Thursday, July 01, 2004
Participants: Mary (Michael) and Jim (Bevan).
(Eliasí arrival time is 11 seconds.)
ELIAS: Good afternoon!
JIM: Good afternoon, Elias! I just had a nice long talk with Mary, very enjoyable. (Elias laughs)
Iíve got a bunch of things Iíd like to confirm. What Iím getting is a lot more detail on things than I did before, and Iíd like to confirm that Ė get confirmations itís true just to kind of help my self-trust here.
ELIAS: Very well!
JIM: One of the characters Iíve put in my stories is a girl named Ingrid. I suspect that sheís really a focus of mine. Is Ingrid Toyaga a focus of mine?
ELIAS: Yes. (Slight pause)
JIM: Iím sorry, Elias. Iím all shook up again. (Elias laughs) Did her life overlap mine?
JIM: Thatís what I figured. Is she aligned Milumet?
JIM: Intermediate orientation?
JIM: Political focus?
ELIAS: Yes, you are correct.
JIM: She is a Lapp, a Laplander.
ELIAS: (Laughing) Yes.
JIM: Was she born in Ivalo, Finland in 1914?
ELIAS: Somewhat earlier.
JIM: 1913 or something like that? I guess it doesnít make any difference.
ELIAS: Nineteen hundred.
JIM: That much earlier! A year after my father was born. Was she recruited for espionage by Jon Sonjari, whoís a Finn?
JIM: Were she and Jon lovers, not married?
JIM: Was Jon then her espionage control?
JIM: Did she spy for Germany in Murmansk, Russia during World War II?
JIM: Were her sources of information Russian naval officers who visited the brothel where she served?
JIM: Did she provide the Germans, through Jon, with information concerning expected convoys of war materials shipped from the USA to Russia?
JIM: And she was caught by the MGB and tortured?
JIM: Was she executed as a spy, or was she sent to die in Siberia?
JIM: Is Jon still living in Helsinki, Finland?
ELIAS: And shall you investigate?
JIM: Okay! (Both laugh)
ELIAS: I am acknowledging...
JIM: I feel very much emotionally attached to Ingrid in a manner similar to my feeling for Melody. Do I have a counterpart relationship with her?
JIM: Very good. That will take care of Ingrid.
ELIAS: I am acknowledging of your successfulness.
JIM: Iím driving myself nuts here with this stuff. (Elias laughs) Next question: is Muriel the actual given name for Melody?
JIM: Iím having trouble with the last name. The first time I thought it was Sparks, then I got Stark. Is either one of them anywhere near close?
ELIAS: Close Ė eliminate the S.
JIM: The first S?
JIM: Okay, itís got to be Parks. It canít be Tark. So her name is Parks. (Elias laughs) Is she soft orientation and emotional focus?
JIM: Was the Muriel that came into my life in Minnesota a presentment of my discovery of this Muriel?
ELIAS: A similar energy, yes, and a manner to which you introduced yourself to this direction.
JIM: I understand. Thatís kind of what I thought. Letís see. Is there at least one probable self of mine who has made objective contact with Muriel? (Pause)
JIM: Is there more than one or just one?
JIM: Has Muriel chosen to experience HIV infection?
JIM: She has. (Sighs) Iím sorry... Iím shook up on that one, too.
ELIAS: It is unnecessary for apologies.
JIM: I recently woke with an image of her in my mind. My impression was that we interacted in dream state and that she was expressing displeasure with me. Was that a valid image?
ELIAS: (Laughs) Yes.
JIM: In a certain portion of Menottiís violin concerto, there is a passage that brings into my imagination an image of a woman dancing with me that I associate with Muriel. Is this my imagination or is Muriel possibly involved, perhaps in dreams?
ELIAS: In dreams, yes.
JIM: When you confirmed the email address I had become aware of, you implied it was no longer her address. Does she still check that for email?
JIM: She didnít read my message then. She couldnít have gotten it. (Elias laughs) Letís try something else here. Would [omitted] be her email address now? (Pause)
JIM: I havenít even looked at that yet. Iíll have to look at that some more. All right, weíll pass on. In my discovery of a second well-known Marina Tarasova, was my emotional response due to a recognition of a personality similar to mine when I erroneously associated her with my cellist focus?
JIM: Thatís what I thought. Boy, she was a frightening picture! (Elias laughs) With regard to my focus who was a cellist in the 1800s, is his name John Witherspoon?
JIM: And he lives in London, England?
JIM: Is his wifeís name Wilma?
JIM: They have five children, three boys and two girls?
JIM: Is he associated with the Episcopal church? I think maybe a deacon.
JIM: With regard to my focus who is a locomotive engineer in the 1800s, I get his name as Carley Jacobson. Is that correct?
ELIAS: Yes, but the individual is known as CJ.
JIM: That makes sense; that does indeed. I feel that he lived in Palatine Bridge, NY. Is that correct?
JIM: His wifeís name is Martha.
JIM: They have a son and a daughter.
JIM: Does Carley engage in sexual activity with his children?
ELIAS: He does not actually engage the action, but he fantasizes.
JIM: Thatís what I picked up on, I think. Is he a heavy drinker?
JIM: And heís influential in my translation of that other-dimensional focus that you confirmed for me?
JIM: And heís influential in my choice of spending five years in various railroad jobs and my continuing fascination with railroads.
JIM: You told me that my impression of a future focus who swam with dolphins, that one of the men and one of the dolphins were focuses of mine. Is the dolphin personality named Nahul, N-A-H-U-L?
JIM: Is the man named John Sweeney?
JIM: The location where I visualized them, is that off the island of Aruba?
JIM: And theyíre dealing with oil well leakages?
JIM: Timeframe 23rd century?
JIM: When I asked you about why I pronounced my essence name as BEE-van, you said that I was confusing the name of another focus of mine with my essence name. Is that personalityís name Thomas Beevan?
JIM: He is a future focus of mine...
JIM: ...he lives in Germany...
JIM: ...his life spans the end of this century?
ELIAS: The beginning of it is at the end of this century.
JIM: So essentially it spans... Thatís what I meant by spanning, I guess. So heís born late in this century and lives primarily in the next one.
JIM: Is he a professor?
JIM: Does his teaching relate to sexual relationships?
JIM: Is he studying Melodyís life?
ELIAS: In theory.
JIM: Is he aware of mine?
ELIAS: Also in theory.
JIM: Does he have a counterpart relationship with me?
JIM: Now, is the woman that I know as Zelda a focus of Kathryn C./Zitha? (Pause)
JIM: Is her name Zelda Ionescu?
JIM: Is she a Romanian, born in Transylvania?
JIM: Now living in Orel, Russia? In or near, I should say.
JIM: Does she consider herself a gypsy?
ELIAS: Somewhat, yes.
JIM: Is she bitter because she feels sheís discriminated against?
ELIAS: Somewhat, yes also.
JIM: I believe that I share several focuses with a woman who caught my attention among jury panel members. Am I right?
JIM: How many lives do we share?
JIM: My goodness! Do we interact intimately in some of those lives?
JIM: When, on impulse, I visualized her rather intimately, did she translate my projected energy in a similar manner?
JIM: Was her interested response in reaction to that projection, or did she recognize my energy from other focus associations?
ELIAS: A familiarity of other focus associations.
JIM: Does she belong to Milumet and align with Sumari?
JIM: Is she common orientation?
JIM: And thought focused?
JIM: Could I have her essence name?
ELIAS: Essence name, Valline, V-A-L-L-I-N-E (val LEEN).
JIM: Does she have a focus who is the wife of my cellist focus, John Witherspoon?
JIM: Boy, Iím picking up wild ones! (Elias laughs) Both of my jury duty experiences have been emotionally traumatic, more so than called for by circumstances. Is there a focus of mine who was tried and convicted of a felony-class crime in the area where I now live?
JIM: Did his trial occur in or near the physical location where my jury duty occurred?
JIM: Is that focus associated in any way with the property where I now live?
JIM: Is he named Joshua Potter?
JIM: Did he murder his wife?
JIM: Did he discover her in bed with another man?
JIM: Is his wife a focus of Liam?
JIM: Very good. Did he die in prison, hanged?
JIM: Hereís a real wild one. This has been bothering me the last few days because itís kind of strong. Is Aishah Bint Abi Bakr a focus of mine?
JIM: Oh, good night! (Elias chuckles) Iíll have to look into that more, too. Do I have a focus who is a Viking explorer?
JIM: His name is Bjorn Borgson?
JIM: Is he a chronicler for Eric the Red at one point in his life?
ELIAS: Yes, you are correct.
JIM: Does he explore the area now known as Massachusetts?
JIM: Is he responsible for some of the runic inscriptions and other traces of Norse presence that have been found there?
ELIAS: Slightly, yes.
JIM: Did he take a Native American woman as mate and settle in this country?
ELIAS: Partially, but did not settle.
JIM: He left and went back.
JIM: Do I have a focus who is a camel driver?
JIM: I see him in a caravan crossing the Caucasus. Is that correct?
JIM: Is his name Ahmed?
JIM: Is there a connection between him and Aishah Bint Abi Bakr?
ELIAS: No, different focuses.
JIM: I did not see him arriving in either India or China. Did he die en route?
JIM: I associate the music of Ippolitov-Ivanov with this camel driver. Was this camel driver an influence in Ippolitov-Ivanovís interest in the Caucasian folk music?
ELIAS: No, but there is an admiration.
JIM: Do I have a focus whoís a flamenco dancer in Spain?
JIM: Is this the woman dancer whom I sensed very close, an arm length away? I can see her now.
JIM: I sense her as a gray figure, not moving. Why?
ELIAS: That is not uncommon. Some focuses may at times appear similarly to another aspect of yourself. Generally, if you visualize or interact with another aspect of yourself, you would present that aspect of yourself to yourself without color to insure the stability of your identity. And if you are experiencing a tremendous closeness to another focus, that may also occur to preserve your individuality and your identity. Therefore, you feel the interaction with the other individual, but you present them to yourself in more of a flat manner, therefore continuing that element of separation to preserve your own identity and individuality.
JIM: I guess that makes sense from what I see, but I do know I see her as gray and not moving. I get two names associated with her. Is she Lola Montez?
ELIAS: And what is your other impression?
JIM: The other name I have is Maria Inez Montoya.
ELIAS: That is correct.
JIM: Is Carlos Montoya, the noted guitarist, Mariaís son?
JIM: Did she perform in the late 1800s?
ELIAS: More central.
JIM: Mid 1800s?
JIM: Do I have a focus as a Paul Nu, N-U, who is a future focus of mine?
JIM: Is he of Vietnamese ancestry?
JIM: Does his life overlap Mariaís, Maria Capola, but not mine?
ELIAS: Somewhat, yes.
JIM: Does he become involved with NASA as it exists in the latter part of this century? (Pause)
ELIAS: No, it is altered.
JIM: Iíll have to look into that. Is he participating in the exploration of Mars?
ELIAS: In the exploration of other planets.
JIM: I believe that Heidi is a focus of mine. Do I have a Heidi?
JIM: Was she born Heidi Bellanger or Bellenger?
ELIAS: The latter pronunciation.
JIM: In that, was she born in the late 1800s?
JIM: Oh, then her life definitely didnít overlap mine! (Elias laughs) Was her father an Episcopalian minister?
JIM: Is her alignment Vold?
JIM: Did she enter a brothel at age 16?
ELIAS: Did she enter one? Yes. Did she participate in one? No. (Laughs)
JIM: There was a cross up there. Iíve got her influential in Canadian politics and that didnít make sense. (Elias laughs) Is she in Ottawa, Canada?
JIM: And she was influential in Canadian politics?
ELIAS: In some capacity Ė not directly, but indirectly, yes.
JIM: I suspected that was the case, yes. Did she marry a member of the Canadian Mounted Police or the Canadian army?
JIM: Did she have a son who died of mustard gas poisoning in France during World War I?
JIM: I was going to ask if her life overlapped Ingridís, but it doesnít look like it could have. It would be a very slight overlap, if at all.
JIM: Do she and Ingrid act as counterparts?
JIM: Now, I believe I have a focus in the Nazi army that invaded Russia in World War II. Is that soldierís name Gustav Muller?
JIM: I see him on retreat from the siege of Leningrad during the winter. Is this a valid picture?
JIM: I donít think he survived the retreat. Did he die in Russia?
JIM: With regard to Dominic/Jale, focus of Jale, is his name Dominic Petrillo?
JIM: Is he aligned Tumold?
JIM: Emotional focus?
JIM: Soft orientation?
JIM: He lives in Italy, near Rome?
JIM: In the pictures that I have of him, is Maria Capola his partner?
JIM: In reference to a woman that I thought was a focus of Jale, is her personality name actually Jael, spelled the way I spelled it, J-A-E-L?
JIM: I get her last name as ending with ďvicĒ or ďvich.Ē Is her full name Jael Poppovich?
JIM: Does she live in or near DŁsseldorf, Germany?
JIM: Is she a focus of Michael? (Pause)
JIM: Is the picture that I have of a Polynesian woman a focus of Dale/Jene?
JIM: Is the woman that I know as Melanie a focus of Lynda?
ELIAS: No. Counterpart.
JIM: Is the woman that I know as Gina a focus of KC?
JIM: Is the woman that Iíve labeled ďAh!Ē a focus of Caroline M.?
JIM: I feel that I have a strong connection with the Bolshoi Ballet. Did the name Gorsky that I used in my Ingrid story come to me from the name Aleksandr Gorsky of the Bolshoi Ballet company?
JIM: Am I an observing essence of Gorsky?
JIM: If each of us creates all that we perceive, then it follows that we create the physical body of any individual with whom we engage sexual intercourse. Is that correct?
ELIAS: Correct, but that is associated with the individualís blueprint of themselves and therefore the energy that they are projecting to you, which you do not generally reconfigure. Therefore, it is almost identical to what the individual projects of themself.
JIM: If we create a physical manifestation of our partner during sexual intercourse, it seems to me that the only difference between sexual intercourse and masturbation is that energy exchange occurs between participants. Does that sound reasonable?
ELIAS: In a manner of speaking, but you are directly participating with the other individualís energy, which you can reconfigure that energy and generate a different manifestation. Generally speaking, you do not, but it is possible.
JIM: If all experience of sexual intercourse is self-created, then creation of offspring must be achieved physically solely by the female, and in a sense, all conceptions can be considered parthenogenetic, with male contributions limited to presentation of a large number of genetic patterns from which the female may select as she chooses. Is that a valid assumption?
ELIAS: No. It is the choice of the entering essence that chooses to incorporate both elements of the male and the female that are already participating within physical focus. The entering essence is what generates conception.
JIM: That would make sense to me. Recently a barred owl appeared in our yard. Now, you had told me that owls serve as a special symbol for me. I tried without success to associate some feeling with the appearance of this bird. What message did I miss?
ELIAS: An acknowledgment of yourself. It was a presentment of imagery to acknowledge yourself and appreciate yourself and your movement.
JIM: Yes, and Iím moving pretty good according to what Iíve done here today, right? (Elias laughs) I get a strong impression that Iím moving fast. Was there any connection between that barred owl symbol and the blood that I found on my towel where I didnít see a source of blood?
JIM: Do I have a connection with Manuel de Fallaís music that goes beyond empathic reaction that you told me about?
JIM: Is he a focus of mine or am I observing essence?
ELIAS: Observing essence.
JIM: Is there a connection between Maria Montoya and Manuel de Falla?
ELIAS: Merely in acquaintance.
JIM: You said that one-sixth of my focuses in this dimension were future focuses. Are approximately 240 of my focuses in the future, relative to my timeframe?
JIM: About two-thirds of my focuses are female. Then do I have 950 female focuses approximately and about 475 male?
ELIAS: Approximately, yes.
JIM: Do these figures include non-human focuses such as dolphins and whales?
JIM: How many focuses do I have as dolphins and whales?
ELIAS: And your impression?
JIM: More than one; I know one. Thereís more than one. I feel Iíve got a focus as a gray whale, at least one.
JIM: How about a blue whale? I better study my whales. (Elias laughs) The right whale is the one I was thinking of. It doesnít matter. So I do have whale focuses? That was my other question.
ELIAS: Yes, I may express to you at this moment you incorporate 12.
JIM: One of the things thatís bothering me is that there are different species of both dolphins and whales. Do essences limit creation of focuses to one species or are they...
ELIAS: No. No, it is not limited to one variety.
JIM: So what youíre saying is all species of whales could have focuses. Is that true?
JIM: Gee, we Homo sapiens kind of got limited with only one of us! (Elias laughs) I feel that both right whales and gray whales have chosen to experience... You just told me they all have, so that question is already answered.
You delighted me when you said Patel played with my garage opener. Would you please convey my appreciation to that entity?
ELIAS: And so I shall, my friend. (Laughs)
JIM: Several times in dreaming or at the verge of sleep, I have focused on an open book. While I see printing on the open pages and some words are recognizable, the print keeps changing, individual words coming and going and sometimes whole sentences appearing and disappearing. What am I trying to tell myself with this imagery?
ELIAS: (Chuckles) This is imagery concerning no absolutes and the changeability of your reality, and that it is not as solid as you view it to actually be.
JIM: Thatís funny! Very good. Thatís good imagery, isnít it? (Elias laughs) Sometimes the page is not white but sort of a sand color. Is that anything to do with my essence color?
ELIAS: Somewhat, more associated with a preferred color.
JIM: I notice that I create damage to limbs on the right side of my body more than I do on the left. Is that just because Iím right-handed, or do I assign some sort of lateral significance to my body image?
ELIAS: Ah, yes!
JIM: Do I consider my right side my staff side and my left side the distaff side? Is that the idea?
ELIAS: In a manner of speaking, yes, and the right side is your feminine side.
JIM: The right side is?
JIM: Oh, the left side, yes. Thatís the way I have it figured, yes. When I try to use a pendulum to ask questions of myself, my mind seems to be unable to come up with anything to ask. Is this a defensive mechanism that Iíve adopted?
ELIAS: Partially. It is also a skepticism in association with incorporating the ability to answer yourself.
JIM: So the same applies to my avoidance of Elias exercises?
ELIAS: Yes. (Laughs with Jim) And if you are allowing yourself to trust yourself, you may engage either.
JIM: Recently I presented myself with what I consider rather strong imagery concerning disengagement. My computerís CRT unit and I landed on the floor together. When the CRT unit landed upside down with no damage except separation of its base, did that imagery represent my personality making a transition of disengagement with little change except reversal of the way I perceive disconnection from my physical form?
ELIAS: Yes, but also it has been imagery of resilience.
JIM: Oh, interesting! Was moving the cursor with the CRT screen upside down imagery of manipulating my focus of attention in a manner that differed from that to which I was physically accustomed?
ELIAS: Yes. I am acknowledging of you, my friend!
JIM: I am working hard with this! Did the size of the separated CRT base relative to the size of the CRT unit represent my imagery of the relative weight of physical experience to the more extensive experience of my whole self?
JIM: Was the trauma I experienced following purchase of the new computer imagery that I presented to myself relative to post-disengagement transition?
JIM: Was I telling myself a stubborn clinging to physical interests would hamper my post-disengagement transition?
ELIAS: Partially, but also offering yourself information not to be overwhelmed, for you express a potential of not initially engaging the action of transition nonphysically, but more of a potential of continuing to be creating objective imagery for a temporary time framework.
JIM: I think Iím going be doing that, yes. (Elias laughs) The technician who got my machine going used disks that were already available to me but I hadnít realized that I had. In this, am I telling myself that I already have all the information I need to move on, I just have to turn my attention to it?
ELIAS: Yes, and it is merely a question of choice.
JIM: Your identification of a computer mouse with the Sumafi family... Sumari that was, wasnít it? (Elias chuckles) Was it Sumari? I thought it was Sumari. I typed it here Sumafi. But anyway, I figured that kind of explained the weird behavior Iím getting from my new computer mouse. (Elias laughs) Sumari being somewhat, well, (inaudible) maybe?
What am I telling myself in creating my footwear all wearing out at the same time? I suspect it has something to do with my movement, but I donít quite see the relationship.
ELIAS: It is associated with your movement and expressing more flexibility and expanding awareness, and in this offering yourself more freedom.
JIM: Well, and also stirring up the feeling that Iím really reluctant to buy something to replace them with. (Elias laughs) Thereís a reluctance to move on there, I think.
ELIAS: (Chuckles) Or a reluctance to be expressing restriction. It is more associated with a reluctance to be expressing restriction of yourself, and this is your representation of that.
JIM: Iíve run out of questions and weíve pretty near run out of time, so I guess maybe Iíll have to thank you very, very much for this session.
ELIAS: You are very welcome, my dear friend! As you are aware, I am always available to you...
JIM: Yes, I feel that youíre around.
ELIAS: ...and I am always interactive with you.
JIM: I thank you very much for that, too.
ELIAS: You are very welcome. I express to you tremendous fondness and great lovingness to you. You are a dear friend, and I shall be anticipating our playing and our next interaction.
JIM: Thank you, Elias. I anticipate that, too.
ELIAS: To you my dear friend, au revoir.
JIM: Au revoir.
Elias departs after 48 minutes.
© 2004 Mary Ennis, All Rights Reserved.