier furnished the pictures in the
dreams in my collections or whether I furnished the pictures
i supply the pictures
as for the haikus, the answer to that I prefer not to
give right now colllier became obsesses with the
idea that his dreams were created by god
does one stand or kneel before the source of all creation
The question has arisen as to whether Collier furnished the pictures in the dreams in my collections or whether I furnished the pictures
i supply the pictures
as for the haikus, the answer to that I prefer not to give right now
colllier became obsesses with the idea that his dreams were created by god
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23 July 1982 "Song Played Over And Over"
16 July 1982 "Under The Cross"
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