Friday, August 10, 2001
ďLooking for MeaningĒ
ďTrusting Your CreationsĒ
ďControl Issues in CreatingĒ
Participants: Mary (Michael), Mike (Mikah), and Nicky (Candace).
Elias arrives at 1:23 PM. (Arrival time is 25 seconds.)
ELIAS: Good morning!
MIKE: Good morning, Elias!
ELIAS: How shall we proceed, my friend?
MIKE: (Laughs) Well, first I have a couple of general questions, and then I have a nice lengthy one Iíd like to discuss with you. I have a couple of focus questions first.
ELIAS: Ah! Of course! (Laughs with Mike)
MIKE: Of course! For my Spanish painter focus that you told me about, is his name Juan Gris?
MIKE: Yes! Do I have any other painter focuses whose art still exists?
ELIAS: In notoriety, no.
MIKE: Now, my next question is, I never asked anything about any other focuses involved with World War II, other than my Jewish focus. I have an impression that I was part of either the German or the American legal team in either the Nuremburg trial or the Rosenberg trial. (Pause)
ELIAS: Correct Ė a researcher.
MIKE: For which one?
MIKE: Nuremburg, a researcher, okay. Do I have any other focuses that are directly involved with World War II? (Pause)
MIKE: Is he American or German?
MIKE: Ah! Was he a fighter pilot?
MIKE: So is this the military focus that you told me about, as the Japanese person?
MIKE: Was I involved with Pearl Harbor?
MIKE: Wow! My other question, for around that time framework, do I have a focus who is involved with Walt Disney, either as an illustrator or as a family member?
ELIAS: You do participate as an observing essence with a focus that has incorporated employment as an illustrator.
MIKE: For Walt Disney?
MIKE: For my Mafia assassin focus, I had an impression that Belel was the focus of the Don in that focus.
MIKE: And my current grandfather was either my brother or a fellow assassin with me.
MIKE: Was he involved with the Mafia too, or was he just related because we were siblings?
ELIAS: Yes, there is an incorporation of involvement.
MIKE: I was doing some research on my Cardinal, and I cannot find any Cardinal during that time named Giuseppe. What I did find out is a lot of researchers think that painting by Raphael Ė that I talked to you about before, which is a portrait of my focus Ė they think it is a painting of Francesco Alidosi, and Iím wondering if that is a name my focus took on for his term as a Cardinal.
ELIAS: You are correct.
MIKE: My Scottish chapter focus Ė I did a projection with Bobbi and Vicki, and Bobbi and I got pretty close imagery as far as location. My impression was that my name was Rob, and I knew you. You had a focus there with the name Brian, and we were best friends.
MIKE: This is going to sound kind of silly, but I have a very strong connection to what I guess many people perceive to be a fictional character, Zorro; but I think thereís more to just this being fictional. I have an inkling that maybe the author who created this character was aware of an actual individual who did these kinds of actions in California or Mexico, championing the people, doing whatever it is that Zorro did. I was wondering if this type of individual that engaged this kind of action really existed?
ELIAS: Yes, but not to the colorful extent that has been portrayed in the legend.
MIKE: Was I involved with this person? (Pause)
ELIAS: A friend.
MIKE: Was this person actually named Zorro, or did he have another name?
ELIAS: This is a fictional name, in your definition.
MIKE: My other question is that the ... Iíll do that one next. I know I share focuses with Madonna. I have an impression, first off, that I share 15 focuses with her. Is that correct? (Pause)
MIKE: Would one of those focuses be where she was pursuing a similar type of career, and I was either her older brother or an older figure who tried to help her get into the business, like a manager of some sort?
ELIAS: Yes, in a manner of speaking; although not in the manner in which you associate in this present time framework.
MIKE: So I was more or less a friend, then.
MIKE: And my last focus question, I believe: my focus in New Zealand, Joseph Ė I was wondering, is he still creating a probability to be drawing himself to have a session with you? (Pause)
ELIAS: Yes and no. There is vacillation within different moments.
MIKE: I have two questions for Jene/Rudim. Number one, she has an impression about the number of focuses she has. She says she feels itís in the late 900s, in numbering of focuses.
MIKE: Could you fine tune that a bit?
ELIAS: Nine hundred seventy-seven.
MIKE: And her impression of her signature color is burgundy.
MIKE: Now, my main reason for having a session was I wanted to know what is it that Iím missing about creating a sense of completion, not necessarily in material terms but along the lines of fulfilling my desires or finding some kind of meaning in my life? I know that weíve had a lot of discussions and a lot of them have been very fruitful in widening my awareness to a lot of myself. Iíve learned a lot about myself, and I know that the constant message is notice, notice, notice, and look to self. (Elias is smiling)
Iíve created a lot of movement becoming aware of myself, but the one thing Iím not happy with is that I have nothing to be happy for. Iím having a difficult time finding something to latch onto as far as some sort of action that keeps me focused as far as why Iím focused here. Iím wondering if you could comment on that, for me individually. (Pause)
ELIAS: I may express to you, my friend, as you allow yourself to discover more of yourself and allow yourself to appreciate yourself and the discovery of self and what you naturally generate within your expressions and your movement, you shall also allow yourself to be expressing a satisfaction and a comfort in your expression.
You have not yet allowed yourself the familiarity with yourself to the point of wonderment in relation to what you naturally generate within your energy and your natural expressions. You continue to seek out outside motivation that shall hold your interest.
What I continue to express to you in information is that as you allow yourself to genuinely turn your attention to what you generate within self and what motivates you inwardly in your natural movement, you shall allow yourself the discovery of the wonderment of exploration of you, rather than the exploration of manifestations or subjects outside of you that you view to generate motivation within yourself. For I may express to you, my friend, quite definitely and precisely in relation to you individually, you shall not offer yourself the discovery of a motivating interest that shall continue to occupy your attention outside of yourself.
I may express to you, some individuals do generate motivating expressions through objective imagery which may be in alignment with their natural expressions, but their attention may be projected outwardly in that alignment with their own movement and they may be content to be continuing to hold their attention and project it outwardly, and this may circle round, in a manner of speaking, to create an inward motivation; but within your individual unique focus, you have created a natural expression of energy and movement which, in a manner of speaking, requires an inner generation of motivation.
Therefore, as you continue to project your attention outwardly, attempting to discover some activity or subject matter that shall continue to hold your interest and your attention, what you create in actuality is boredom and frustration, for what shall generate a continuing interest and motivation within your individual focus is held within you, not outside of you Ė the movement of exploration of you.
Now; in incorporating the orientation of common, another aspect of your natural movement shall be to project those expressions outwardly, that you may allow yourself to view physical outward manifestations of what you generate inwardly; but your movement which shall create comfort and joy and a continued expression of interest shall be generated through your exploration of you and all of your abilities and all of your choices, and the allowance of yourself to actualize your choices. This shall translate into objective imagery and manifestations, but it is generated through the exploration of you, not necessarily any other subject matter, merely you.
Now; let me offer to you in this time framework a suggestion that may be informative to you objectively in a manner that you may allow yourself a clearer understanding of what I am expressing to you and what I have been expressing to you. In this, I offer the suggestion that you allow yourself either a noticing and a viewing of or an actual interaction with Michael. For in your individual intents and what each of you naturally generate as the theme of your individual focuses Ė your objective expressions may be created differently, for you incorporate different lenses of perception through different orientations; therefore your objective imagery may materialize in actual manifestations, as Michaelís imagery is expressed rather in less physical materialization Ė but the underlying motivation and generating of theme of which you create in your focuses are very similar.
In allowing yourself to either incorporate interaction with Michael in discussion or in allowing yourself to view what Michael generates in natural expression, you may also offer to yourself a clearer viewing of the similarity in the motivation aspect of your movements and allow yourself a clearer understanding of your direction.
MIKE: Let me just be clear for my part. Are you saying that our intents are similar?
ELIAS: The manner in which you accomplish your intents are similar. The actual expression of your intents are different, but in this particular focus the manner in which each of you have chosen, figuratively speaking, as your individual methods of how you express your intents and how you create your movement within your intents is quite similar. The motivating aspect of your movement is quite similar.
MIKE: All right, then does this have to do with the objective imagery of my struggling to try to ... even right now, as we speak, Iím still worried about the Columbia thing, paying for it, and will I get enough financial aid for it. Because thereís acting classes I would like to take, thereís maybe some cooking classes and this and that, but is this because Iím not looking inwardly?
ELIAS: YES! You are projecting your attention outwardly, outside of self and outside of the now, and not trusting yourself and what you create and what you hold the ability to create.
My friend, you offer yourself many examples of your individual accomplishments, and you continue to doubt and distrust yourself. The trust shall be generated by turning your attention to self and incorporating that attention in the now, and therefore discontinuing the allowance of continuous doubt in relation to your ability to create what you want within your reality.
Let me express to you, Mikah, you reinforce this lack of trust within yourself through where you project your attention.
Now; this is a point in which it may be beneficial to you to be interactive with or to be viewing Michaelís expression. For in this, you create a very similar action which is also identifiable as opposites, but the similarity is the efficiency in which you create either an expression of a lack of trust or an expression of trust, and this is created in association with where you direct your attention.
Now; in this, you direct your attention not to your accomplishments, not to what you have already generated and manifest to be validating of yourself, but to the anticipation of future and the doubt of what is possible to be creating within your reality, which reinforces your skepticism. It reinforces your doubt of your abilities. You have in actuality offered yourself objective clear examples of creating what you want within your reality, but you continue to not focus your attention upon your accomplishments, and project your attention outwardly and futurely which reinforces your lack of trust in your ability.
Now; conversely, Michael focuses his attention upon the creations that he has accomplished which validate his trust in his ability to generate more movement in accomplishing creating what he wants, and therefore, creates that and does not express the doubt or the lack of trust that you express.
As you continue to doubt your ability and not pay attention to what you are creating and what you are generating, you create conflict. This is not to say that you do not continue to generate movement in accomplishing creating and manifesting what you want, for you are in like manner to Michael, but you continuously discount this and therefore create frustration, unrest and conflict within yourself.
You express to myself your concern in relation to your manifestation of participating in your educational process at this particular school. You are already creating this. You have already created this. But you continue to doubt what you have created and mistrust what you have created. You have expressed to myself previously that you WANT to be incorporating travel. You have created that. But you invalidate your own creation.
It is not that you are not creating, my friend. You are and you are creating what you want, but you are also discounting of that and therefore creating conflict. This is the difference in the expressions that you create and that which you may offer yourself information concerning in relation to Michaelís creations, for he also creates what he wants but does not discount what he is creating that he wants.
MIKE: Thank you very much for that.
ELIAS: You are quite welcome.
MIKE: For today, Iím going to let you go and give you to Candace, because we are splitting this session. I thank you very much for today.
ELIAS: You are quite welcome, my friend.
MIKE: And maybe Iíll talk with you on Sunday, possibly, with our friend Opan.
ELIAS: Very well!
MIKE: Okay! And hereís Candace.
ELIAS: Good morning, my friend. We meet again.
NICKY: (Laughs) Yes. Gosh, Iím going to get right to it. Weíve got like a half an hour here objectively, and Iím going to try and do this with the least amount of work involved, direct to the point. Iím going to do it in reverse this time. I do have a couple of questions as far as other focuses, but Iím going to do that part first. Iím going to allow myself enough time to get to the meat of it. Iím calling this subject matter, ďImagery and My Interpretation.Ē
ELIAS: Very well!
NICKY: The lady in the market that I saw on the same day that Michael viewed another focus of Bahlah in Germany, that same day I saw someone who I was mesmerized with. I confused myself so much in my head that I couldnít quite make a contact point as to what I was viewing, who she is a focus of.
ELIAS: This is not the point. What you have allowed yourself is a momentary recognition of mergence.
NICKY: In what manner?
ELIAS: Of two focuses, offering yourself a momentary experience of a lack of separation, that this individual is you and that you are this individual. This created a momentary fascination and as you have described, mesmerizing experience, for within that moment the reason that you objectively associated this individual as a focus of an essence that may be known to you is that you in the moment allowed yourself a recognition of a lack of separation of any essence and yourself, any focus and yourself.
NICKY: Really! Oh my god! So the impressions I was getting, because she was so stunningly beautiful ... so what I was viewing was the lack of separation and everything, and within that, is simply stunning and beautiful?
ELIAS: In a manner of speaking. This is your imagery to yourself of the wondrousness of this expression of interconnectedness.
NICKY: So, then, bringing it to another avenue, was she a focus of someone I know?
NICKY: Okay, cool. So that was the wondrousness of interconnectedness. (Gasps) So cool! It was wonderful; it was truly wonderful.
ELIAS: And allow yourself the recognition that what you view in this experience is you. For in that lack of separation, the individual is you and you are the individual.
NICKY: Thatís right! Wow, okay, cool!
Two impressions here: Felix and Memo are another fragment of Lezbae. (Pause)
ELIAS: The first.
NICKY: The first one is, Felix?
NICKY: And Memoís not, interesting. My fatherís line of ... in this now, my fatherís line of probabilities include to disengage what we would call soon?
ELIAS: Relatively speaking.
NICKY: Iím the focus of Arno Brekerís Greek wife?
NICKY: Cool. I am a final focus?
NICKY: And this one I do not have a direct impression on. I get confused on it. Iíve searched for names of my focuses, starting just literally technically looking for names. Then I tried just sitting and seeing what names came to me for Klimtís model, the one that I was a model for, for his pictures. I cannot come up with a name. Would you be able to help me with that? (Elias laughs) No? (Nicky laughs) Come on, just a little bit?
ELIAS: Quite crafty, are you not?
NICKY: (Laughing) Some times!
ELIAS: Ha ha ha! I shall leave this to your continued investigation and allowance of impressions.
NICKY: Okay then, let me follow up with that, then. The name Emilie comes to me. This is where I get confused. Emilie comes to me, and my confusion comes from the fact that I donít think that Emilie was the model for ďThe KissĒ and/or the other ones. My neighborís daughter is Emily, and so then I start looking at Emily as being Emilie, but the name Emilie has been predominant. So this would be not a guess but not an impression. Is it Emilie Floge?
NICKY: So that was a not right guess. (Elias laughs) I will continue!
In the same type of avenue that I go in my head with, I cannot pinpoint my relationship to Mary Magdalene. Thereís a lot of people who have the same fascination with Mary Magdalene, and I do myself. Also, a couple of weeks ago it was a very predominant-type activity going on that kept on relating to Mary Magdalene. Now, was I that focus?
ELIAS: No, but you do offer yourself a strong association with this character.
NICKY: Thatís what I want Ė thatís exactly what I want. ĎCause I think thatís where a lot of us, those who have talked about it anyway, thatís where we go to. So it is the association, then?
ELIAS: Yes, in relation to your viewing of yourself in this focus and your assessment of yourself and your expressions and your experiences.
NICKY: All right, thank you.
What is the feeling that Mary and myself have been experiencing? We both termed it to be having to adjust to the changes that weíve made in our lives. What is that related to? (Pause)
ELIAS: This may be associated in actuality with several movements simultaneously. One is associated with your movement in incorporating other aspects of this shift in consciousness, alterations in your actual physical reality in which you are allowing yourselves to be inserting into your objective reality some expressions of this shift in consciousness Ė in actuality, actually altering your perceptions in a manner which is actually altering aspects of your physical reality. This is borne of your redefining of your reality.
Now; in this action, there is a recognition, which is vaguely expressed objectively to this point, that your actual reality is changing in accordance with the insertion of this shift in consciousness into the objective reality. In not thrusting yourselves into drastic instant alteration, you are objectively reflecting, in your objective imagery each, this process, so to speak.
There are other individuals that are engaging this type of action also, and in this, you and Michael may express your translation of this movement, as you identify it, to be an adjustment period, so to speak, in which you view yourselves to not quite be incorporating an alteration of your reality immediately, but in increments. Other individuals may be translating this same action in their assessment as being unclear or blurred in their movement, in which they offer to themselves such blurring that they are interruptive of their focusing of their attention. Their attention appears to them to be blinking in and out. There are interruptions in their immediate recall or memory.
In actuality, you and Michael also are offering yourselves similar experiences, but your attention and your translation of what is occurring is defined within each of you as adjustment, rather than blurring or interruption or a lack of focus or an interruption of recall or what you term to be memory.
NICKY: Which focus of my essence would be considered the favorite one? Iím guessing the Egyptian one, but Iím not familiar with all my other focuses to make a proper impression.
ELIAS: This is one that is expressed in preference. I may express to you that in essence there is not necessarily an expression of singularity of one favorite.
NICKY: Yes, I kinda went with that in my head. I thought, how could there really be a favorite? But do you know what Iím saying?
ELIAS: Yes, there is an expression of preference which translates in what you may term to be certain models, and I may express to you that you may view that Egyptian focus as a model of the expression of preference. In actuality, within this focus presently you reflect many of the preferences that are also expressed in that Egyptian focus.
NICKY: In this focus?
NICKY: Oh, wow! Iíll have to sit down and take a look at that one. Interesting.
I have one entry for the Game.
ELIAS: Very well.
NICKY: New category: Song Titles. Listed under Sumari, ďLetís Give Them Something to Talk About.Ē (Pause)
ELIAS: One point.
NICKY: One point, cool! Thank you so much!
Now letís get on to the meat of things. Iíve titled this for myself, my own subject matter, ďMy Imagery/My Interpretation.Ē If I can give a little dissertation ... I donít really feel itís necessary, but probably for transcribing it might be.
ELIAS: Very well.
NICKY: Pertaining to the imagery that Iíve been giving myself on a regular basis Ė this is on a regular basis at least since January, and sitting and thinking about it, itís probably been for a lot longer than that Ė itís been very confusing for me in one way and very clear in another. What is clear is that Iím blocking every possible position for employment that I have presented myself with and at the same time causing myself tremendous stress as to how I am meeting my everyday, monthly needs, expenses and so forth and so on. I look to bring it to a balance, but I cause more stress than anything Ė which, by the way, I have given myself no relief from immediately, bringing it up to this date which adds to my confusion.
In the same vein of imagery, Iíve provided myself with a car, a place to live, and a job Ė 2400 miles away, not here. I donít have a desire to move 2400 miles away, and so I cause myself more confusion by creating it 2400 miles away and not here where I would prefer to be staying. Therefore now I give myself more stress because Iím so busy looking at every pea-picking angle.
What Iím noticing is the imagery related to that, also, which again is related to how I translate it and interpret my own language, my own information, whatever you would want to call it. The latest circumstances include my car having a major problem and money-wise itís not beneficial to have it repaired. Iíve been doing odd jobs for this friend of mine and in return he was going to work on my car. Now the car canít be fixed Ė not that it canít be fixed, but itís going to be too expensive to fix. So therefore I donít have a car now, nor do I have the money that I would have been making on a regular basis because my arrangement with him was to barter that part of it. So it appears to me, there again, my imagery, it appears that itís self-defeating.
This whole thing seems to be self-defeating. Thatís the only word I can come up with in the moment. So therefore to me, once again, itís related to the interpreting of my own imagery. Itís getting easier for me to identify my scatteredness, my distraction techniques and all those kinds of things, and I think Iíve come a long way from where I used to go, and I feel now like Iím ready for a breakthrough of sorts.
Iíd like to reverse myself in mid-air, with your assistance if you would not mind giving me your assistance, reversing myself in midair so that I can get to that point of viewing my imagery in a clearer way, a different way. Iíve noticed my patterns of how I interpret certain types of actions, and itís like not getting it anymore. I have a strong desire just to flip it around, right in midair, flip it around and just start viewing in a different manner. I was wondering if you might be able to assist me with that.
ELIAS: Let me express to you, Candace, what I may suggest to you is that you allow yourself to examine what your motivation is in continuously creating struggle with yourself. For in actuality, in relation to what you are expressing in relation to imagery and your translation of imagery, your translation of imagery many times is expressed in translating your conflict into an expression between yourself and either another individual or an object or a situation. Therefore, your translation of imagery incorporates more than one element Ė you and another element. Your translation is not focused upon merely you.
You continuously incorporate another element which you shall translate your imagery in relation to Ė not merely with self, but with self and some other expression, be it another individual, a vehicle, any object, or even a circumstance. Even a circumstance within your translation incorporates as an actual entity, a manifestation. It is no less solid in your translation than another individual or an object. Therefore, as you translate your imagery you are consistently incorporating the translation of your movement not in relation to self, but in relation to self and some other entity.
Now; this is significant, for the struggle, the conflict, is not generated by the objects, by the circumstances, or by other individuals. The struggle and the conflict is generated singularly within you, for you are not allowing yourself to view what generates this struggle.
Let me offer to you a strong clue. Allow yourself to examine the association that you hold with control. For in this, you create movements and you generate objective imagery in reflection of your movements in association with the expression of control, and your determination to be expressing control.
NICKY: To be what?
ELIAS: To be expressing control of what you choose, of what direction you engage, of what you generate, of what you manifest.
Now; this is significant, for that is tremendously influenced by your associations with beliefs that influence your perception that there are aspects of your reality that you do not create and that are subject to the choices of other individuals or situations or objects. But what you have been creating within yourself is not the genuine examination of how you allow all of these expressions to dictate to you what your choices shall be, and therefore railing against your own expressions and against yourself. You create opportunities to be actualizing what you want, but you struggle and you rail against what you want, for you view that the manner in which it shall be accomplished is through the choice of another individual or a circumstance or even an object.
NICKY: Maybe you can help me here, then. Everything you said is everything Iíve had in my mind. Those are things that I toy with on a regular basis, and I use the word ďtoyĒ quite freely because I feel like Iím actually playing with it, but Iím tired of playing with it.
NICKY: But what youíre saying now is what I interpret to be ... thatís why I gave this topic of my own imagery, my own translation of it.
NICKY: I know that part of it, and I am looking to flip it around in midair...
ELIAS: I am understanding.
NICKY: ...Iím looking for a turn around.
ELIAS: I am understanding of what you are expressing, but the manner in which you shall accomplish this is to allow yourself to recognize that the issue at hand, so to speak, is this tremendous struggle that you are creating within yourself concerning control.
You may incorporate the example of the job, the finances, the living arrangement, in your terms, as a case in point. You offer to yourself this creation, which is what you want, but you rail against yourself, for you express to yourself that you want this but you want this in a different manner, in a different physical location. This is the expression of the control that you are railing against yourself with, and the reason that you are expressing this Ė which objectively may be viewed by other individuals as stubbornness, in actuality Ė it is your own issue of control. You are expressing to yourself, no, this may be what I want, but I am not generating it.
NICKY: Okay, but see, this is where my confusion comes in.
ELIAS: But you ARE generating it, my friend. This is your translation and the difficulty that you are recognizing in the process of your translation, for your translation is expressing to you that you are not creating it.
NICKY: Okay, okay! I can go there, because thatís part of the stuff that I do. I put something in front of me and say if this is true, if this plays out, this is what comes before me. If I am going to eventually believe in full that I do indeed create my reality in all ways, shapes and forms ... then, I know my potential for going, oh, hereís a situation in which I could very easily say that it is not in my control. But if I am to believe that I am, then let me see how else I look at this. These are things I do in my head to help me...
ELIAS: I am understanding, and this also yet again is another expression of parallel that you engage in like manner to Michael.
NICKY: He does the same type thing?
ELIAS: You are, in a manner of speaking, testing and pushing what you view to be limits, and experimenting with the concept of do you create all of your reality, and therefore allowing yourselves to create what appears to you to be impossible.
Now; you individually are creating much more of an expression of conflict, for you are turning your attention to the thought processes and therefore in your analyzation and holding your attention within the thought processes, you confuse yourself and you create more conflict.
NICKY: And there again, thatís where I say to myself that Iím not viewing all that I could possibly be taking in via my own language, that I center in on a certain type of expression and how I look at things. Iím looking to move away from that, and then I start thinking about ... not that anythingís wrong with thinking, but I do end up going there and I do look. I donít say too much, anymore. I do, though, see the underlying, where I could go there real easy. I try to identify it to myself, but I will say, what does this particular situation mean to me now?
ELIAS: I offer to you the suggestion also that you allow yourself to be incorporating interaction with Lawrence, with Michael, and you may with Jale. For these individuals are also engaging similar process to you presently, but are also beginning to express a clearer objective recognition of what they are creating in this process. Therefore, you may allow yourself to be interactive with Michael or Lawrence, and this may offer you objectively more clarity within your own movement. (1)
NICKY: Because there, too ... not necessarily with Michael or Lawrence or any one specific person, but what I also seem to draw to myself Ė and not with everybody, but just certain types of action; I guess I should say not the people, but the action Ė sometimes I feel if I can express myself while Iím talking, I can hear myself while Iím talking instead of doing it so busily in my head. But when youíre trying to share something with somebody, theyíre so busy talking about their experience and how they did it, and thatís not how I do it.
ELIAS: It matters not, my friend. It is an exchange of experiences and information, and in this, it may serve you well to be listening...
NICKY: Well, let me tell you something then. Nine times out of ten I am sitting and listening.
ELIAS: ...for in that action, you may translate the sharing of experiences in the manner in which you create.
NICKY: Okay, meaning what now? You lost me.
ELIAS: As you allow yourself to incorporate interaction and share experiences and allow yourself to listen to the sharing of other individualís experiences, you shall also allow yourself to incorporate an understanding of the other experiences and translate them into your own design.
NICKY: I can see what youíre saying, but itís not as though ... I spend more time listening to other people talk than I talk myself.
ELIAS: It matters not, for in your listening what action are you incorporating? You are incorporating discussion within yourself.
NICKY: Yes, I take in what theyíre saying, I listen to their points of view, I try to interpret...
NICKY: ...but itís the same with my interpretation again, itís...
ELIAS: NO! STOP, Candace! What you are creating in this present moment is precisely what I am expressing to you to STOP. You are engaging conversation with myself...
NICKY: Okay, this is...
ELIAS: ...but you are not listening. You are hearing audibly what I am expressing to you, but you are not listening. You are chattering to yourself within your thoughts...
NICKY: Itís true!
ELIAS: ...simultaneous to what you are hearing in what I am expressing, but you are not LISTENING for your attention is focused in the chatter which is occurring within your thoughts. (Firmly) This is precisely what I am expressing to you to be noticing and to allow yourself to turn your attention from. This action that you create consistently is the source of your conflict and your confusion.
NICKY: Okay, then why is it that I am getting the definite impression that how is it I can explain myself and utilize the chatter thatís going on in my head in the same manner that other people do it? Other people are using ... no, no, letís not even go to other people. In my head, I try to express whatís going on, but not everybody wants to listen. I donít even want to listen sometimes!
ELIAS: And what are you attempting to accomplish? (Nicky sighs) Your attention is so very convoluted within your thoughts that you retard your movement.
NICKY: I KNOW that! I know that! Thatís the core of where Iím looking to get to, and Iím very frustrated...
ELIAS: And this is the reason that I express to you, I have offered you information and my suggestion is that you allow yourself interaction with Lawrence or Michael, for both of these individuals hold an objective clear understanding of what I am expressing to you now. Therefore, in interaction with these individuals, you may allow yourself more clarity in how you may accomplish turning your attention from the thoughts and focusing your attention in the doing. Shall we agree? (Pause)
Candace, Candace. (Nicky laughs) I incorporate such tremendous affection for you, and you create such challenge within yourself. (Chuckles)
NICKY: (Emotionally) I know.
ELIAS: But we shall accomplish together, addressing to your attention and you shall allow yourself to relax. (Chuckles, and Nicky laughs) And this in itself is the accomplishment of what appears to be impossible, is it not? Ha ha ha! (Nicky laughs)
My dear friend, I continue to offer you energy and encouragement within every moment.
NICKY: (Quietly) Thank you.
ELIAS: To you, in tremendous affection and genuine love, continue on, my friend. Au revoir.
NICKY: Au revoir.
Elias departs at 2:45 PM.
(1) Nickyís note: A few days after the session, I called Vic to talk about it, about the definitions of control, etc. The video came in a few days or so later, so I went over one night to Vic's to talk about it. Vic, Bobbi and Cathy were watching my video, and it turned out to be very interesting. No one had any real clue as to exactly what Elias was referring to when he said that they are beginning to express a clearer objective recognition of what they are creating in this process which might offer me more clarity within my own movement! So, needless to say, we had an evening of conversation as to what that might mean to each one of us. It was an enjoyable evening of listening for me, I might add!
© 2001 Mary Ennis, All Rights Reserved.