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PostPosted: Thu Aug 20, 2015 10:25 pm 
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Joined: Mon Feb 28, 2011 11:24 pm
Posts: 403
MICHAELA JOY GARECHT, Age 9.

I was to learn in more than one scenario that a child victim is not entirely removed from the circumstances leading to her tragic demise. For example, in November 1988, two weeks before the abduction and probable murder of Michaela Joy Garecht in Hayward, CA, the child of nine years had become extremely tearful. Her mother told me that noise in the house began terrifying her child at night and the family doctor could offer no explanation other than ‘growing pains.’

One week before the abduction in the middle of the night, Michaela got out of bed and wrote a poem in three-stanzas. Sharon, her mother, related the poem to me against the admonishing of the police. Her reasoning was that more than a year had elapsed since the tormenting ordeal, and she had given up any hope that her daughter was still alive. She revealed the poem only after I described an unusual psychical experience I had of Michaela long after the abduction. I told her I saw Michaela behind a wall, but it was dark and I could not make her out. As true in the past, revelations of dark imaging means “It is too late” and something I was yet to learn.

Michaela's poem is given below. I believe the first stanza is most enlightening for what conceivably lies ‘beyond’ in the many varieties of beliefs, religious and otherwise. Michaela to some degree had become consciously aware of her fate.

Michaela’s Poem

The people knock on doors of steel
The people knock, the people kneel
They think of things that aren't real
Outside the doors of steel.

The people walk, the people know
That outside the doors, the people know
The people think that you may say
The people think that they too know

They lack the confidence you have
They think it real, the dreams you have
The dreams you feel.

“Doors of steel” undoubtedly symbolize the impenetrable. She had crossed over with little or no chance of returning. In the second stanza she appears to be confused, and in the third stanza has transcended her past reality as illusory. Punctuation is glossed over for having gotten the poem while on the phone from her mother.

On the day of the kidnapping, Michaela hesitated before leaving the house. Sharon
said: "She turned around and looked at me – hesitated -- shrugged her shoulders and left with her girlfriend.” To quote Sharon further, “I will never forget that look. I wished I had grabbed her and never let her go.”
AF


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