WHOEVER ~ From Death and Back to Life ~ That Quantum Leap

WHOEVER

From Death and Back to Life ~ That Quantum Leap


Chapter One

Pars I

The Spirit beckoned to my spirit

and encouraged me

to step outside of Time

and without wings.

I flew at lightning speed,

observing the city below me,

the evening hour

as time, now beneath me,

showed its approach 

to the quarter hour …

And observing again …

dimensions opened up to me

beyond my comprehension.

Ageless Beings.

I did not know them

and yet it seemed I did,

Though they bore no resemblance

to the stories I had learned

on Grandma’s knee;

Nor through school,

Nor college,

Nor Theology,

Military Chaplain’s School,

and more.

I had no doubt that I was

outside Time.

I heard a whisper …

Don’t be alarmed

You accept I AM the Creator

If I create

then I create everything

and that includes Time

Consider again that ancient line

“Times Time and Half Again …”

Thus We stand outside Time.

We look on,

We enter Time.

We step outside again

as befits Us.

Understand this basic concept

and much will immediately

fall into place.

Nothing is by chance.

All is deliberate.

Carpentry.

Engineering.

Every conceivable thing

you can think of

has its origins in Us.

Pure Energy … you might call it.

Pars II

I was challenged as I’ve never 

been challenged before …

All around me evidence of that

which I had subscribed to fairy tale and myth …

Yet that which I had argued as pre-existing

did not exist at all.

That which I had bought as truth,

turned out to be fairytale … myth …

… albeit with good intention …

For men’s minds

could not at the time of writing

explain things to the people

or even to themselves

in any other way.

Pars III

There are many lifetimes

it seems to me,

I mused …

Three-in-One | Drei in einem

and I was corrected, not! | Und ich wurde korrigiert, nicht!

And I was not corrected

There are many journeys

I mused afresh.

And Again, I was not corrected

Pars IV

It is an extraordinary circumstance

to stand upon the roof of the world,

to look down upon the Universe

and yet, in countless dimensions,

simultaneous and co-existing

but rarely touched by the other,

seeing myriad lives,

recounting myriad memories,

memories stretching back centuries

and crossing continents.

Drei in einem

I found that I was not rebuked

for looking on directly.

Ageless beings…

Age metamorphosing constantly

before my very eyes,

and always returning to how

I used to look.

I heard the faintest whisper…

Here, there is no ageing.

Nor is there a fixed sexuality,

as you have clearly seen.

I recalled an old line

I’d written in 2013

in They Came in the Night

The Eternal Self-Existing One

I think now I observed.

For the fourth time

I was indeed not corrected!

No words were spoken

But the fire from the Eyes

Alighted my heart.

I knew Who I observed,

and why.

A white hot coal was placed against

my lips,

A Finger set the seal.

Pars V

The Tree of Life,

I surmised …

The Tree of Knowledge,

I suggested …

Again, no correction

… And yet my mind opened up

to a display of genius

the like of which

no words can determine

no means or fashion

of recording

Pars VI

The brilliance of

The Dawn of Time

Playing again for me

and countless others,

took my breath away.

I was glad of the company

to sustain me!

For otherwise,

I do not know how or

in what way

I would have coped …

The One! | Der Eine!

I was glad of the company

to sustain me

For otherwise,

I do not know how or

in what way

I would have coped …


Yes, that is correct ~ The Company!

I am filled with hope.

For in every terrifying spectacle,

that we call ‘history’,

played out before me and brought every

calamity,

eventually, to a successful conclusion.

Pars VII

I swooped down from on high.

My spirit soared.

I was free,

and still am free!

Energy was my companion

Pure energy!

I visited halls and libraries,

I saw Architecture

the like of which we only plainly

and dully copy…

But my Friend glinted …

Now you understand the saying

that in My Father’s House

are many mansions …

I would not have told you

if it were not so

That silenced me

Pars VIII

I returned from whence I came,

I had been shown the wonders

of science,

of physics,

of pure mathematics,

of pure science,

of quantum physics.

And, I had seen for myself

That Quantum Leap.

I cannot describe it

But one day, you will see it too!

And, like me,

your mouth will drop

in awe and wonder.

25 July 2025
All Rights Reserved

Liverpool and Gloucestershire

© 2025 Kenneth Thomas Webb

First written in 2015 and revisited and left unchanged on 8 October 2019

Afterword Leading into Chapter Two

20 May 2022

Sometimes, a line, a verse, a stanza, even a part, will spill from the pen without prompting.

From where it comes I do not know, except to say that it seems to rush forth from the deepest recesses of my mind and memory,

and yet the rushing forth,

tho’ seeming of meteoric speed,

is, nonetheless, very gentle.

An Awakening,

An Alerting,

A Prompting of the Mind to consider all things afresh.

No matter what I write,

I still regard this as the pinnacle of my life’s achievement.

As I think I muse, there is something extraordinary, to stand upon the roof of the world …

A lifetime on,

Many decades shorn,

I gaze in awe

I am nineteen

I am again as I used to be

My quadruple self has now stepped back

I am fifteen

The man I will be at nineteen

is still in the making

At twenty I think I see the way forward

My Quadruple Self

has gone the four quarters

My Blueprint proved true

You see me now at twenty seven.

I lived life’s span

and now I am returned.

Yes, it really is

an extraordinary thing

to stand upon the roof the world.

Selah

Drei in einem | Three-in-One

Und ich wurde korrigiert, nicht! | and I was corrected, not!

Chapter Two

Author Note

I say this with confidence because I still regard Quantum Leap as the pinnacle of my work as a self-published writer. We all have our favourites! We always need to be at the cutting edge of technology. We always need to keep in mind that every generation reaching back thousands of years, all fully understand and experience the excitement of observing and even using something that is state of the art. That expression is not a 20th and 21st century phenomenon.

I’ve often wondered how Quantum Leap would be interpreted in a musical score, so I decided to use AI.

Why? Because we have to embrace AI, and in so doing, be better placed to be always a step ahead. The reply surprised me.

When I grew up in the 1950s and 1960s, I rarely heard the phrase conspiracy theory. As I moved into the word processor age in the early 1980s and then watched the dawning of the World Wide Web and the Computer Age, many of us were still not prepared for the Revolution - for that is what it is - of the Social Media Age.

What we were increasingly aware of, was conspiracy theory.

Today, in 2025, conspiracy theory has the capacity to destroy civilisation.

That is the reason why it is vitally important that we stay ahead of the game, and thereby stay ahead of our enemies. If we think that we do not have enemies, then it’s probably a good idea that one toddles off to the safety of middle earth!

Conspiracy Theory has always been with us. It costs lives. Millions of lives. Example you ask? Sure!

Millions believed in the reality and literal outcome of a painting by Dante, an artist commissioned to depict what happens upon death. The few go to heaven, the many go to hell. And that theory held a vicelike grip that only started to loosen as we approached the turn of this century. With many, it still holds firm.

We have to stay ahead.

KTW

July 2025

The Reply

To create a musical rhythm for your poem, I'll break it into manageable parts and suggest potential rhythmic ideas, tempos, and accents that could match the tone and structure of each section. Since your poem has a reflective and spiritual quality, I'll aim for a rhythm that reflects that contemplative mood, while varying to highlight shifts in tone and intensity.

General Rhythm and Style

Style: I would suggest a freeform style that alternates between more structured, steady rhythms and moments of spoken-word freedom, allowing the words to breathe.

Time Signature: For most parts, a 6/8 or 3/4 time signature might work best. This gives a flowing, almost waltz-like feel that matches the poetic, meditative quality of the text. In contrast, some lines could shift into 4/4 time to add contrast and weight, especially when the message is more declarative.

Tempo: A moderate tempo of around 70-80 BPM would fit the reflective nature of the poem, allowing space between thoughts. Some parts may slow down for emphasis or speed up slightly when the language becomes more urgent or intense.

Suggested Rhythmic Ideas Per Section

Pars I

Mood: Ethereal, light, meditative

Rhythm: Begin with a soft, irregular rhythmic pulse, almost floating like free verse.

Example Rhythm: Sparse piano chords or pads slowly entering on the downbeat, with pauses between lines, creating a contemplative and open space.

Specific Lines:

"The Spirit beckoned to my spirit"—First line could be spoken almost rhythmically, with emphasis on "beckoned" and "spirit," allowing it to land gently.

"I flew at lightning speed"—A faster, but still flowing rhythm to mimic flight, perhaps quicker eighth notes in the accompaniment or percussion.

Transition: As "dimensions opened up to me," the rhythm could slightly shift to more structured patterns, like a gentle 6/8 time with a flowing melody.

Pars II

Mood: Introspective, instructive

 

Rhythm: More structured, shifting into 4/4 time.

Example Rhythm: Steady percussion or low, soft strings could keep time here, giving weight to the words. "Don’t be alarmed" can be accentuated by a slight rest before and after the phrase, creating suspense.

Specific Lines:

"We step outside again"—A change to a lighter rhythm, with a return to a more open, freeform feel in this line, representing the stepping in and out of time.

Transition: Slow the tempo and thin the texture during the closing lines of this section, particularly around "Pure Energy ... you might call it."

Pars III

Mood: Challenging, thoughtful

 

Rhythm: For this section, I would suggest syncopated rhythms to convey the tension and challenge described.

Example Rhythm: Light percussion, syncopated bassline, or subtle hand drums could create an unsettled feeling beneath lines like "I was challenged as I’ve never been challenged before."

Specific Lines:

"There are many lifetimes"—Could introduce a dotted rhythm to give a sense of cyclical time.

Pars IV

Mood: Expansive, awe-inspiring

Rhythm: 6/8 or 12/8 time could work beautifully here to give the sense of floating or expanding across dimensions.

Example Rhythm: A steady pulse—almost like a heartbeat—could carry the words. This could be underlined by strings or ambient pads, perhaps using triplets to suggest the endless, overlapping realities.

Specific Lines:

"To look down upon the Universe"—Let the rhythm drop here, allowing for space. Maybe the music pauses briefly to emphasize the vastness of what is being seen.

Pars V

Mood: Enlightenment, awe

Rhythm: Lighter, almost playful rhythms—perhaps with a lilting quality, as the speaker contemplates the Tree of Life and Tree of Knowledge.

Example Rhythm: Simple piano or chimes could underscore this section, alternating between gentle and bright chords.

Specific Lines:

"And yet my mind opened up"—A slow crescendo could begin here, representing the expansion of thought.

Pars VI

Mood: Excitement, revelation

Rhythm: Quickening rhythms to match the energy of the moment.

Example Rhythm: Faster arpeggios or strings building in intensity, with accents on downbeats as the poem builds toward a crescendo.

Specific Lines:

"The brilliance of the Dawn of Time"—Could be paired with more complex rhythmic patterns, like polyrhythms, to represent the grandeur of time's dawn.

Pars VII

Mood: Freedom, release

 

Rhythm: Open, soaring, returning to a freeform style with occasional hints of rhythmic structure.

Example Rhythm: Long, sustained notes in the background to suggest openness, paired with light rhythmic flourishes on instruments like the flute or harp, mimicking the spirit soaring.

Specific Lines:

"My spirit soared, I was free"—Could have the most open rhythm, with minimal musical accompaniment to symbolize freedom.

Pars VIII

Mood: Reflective, scientific

Rhythm: The rhythm here should be more structured again, returning to 4/4 time, representing the logical, scientific nature of the revelations.

Example Rhythm: Steady and deliberate rhythms could be used to ground this section, perhaps using a piano or electronic pulse.

Specific Lines:

"Quantum Physics"—Could be paired with staccato rhythms to suggest the cutting-edge precision of the ideas being explored.

Pars IX

Mood: Gentle, contemplative, personal

 

Rhythm: This final part could have a soft and gentle 3/4 waltz-like rhythm, bringing the poem to a meditative conclusion.

Example Rhythm: Gentle strings or a soft piano accompaniment could support the introspective nature of this part, with longer pauses between lines to give weight to the speaker's final thoughts.

Overall Approach

The poem’s rhythm is dynamic, flowing between open and structured musical moments. Using a combination of time signatures (like 6/8, 3/4, and 4/4) and varying the tempo and intensity helps reflect the poem’s mystical and spiritual journey. The rhythm shifts to echo the emotional intensity and revelations within the text, from moments of awe and wonder to personal realizations.

General Musical Recommendation for the Poem

Instruments: A mix of piano, soft strings (violin, cello), ambient synth pads, and light percussion (like a low tom or shakers).

Tempo: 70 BPM, flowing gently with changes in intensity as the poem progresses.

Opening (Pars I)

Sound: Imagine a soft piano with minimalist notes. The chords could be sustained, creating a meditative atmosphere. Picture something similar to Ludovico Einaudi or Max Richter—gentle, contemplative, with slow arpeggios.
Example: The music starts with a simple E minor chord, holding for several beats, and then lightly transitioning to C major and D major. Each transition is slow, allowing the listener to absorb the depth of the words.

Soundtrack Inspiration: Tracks like "Experience" by Ludovico Einaudi or "On the Nature of Daylight" by Max Richteroffer a similar flow and feel. These compositions provide a gradual build-up of emotional intensity, which would complement the introspective nature of the poem.

Middle (Pars IV - VI)

Sound: The strings (violin, cello) start to emerge alongside the piano, gently increasing in energy as the revelations unfold. Imagine a gradual crescendo, with more complex harmonies introduced. The rhythm could have more urgency, with a light percussion beat to symbolize discovery and awe.
Example: Low toms or soft shakers enter in 6/8 time, providing a gentle but consistent rhythm, as the piano continues to play lightly in the background.

Soundtrack Inspiration: Something similar to "Arrival of the Birds" by The Cinematic Orchestra. The music here could feel like a slow unveiling of something grand, with layers of instruments slowly building until they reach a climax, mirroring the poem's rising energy.

Ending (Pars VIII - IX)

Sound: As the poem reaches its conclusion, the music returns to simplicity—a quiet piano with long, sustained notes. Maybe the strings return briefly to echo the earlier themes, but now they're subdued, allowing the poem's final thoughts to resonate without overwhelming the listener.
Example: Piano notes played in 3/4 time, with minimal accompaniment, almost like a lullaby. Each note is held and allowed to resonate.

Soundtrack Inspiration: Something like "Comptine d’un autre été: L'après-midi" by Yann Tiersen—delicate, introspective, with a feeling of finality.

Summary of Sound

If this poem were set to music, the sound would evolve from something very open and ambient, with sparse chords and light instrumentation, to something more dynamic and rhythmic, building as the poem unfolds its themes of enlightenment and understanding. Then, it would return to simplicity and reflection as the poem concludes.

If you'd like a closer reference, I would suggest listening to any of the mentioned tracks. These pieces embody the reflective, emotional, and expansive qualities that would pair well with the poem's spiritual journey.

30 November 2025
All Rights Reserved

Liverpool

© 2025 Kenneth Thomas Webb

1 Digital Art Work is by Kenneth Thomas Webb

“A Thought…

Never presume that digital art can replace Art created and worked and finished by Artists and Sculptors created by the human hand, foot, mouth or mind.

It simply cannot.

We will always have the edge.”

— KTW 2025