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Friday, November 24, 2000

<  Session 729 (Private/Phone)  >

ďRelationships/Staying in the NowĒ

ďTalent: A Leaning of AttentionĒ

ďDefining Psychic AbilitiesĒ

Participants: Mary (Michael) and John (Rrussell).

Vicís note: John has an unusual accent that is difficult for me to understand, so he offered to transcribe himself for this transcript. There are some comments that I donít quite understand, but Iíve left them as is. Others I have edited slightly. Thanks, John!

Elias arrives at 3:13 PM. (Arrival time is 19 seconds.)

ELIAS: Good evening!

JOHN: Good evening! Hi! (Elias chuckles) Letís see. Iíve written a brief intro, so weíll start there. IĎve got all these notes from the past week, and Iíve been gathering all these questions here that Iíd like to raise, and there are a lot. However, I think all they may require are hints, and some may require sort of answers, and your answers may sort of answer other questions, if you see what I mean.

Iíve made some objectives. One was to formalize and broaden my curiosity in certain areas; two, to move further towards an overall contentment; and three, to follow and interact within the session in real time. My first question is, actually, given the domino effect of the answers you might give and in light of the time constraint, is there a most efficient topic to start with, or shall I start from the top?

ELIAS: You may begin.

JOHN: Okay. Letís see. We talked about psychic expressions as a talent of mine. Is that something one might think about in terms of piano playing as a talent of someoneís? Do you see what I mean?

ELIAS: Clarify your question as to ďthinkingĒ of this talent, as you state this.

JOHN: Well, Iím trying to ... itís a thing. I mean, everyoneís got it, and there are methods of delivery that sort of surround it.

ELIAS: Are you inquiring as to the development of this ability?

JOHN: Yeah. Yeah. Whatís an ability as opposed to a talent? I have the ability to play a piano, for example, but I donít think I have a special talent for it. Do you see what Iím getting at?

ELIAS: Yes. All individuals hold all of these abilities, but in some individuals, some abilities may be what you term to be latent, and may not be expressed as freely, in a manner of speaking, by the primary aspect of the individual.

Now; certain qualities may be expressed by the primary aspect of the individual, and in that, the individual may exhibit a leaning of energy in that particular direction of a specific ability, and therefore you may qualify that leaning of attention in a particular quality as a talent.

JOHN: A challenge?

ELIAS: Talent.

JOHN: A talent. Okay. Okay, I see.

ELIAS: In this manner, the individual....

JOHN: A dominant quality that one would challenge oneself with upon predomination.

ELIAS: In a manner of speaking.

JOHN: Okay. Okay, I see. Okay. This is more clear. Very well.

Weíve talked about dropping the veil, which you have mentioned in other sessions also. That means itís as if literally a veil were dropped, and there is sort of a table near the side with various things that one can utilize or play with or whatever. So, thatís what that means? The veil drops, and there are various sorts of qualities one would have easier access to, although one may not necessarily use them.

ELIAS: Correct.

JOHN: Okay. We talked about this veil of mine dropping within two years. Is that correct?

ELIAS: Within probabilities that you are creating, yes; although be remembering that this is not an absolute, for you continue to hold choices and the ability to alter your direction.

JOHN: Right; consciously.


JOHN: Okay, thatís very interesting. I almost feel like sitting and waiting. I mean, how ... well, thatís a little too broad to ask.

I almost feel like sitting and waiting. Can I look to current situations as directly aiding that process? Or, maybe there are different probabilities, several lines of probabilities. What Iím doing now is one particular line of what Iím doing, and it doesnít necessarily coincide directly with this dropping the veil, although everything is interconnected, right?

ELIAS: I am understanding. In this, waiting, so to speak, may be in your terms unproductive, for what shall you be waiting for? You already possess the ability. You already may be exhibiting the ability.

JOHN: Okay.

ELIAS: As to....

JOHN: It happens in stages.

ELIAS: In a manner of speaking.

JOHN: Yeah, okay. Yeah, if oneís on a bicycle, one keeps ... well, I donít know if that analogy works. I know what I mean, but bloody hell! (Laughing, and Elias chuckles) There is someone I feel like Iíve known all my life, oddly. Is that person me?


JOHN: Yeah, that makes sense. (The next question has been deleted by request, but I am including Eliasí response because it is general and relates to other comments in this session.)

ELIAS: What I am expressing to you is to be turning your attention to the now, and recognizing that as being the creation of the future. This also may be related to your previous question in relation to waiting and observing in conjunction with your talent, so to speak.

In this, your attention is focused in a direction of anticipating and looking to the future, which distracts you within your attention in identifying how you are already creating that future that you are looking for, so to speak, in this present now.

JOHN: Okay. For myself, a small note for the tape. I think that part of that has to do with looking to the now, and thereís a small worry about mis-creating, if I can say that. Thereís also ... well, generally I would expect something to sort of shock me or startle me into paying attention to the now. But I think I can look to the now and notice some interesting things. It doesnít have to be boring.

ELIAS: You are correct.

Let me also express to you: In this, your focus of attention is quite strongly directed in the movement of anticipation of events or actions or elements of your reality that you may physically view that you are or have been or shall be creating. All of these expressions are quite elusive, my friend.

What may offer you the solidity that you are searching for is your allowance of yourself to in actuality turn your attention genuinely to the now, and to be paying attention to what you are creating, what is influencing of you in each moment, how you are creating behaviors, how you are interacting with other individuals, and what your expectations are in this present now. For all of those aspects of yourself are what is the expression of what you view as the future.

You also are, in your attention, bypassing much of your information that you are actually seeking by not paying attention to what you are participating within now, which is what we have discussed in conjunction with relationships previously.

JOHN: Okay. We can get to that. Actually, that is a different topic, or ... well, similar. So, I would continue to pay attention to the now, and as an interest, if I were to look to the future or to the past, or if I were to daydream or to wonder about something, that would all occur from the now.


JOHN: Right, okay. It would be a bit like being projected from the now into the future, rather than ... right?


JOHN: Right. Fine. Yeah, I gotcha. I wish I could talk diagrams instead of words sometimes! (Laughing)

ELIAS: Ha ha ha ha ha!

JOHN: Youíve talked about trusting the decisions I enter into, and if I remember correctly, this was in relation to my employ. Now, if I look to my employ, okay, Iím making certain decisions and sticking to them for one reason or another, and Iím trusting my decisions, or not. But whatever it is, Iím moving into it. Itís funny because I can look, and thereís no objective reason to sort of keep me there.

ELIAS: I am understanding.

JOHN: Also, there are differences, not inter-personal differences, really, but just with business ideas, differences occurring between different people who work there.

So, itís a bit odd. I canít talk about beliefs or whatnot in the middle of the day over coffee with workmates, but I can come up with reasons for my staying on which are quite valid and that I do sort of believe myself, but still.... Your comment, please.

ELIAS: In this also, we return to paying attention to the now, and in this, not necessarily holding your attention in the direction of the events or the interactions which are occurring, but also paying attention to the communication that you are offering to yourself continuously throughout your day, so to speak, in your intuitional identifications.

This holds tremendous significance, and also is another expression of this talent, so to speak.

JOHN: Okay, because thereís a continuous ... even when I go about writing my emails or whatnot or go for a fag, you know, thereís ... itís not a projecting into the future as such, as weíve spoken about before. I mean, I sort of imagine various sorts of scenarios that I could then do immediately. Itís sort of imagination as opposed to a future projection.

ELIAS: In a manner of speaking, yes, for this is reality. And in this, you are offering yourself communications, you are offering yourself expressions of inspiration, and also, you are offering yourself communication of knowings.

In this, we speak of the aspect of trusting your own communication with yourself through the avenue of intuition, which IS speaking to you and DOES offer you much communication, but you are not entirely trusting of that communication which you are engaging with yourself.

At times you are allowing yourself to be trusting of that expression, and allowing yourself to act outwardly as directed by that expression of intuition. But there are also many times that the communication is received and somewhat recognized, but you are discounting of it, or expressing to yourself that you cannot be creating what your intuition is expressing to you. You may express this many times to yourself as imagination. In actuality, this is a form of your intuitive communication to yourself.

JOHN: Okay, alright. Iíve made a quick note. Okay, thanks a lot.

Alright, if you can give me a small token that I can take away with me, because most mornings I feel pretty bad sometimes, typical as it were. I canít pinpoint it and Iím not going to go on about it, but suddenly, some time mid-morning, maybe Iíll hear a song or Iíll see something, and suddenly thereís a switch and I feel fine again. But can you send a token of encouragement to myself in the mornings?

ELIAS: What you are engaging in this time framework is an allowance of yourself to be, in a manner of speaking, drifting. You are allowing yourself to not be paying attention to the goings-on, in a manner of speaking, around you, and in that time framework, you allow yourself a slight movement into being with self and allowing for an unobstructed flow of your energy.

But now; this is contrary to what you have created in the structure of your focus. You hold strong alignments with aspects of beliefs that dictate to you that you must be expressing a structural design within your expression, and this action of drifting, so to speak, feels within you to be unstructured and undirected, and this creates an uneasiness within you.

JOHN: Okay. So itís a matter of ... fine. Fine. Understanding it, and letting it pass.

ELIAS: Allowing yourself to recognize that this is merely an unstructured, free flow of energy, and not paying as close attention to the outside actions which are occurring; allowing yourself a moment to be paying attention to you and the aspects of you and your emotional expressions.

Now; I may express to you that you may be experiencing less conflict in this time framework if you are allowing yourself to cease struggling with yourself, and merely allow yourself to relax and flow. You create much more difficulty within yourself, and you enhance the feeling, so to speak, or the emotions that you wish to discontinue, through the pushing of your energy in an attempt to be eliminating them. Rather, as you turn your attention and allow yourself to merely flow without struggle and fighting with those expressions, you may recognize that they shall not be expressed as intensely.

JOHN: Okay, okay. Another question dealing with potential talents and interests in this focus and those of other focuses, particularly those Iíve been connecting with. I can talk a lot about music, and I can actually talk about acting, although Iíve never done any acting, but I feel like I can sometimes. Well, I suppose itís not necessary to make such a distinction, is it?


JOHN: No. Okay, I wonít!

ELIAS: Ha ha ha ha ha!

JOHN: Alright, okay. Fine. Thatís interesting. It poses certain ontological difficulties.

ELIAS: (Hesitating) Yes. Let me also express to you, my friend, that you express a preference and what you term to be a liking for certain expressions, certain qualities of creativities, for a reason. And in this, it is not random that you are drawn in fascination by certain types of expressions, and the reason is that you yourself magnate to those types of expressions and desire to be participating in some of those types of creativity, but do not allow yourself to express in this manner.

JOHN: Okay. Iím not doing enough of it, or I could use doing more.

ELIAS: You may allow yourself to be participating, and in that, you may be recognizing more of your desire, and therefore also be creating more of an expression of joyfulness within you.

JOHN: Alright. That makes sense. Letís see. Youíve talked about noticing movements in other dimensions previously. Now, the way your material works, I gather, is, you present philosophical frameworks or terminological frameworks that you then explain concepts upon. You build a framework, and youíve talked about orientations and so forth, and from that ... you brought forth that idea, and on top of that you build concepts so you can communicate further. This I think is quite a useful strategy in what you mentioned before about exploring other dimensions and accessing them, so give me a quick hint. Itís sort of framework-building for paying further attention, and using those as sort of building blocks, in my observation.

ELIAS: You are correct....

JOHN: Fine. Within the context of these sessions, do you have more framework to present?

ELIAS: Beyond those which have been presented previously, yes.

JOHN: You do. Okay. Thatís quite interesting. Alright.

ELIAS: They are offered to you all in relation to your openness and your acceptance of them, and as you move, I also am responsive to your movement, and in that, offer more information, and as you term it to be, different foundational frameworks in which to be offering concepts and more information.

JOHN: Okay, okay. Yeah, thatís interesting. Off the topic a bit, I may daydream or I may see the backs of my eyelids, but either is fine for a starting point of this so-called projection.


JOHN: Fine. Okay, thatís interesting.

Moving along ... ah. I have a topic here called noticing. The gentleness I feel would be sort of my home energy. Can I call it that or think of it as that?

ELIAS: If you are so choosing, yes.

JOHN: Okay, itís fine. Fine. Home means to me a sort of home base for action.

ELIAS: A centering.

JOHN: A centering. Okay, yeah. I have a loud energy, relatively speaking. Can one say such a thing?

ELIAS: In a manner of speaking.

JOHN: Okay. An experience after this business meeting I had when Fred was down, that was ... I felt almost thrown into ... and I was drinking a lot of coffee. I donít usually drink a lot of coffee, and somehow I suddenly realized that I had to focus on the now, otherwise my mind would be ... too much coffee! And I held on to that, and it was quite an interesting experience, and thatís sort of, yep. Yep? Am I correct? I mean, that was....

ELIAS: Yes, and what have you offered to yourself in information in this experience?

JOHN: Well, I was wandering about, and I decided to piss off to the pub, and it was sort of ... well, I suppose it was sort of shroomy or trippy, or not, really. I felt ... I donít want to say ... one might say I noticed more choices, but thatís not really what I want to say. But I felt sort of freer, free to do as I pleased.

ELIAS: And in this experience also, have you not offered yourself a moment of more clarity, in viewing what is occurring and how you are participating with it?

JOHN: Quite.


JOHN: Yeah, I did, actually. It was a sort of node where everything came together.

ELIAS: And in this, you offer yourself an example of holding your attention within the now, and how that offers you more of an expression of clarity.

JOHN: Okay, okay. Fine, fine. Yeah.

All my life, literally all my life, from time to time I feel like other people physically Ė people Iíve met, people Iíve merely seen. Physically, I feel like another person. Mentally, too, I can feel like someone else. This would be the empathic sense operating?

ELIAS: Yes, you are correct.

JOHN: Okay. Why should I slip into it so easily?

ELIAS: This is also an expression of what we have discussed earlier in relation to what you term to be your talent. Your ease in allowing yourself to be exercising that empathic sense offers you information.

In actuality, this expression of what you term to be ďpsychic abilityĒ is merely an aspect of exercising your empathic sense. It allows you to be tapping into the experience, the probabilities, the creations of another individual, and into what is being created or desired by another individual.

This, I may also express to you, is quite interesting, for the age-old expression within your physical dimension, in relation to this particular expression of psychic abilities, is that the individual designated as a psychic holds the ability to be accessing information concerning other individuals quite clearly and easily, within your beliefs, but is blocked from viewing themselves in like manner.

Now; this is incorrect, for you do hold the ability to be offering the same expression to yourself as to other individuals. But this particular direction of beliefs, in this present now and also in association with yourself, is being emphasized more, as you are all participating in this wave in duplicity, which emphasizes your viewing and knowing of other individuals, and the clarity that you hold in relation to other individuals, and your lack of clarity within self.

JOHN: Yes. Fine. Itís interesting, and in talking about ... well, Iíll keep calling it psychic expressions, but I was thinking outlets. I mean, what does one do with this sort of knowing? I mean, really! (Laughing) What?

ELIAS: This is a tool that you may incorporate easily to be interpreting information that you are continuously offering to yourself.

Now; be understanding that within this physical dimension, you DO view other individuals with more ease than you view yourselves, and in this, you know individuals outside of yourself, in a manner of speaking, more clearly than you know yourselves.

But this is the wondrousness of what you have created in this physical dimension, for every expression of consciousness Ė every other individual that occupies your physical dimension and every other expression of consciousness Ė is offered to you, through your drawing it to yourself, as an enormous mirror of you, which provides you with the ability to be recognizing, familiarizing, and knowing yourself. Through every action and encounter that you create, you offer yourself the action of viewing yourself through the reflection of other aspects of consciousness or other individuals.

In this, if you are allowing yourselves Ė as you may individually Ė to be engaging your empathic sense, and you are exercising your actions in creativity Ė yours individually moves in this expression of what you term to be psychic expressions Ė in that, you allow yourself more clarity in the identification of what is being created in relation to other individuals.

Other individuals are the reflection of YOU. Therefore, it moves circularly, and allows you information of self.

JOHN: Okay, okay. Okay, fine. Okay, fine. Alright.

You affected the maze. (The computer screen-saver had come on) No?


JOHN: No. Okay. Must have been my foot or something. Alright, letís see. Good lord. Fine. Smashing. Letís see. Interest and disinterest in forming new relationships and new friendships Ė itís a bit odd.

ELIAS: And how shall you proceed in this discussion?

JOHN: Well, Iíve got lots of friends, but all my friendships are sort of in hibernation. I tend to blow off a lot of chances for intimate relations. I donít feel like it....

ELIAS: Now stop.

JOHN: Thereís a certain underlying frustration....

ELIAS: Now stop!

JOHN: Okay.

ELIAS: Now, hear what you have expressed. Allow yourself to think and recall what we have discussed in this very previous moment as to the action of the mirror, and allow yourself to recognize, in what you have expressed now in relation to relationships....

JOHN: Very interesting. Iím finding people who are mirroring me, and vice-versa.

ELIAS: You draw to yourself individuals and create situations with those individuals that mirror what you are expressing. It is not that the other individuals are not willing or moving in a direction of creating relationships with you, or intimacy, but that YOU block this action yourself.

JOHN: I see. Okay.

ELIAS: And this is what we touched upon, in a manner of speaking, as we spoke previously, in...

JOHN: Expectation.

ELIAS: expectations, and in your movement in the expressions of relationships, and paying attention to you and what YOU are creating and your design of your behaviors, for this offers you information of how you in actuality block this type of interaction.

As you allow yourself to view what you yourself are creating and what you draw to yourself to mirror that, you also may begin to explore why you are creating those actions.

JOHN: Okay, very interesting. But I must say, I think Iím going to leave and feel more frustrated (laughing) with what you said. Do you not ... well, my questions is, why?

ELIAS: And this is what you are leading yourself to, this question of why. This is the question that you present to yourself, but you are not quite allowing yourself yet to view within yourself these aspects of fear that you express Ė fear of failure AND fear of succeeding Ė in the expressions of relationships.

In the fear of failure, you hold the influence of your expectations of other individuals, and how you may move in conjunction with other individuals in relation to those expectations that you project to the other individual. This is the identification of the fear of failure, that you may not be reconciled to your expectations of other individuals, and therefore not be allowing yourself what you identify as successfulness in the design and the action of the relationship.

You also hold aspects of fear in the expression of success or succeeding in the relationship, for these are the expectations that you place upon yourself, not upon the other individual. In this, as you move yourself into an expression of allowing yourself to relax some of the expectations concerning another individual, you move your attention into the expectations that you hold upon yourself.

If you are successful in creating a relationship with another individual and creating an intimacy objectively with another individual, then you shall be expressing tremendous expectations of yourself to be continuing in certain manners to uphold that expression of success.

And in this, you do not assume responsibility for yourself, but assume responsibility for the relationship as though it were an entity, and assume responsibility for the other individual.

Are you understanding?

JOHN: Yes. Iím diagramming it in my head.

ELIAS: Therefore, you hold two very strong expressions, both....

JOHN: Possibly there is another type of expression that can sort of balance the both of them, and not in an intensely sort of way?

ELIAS: You may allow yourself to be examining these expectations, and in this, you may allow yourself more of a familiarity with yourself, and therefore allow yourself to be accepting and trusting of yourself. This shall turn your attention to you, and not to the entity of the relationship and its design, and also not to the other individual, for the other individual does not dictate your choices.

JOHN: Yeah, okay. Okay. My previous comment, of course, just for the sake of the tape so I remember, had to do with Eva and the Ring. Ha! Another token, if you will, in terms of ... well, Iím quite the drinker. I mean, I like my pints after work, but then I have a very intense drive to do things and itís hard not to follow them, whether itís an extravagant dinner, whether itís some extravagant prostitute, or whether itís ... I donít know.

ELIAS: And why shall you not follow them?

JOHN: Well, thatís what I tell myself after Iíve been drinking!

ELIAS: This is an exaggeration of what you are attempting to be communicating to yourself now. This is, in its drive and force, so to speak, an outward exaggeration to gain your attention of what we are discussing now.

JOHN: Yeah, yeah. Fair enough. Okay, and....

ELIAS: And your denial of your expressions in these exaggerations merely serves to reinforce them and enhance them.

JOHN: Okay, interesting. Interesting! Fantastic. Letís carry on.

Iíve got one sort of interesting question. Look to a piece such as the Triple Concerto of Beethoven, and look to the first movement. It would appear sort of jocular. What am I picking up on, and what was intended in the work itself? What Iím getting at is this structure, as I would have called it, that is communicated within the music, and that one may take interpretations from. But in the case of this type of classical music, itís so formalized that the structure itself, as well as the intentions of the composer, can come out quite clearly to many, many people.

ELIAS: You are correct, and in this, the expression is quite similar to what you have identified in the format, so to speak, of this information, is it not? A foundation is offered, a direction of concept, and that is expanded as it is moved.

JOHN: Okay. Very interesting. One could look to the lack of creation of that sort of classical music, in that sense of the term, and one might say this is due to the modern musical motifs not having gained a certain sort of legitimacy yet.

ELIAS: Not necessarily.

JOHN: Not necessarily.

ELIAS: It is different.

JOHN: Okay. Iíll work on that one.

ELIAS: Let me express to you that the musical expressions and the artistic expressions within different time frameworks echo and reflect the movement of the individuals en masse within that time framework.

JOHN: Sure, sure. I mean, absolutely. You shift from ... well, I wonít go into it. But okay, sure.

ELIAS: Therefore, there is also information to be viewed in all of these creative expressions in any time framework, your time framework also.

JOHN: Okay. I think youíre specifically talking about classical music, but no? But could you be?

ELIAS: Yes....

JOHN: Yeah? Okay. Well, Iíll poke around. Fine. Letís see.

Is my intent correct as previously stated? Because it didnít seem full enough. Itís lacking something, as I previously stated it.

ELIAS: It is not lacking. You have merely not recognized the fullness of what you have already identified.

JOHN: Okay, alright. Fair enough. One thing I never quite caught up on were these three other sorts of focuses that you did introduce, which were intellectual, political, and emotional. Am I correct?

ELIAS: The political, the religious, emotional, and thought.

JOHN: Thought?

ELIAS: Thought.

JOHN: Political and religious?


JOHN: And emotional. Alright, okay. Iím a thought person or a political person.

ELIAS: Neither.

JOHN: Neither?

ELIAS: Emotional.

JOHN: Emotional? I wouldnít have guessed, actually. Okay, alright. I can use that to guess further! (Laughing)

ELIAS: This also is an expression that may be useful in your movement in relation to your empathic sense.

JOHN: Okay. Thatís a good ... alright. Okay, fine. The ethnic origin of Rrussell, with the double ďRĒ at the front, thatís Indo-European, roughly? Or is that a bit of a misinterpretation? Is there one ďRĒ at the front or two?

ELIAS: An ethnic identification of this tone may be identified [as] northern European.

JOHN: Northern European, okay. Okay, alright. I donít know what to do with that. Itís interesting, but I donít know what to do with it.

ELIAS: This is merely an identification of the tone, and in this, as you familiarize yourself with you, you may also be incorporating this identification of tone as a tool.

JOHN: Okay. So I am right. I was sort of discounting it in a way. Bloody hell! Okay, fine.

ELIAS: Ha ha ha!

JOHN: You could have said Henry or something like that, and I would have gone along the same lines. But I suppose that had I pursued it, I would have gotten confused. Okay, fine.

ELIAS: It is merely a matter of attention within each individual....

JOHN: Thereís a ... from my end, thereís a little breadth now for verification. So I just have to take it on faith and go with it.

ELIAS: What I am expressing to you is, it matters not!

JOHN: Yeah, okay. Fair enough! (Laughing)

ELIAS: Ha ha!

JOHN: Okay, what else have I got? Hmm. Thereís a funny dream I had. I had a dream about this funny little animal, this tiny little dog that was caught in a shoe, and then I had this dream about this Star Trek sort of vehicle or device, a transporting device. I had a dream that it was invented, and I was part of the team that invented it, and after we tested it, we said, great! Weíve got it! Rock and roll! Letís go home! Ha! We turned off the lights and walked away. It was very uneventful. Does that have to do with forcing my energy into the future?

ELIAS: Not entirely. In this, you are also offering yourself a communication in relation to the movement that is occurring in this shift in consciousness. You are in actuality, in the insertion of this shift into your objective reality, altering and redefining much of your reality.

In this, you may liken that in imagery to tremendous changes and alterations and movement that is occurring within your physical dimension, and new discoveries that you are allowing yourselves en masse....

JOHN: In twenty years. I can talk about this. I can use this empathic sense, and I think you mentioned it as a quality of soft, where one looks upon groups as a single unit.


JOHN: Which I am quite conscious of. And yeah, I can sort of empathize with the entire ... I can see movement occurring, but I canít draw it out in terms of time as you can, or not that I canít, but Iím not able at this point to draw it out so specifically as you might be able to, and recognize the probabilities....

ELIAS: I am understanding. But I may also express to you that in this, you offer yourself the type of imagery that is a presentment of futuristic elements quite purposefully, for this is the association of the movement that is being created, what you may physically term to be enormous leaps in your physical creations and new discoveries of your reality.

JOHN: Yeah, some things we can look to over the next ten years.

ELIAS: Ah, you are creating tremendous changes in THIS time framework! You shall be continuing to evidence to yourselves in greater quantity the movements of this shift in consciousness. As I have stated previously, it may appear to you quite realistically to BE expressions of your science fiction appearing now as science fact!

JOHN: Okay. Very interesting! It reminds me of a song, something like ďNinety Minutes from New York to Paris.Ē Funny. Well, I think thatís about all, lord, that I have....

As technologies come about and as developments go on in the decade and within, that creates more opportunities for people to express themselves in ways they havenít before.


JOHN: Or not. Okay. Quite interesting. The conflict I feel in terms of relationships, in going back to that, part of that can be likened to my orientation? (Elias starts coughing slightly)

ELIAS: Partially.... (Still coughing)

JOHN: Or linked to. Okay, I can answer this myself, and the answer would be no. But Iím not creating the sort of intimate relationship that you talked about in relation to the orientation of soft.


JOHN: Not really, no. Okay, very interesting. Thanks very much, and I think weíve got it all. Iím going to go for a drink!

ELIAS: Very well!

JOHN: Will you join me there? (Laughing)

ELIAS: I shall!

JOHN: Alright! (Elias chuckles) Okay. Iíll....

ELIAS: And I shall offer an energy of fun to you!

JOHN: Okay, I shall be on the lookout for it!

ELIAS: Very well!

JOHN: Do you have a place in mind for this festive occasion?

ELIAS: Ha ha!

JOHN: No, Iím not asking you to create a reality for me. Iím merely asking for a friendly suggestion. What do you suggest?

ELIAS: I shall....

JOHN: I may or may not take it!

ELIAS: Ha ha ha ha! I shall be with you, my friend, and you may be noticing of my energy. Be present within the now, and aware, and you may recognize. Ha ha!

JOHN: Okay, very good. Okay, fine. Jolly good!

ELIAS: Ha ha! I express to you affection, and the offering of the challenge to you that you Ė this evening! Ė hold yourself within the now, and allow yourself the recognition of me.

JOHN: Okay, alright. I will.

ELIAS: Ha ha! Very well, my friend. I anticipate our next meeting. To you, au revoir.

JOHN: Au revoir.

Elias departs at 4:17 PM, and Mary ďcomes backĒ coughing.

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