Thinking, Doing, Feeling: Intentionally Creating What You Want
Topics:
“You Directing You”
“You Know More Than You Think You Do”
“Thinking, Doing, Feeling: Intentionally Creating What You Want”
“Circumventing the Doubt”
“Practicing the Clarity Exercise”
Session 200704292 (2259)
“You Directing You”
“You Know More Than You Think You Do”
“Thinking, Doing, Feeling: Intentionally Creating What You Want”
“Circumventing the Doubt”
“Practicing the Clarity Exercise”
Sunday, April 29, 2007 (Private/Phone)
Participants: Mary (Michael) and Alicia (Tisara)
ELIAS: Good morning!
ALICIA: Good morning. It seems like it’s been a long time, but I guess it’s only been about four months. (Elias chuckles) It’s good to hear your voice again.
ELIAS: And you also.
ALICIA: Very good. I want to say, before I get into the content of today’s session with you, the last time I talked with you, you seemed – and I think I may have brought this up at the end, that you seemed different. And you had said that it was me and I was more open and receiving. And it was kind of interesting because I think you’re right, because then when I listened to the recording of it, the CD of it, you sounded completely fine. You didn’t sound at all (laughs)…So it was all me. And then the next day, or maybe for two days afterwards, I found myself having this gigantic need to sleep, which I thought was kind of interesting. And I remember that you had said sometimes that’s what reaction that people have?
ELIAS: Yes.
ALICIA: So I thought that was kind of interesting. Also, I have this back problem, and I would say probably for like a month afterwards my back felt really good. So, was that receiving your energy did something with my back?
ELIAS: Yes.
ALICIA: Ah. All right. Well, I asked to contact you again via Mary because I’d had an experience two or three weeks ago at work, and it’s left me with a little confusion. And I’m trying to follow my own lead and understand my messages, but the problem is that I sort of feel like all messages seem valid, so I’m not sure.
What this was, was I’ve worked at this school now for about four years. And I’ve mentioned my boss to you before and how I find her to be extremely controlling and nitpicking and disrespectful, etc., and you had said that this was a vehicle for me to understand my responses. And I thought what was interesting is that although we haven’t seen eye to eye many times, this last time she called me into her office and said that she was not sure that she wanted to renew my contract. And she left it as kind of a threat, and she listed various reasons and they all said that I was not doing her bidding.
But I reflected on it over the weekend, and I have to say that this is the first time that I didn’t get massively upset and walk out and get all huffy and stuff or think about quitting. And I took it as maybe this was an experience to show me about or to have me experience practicing finding balance in my expression, because I noticed that with her, as I’ve done with other people that I haven’t gotten along with in terms of work experiences – well, maybe otherwise, too – that I either hold in all comments because I either feel that I’m going to get too emotional or they’re not going to understand or it’s going to have some kind of negative conclusion, or I go way in the extreme and I sort of emote and express sort of over the top, so that she was a valid person to help me learn how to be somewhere in the middle, because balance is one of my intents. So I thought about it over the weekend, and I came back and I approached her in a different manner.
But then I went back and I thought well, maybe this is an example of, or maybe this is a message for me that I’m not happy in this job and that I should look for another job. So, I don’t know, and I wanted to get your responses to it. And also, that when I was talking to my ex-husband and he asked me to go through sort of the litany of my job experiences, there was a pattern. But one of the patterns that I found that I’m really curious about is that I notice about every six years—and it’s pretty much to the dot, six years—I begin to look for a new job, and that this job currently is my sixth job. So, I’m noticing that the number six seems to be repeating itself, and so that’s got to have some meaning, but I don’t know what.
ELIAS: First of all, let me express to you, many times individuals look for what you view as a meaning in certain numbers and the meaning is the most obvious, for it is a signal OF a pattern. In that, you have already deciphered the meaning, for you already recognized the pattern, and this may be associated with a cycle that is familiar to you in becoming restless or dissatisfied with what you are doing.
Now; I will express to you that that may not necessarily be a NATURAL cycle; it is a FAMILIAR cycle.
ALICIA: Right.
ELIAS: And in that, it continues, for you have not allowed yourself to experience differently. And therefore, you do not incorporate a reference point of how you can create differently or experience differently.
Now; in this situation, you ARE beginning to allow yourself to experience differently, for what is familiar to you, as you are aware, is to withdraw or to explode.
ALICIA: Right.
ELIAS: But both of those actions create opposition and project an uneasy energy. And both of those expressions draw to you what you do not want. Therefore in either manner, whether you are withholding – but you are only withholding the outward expression; you are not withholding energy—therefore, both of these actions accomplish the same outcome. But you have been offering yourself more information recently, and you have been paying more attention and practicing. And in that, your energy is changing and you are offering yourself more information, which is allowing you to experience differently.
In that, it also allows you to engage certain situations differently. This situation is a significant opportunity. It is a significant turning point, so to speak, with you. For this is an opportunity for you to genuinely not react but also not to be threatened or concerned with the expression of the other individual, and an opportunity for you to genuinely realize that the other individual can generate whatever type of expression she wants. She can generate any type of agitation that she wants, and it genuinely does not concern you. For you, in your terms, are in control of what you are creating.
Therefore, it is a matter of allowing yourself, without doubt and with your own confidence, to proceed in your direction, not allowing the expression of the other individual to be affecting. And this is a significant practice, and it is a significant movement for you. For this can be tremendously empowering, to know that you actually are directing you.
ALICIA: Right.
ELIAS: And to know that whatever the threat is, is only in your thoughts. It may SEEM very real, and the apprehension or the anxiety that you feel—or that you COULD feel in association with the threat—IS very real, but it is not actually occurring.
ALICIA: Right.
ELIAS: Therefore, it is the thoughts that are influencing the perception. But if you genuinely remind yourself that this is only real in your thinking, it is not actually occurring, that offers you the freedom to continue in your course and not concern yourself with whatever agitation the other individual may be generating. That is her own agitation.
ALICIA: Right. And you know, I know exactly what you’re saying, because I think that that…What you’re saying, although you said it with more clarity than what I had in my mind, very familiar with what I went through, because this happened on a Friday. The Saturday and Sunday following was exactly what passed through my mind, which is she was in the commons area and it was something that I did in the moment, which she perceived to mean something which it didn’t. Then she kind of went off in that particular moment, and that’s really HER issue and her experience—it didn’t have to be mine.
ELIAS: Yes.
ALICIA: But then what I thought was, Given that, what do I want to do? And what choices do I have to handle it? And that’s where I felt significant power within myself for the first time, because I think earlier I would have gone off with a great deal of anxiety with this thinking that said, “Okay, I’m going to lose my job, I’m going to lose my job, oh my god, what am I going to do about my house payment? Oh my god, my children are going to be on the street, blah blah,” and I didn’t do that. I mean, I did it maybe for an hour right afterwards, but then I really said to myself, if I don’t want that to happen I can do something about it. If I do want that to happen, then I move in THIS direction, and it’s simply my choice.
ELIAS: Yes.
ALICIA: Which was very empowering.
ELIAS: Yes.
ALICIA: So when you’re saying that this is a significant opportunity to really direct myself and to experience my own empowerment, I absolutely agree with you.
ELIAS: I am greatly congratulating of you, my friend. This is a significant movement.
ALICIA: But see, then what happened is as I thought about this, I thought, Well, no, but maybe because this happened, and this had been happening, because I decided finally…and I remember you said this to me a year ago, that a way to practice trusting myself was to follow through on my writing. So I finished a novel, which I have never allowed myself to do. It was a small novel, it was 195 pages, but still I looked at it and I thought, You know, this is something I created from beginning to end, and it seemed to come so effortlessly. And for the first time in my life, I think, I felt such amazing ease and joy in just the act of writing. I thought, My god, I’ve never experienced this quite like this! I mean, talk about not feeling any opposition—which was a new one for me (Elias laughs)—just the sitting down and time would bend for me where I would like think I maybe was writing for an hour and it would be ten hours. And I thought, My goodness, this is so fascinating.
But then she really blew up, once… It was about a week after I completed the novel. So, I thought, Well, is this my way of saying, “Alicia, you really should pursue your writing, and she’s helping you.” Or is this, you know, again balance? Or is it both? Or does it not matter? So, then I got all convoluted in my thinking, which is why then I thought I would reach out to you and get some clarity from you.
ELIAS: I am understanding. But it is not a matter of black and white or either/or.
ALICIA: Right.
ELIAS: It is—
ALICIA: It could be whatever I want.
ELIAS: And all of this information is valid and significant. You are correct. But what you are doing is presenting to yourself options and different avenues, and that you can generate benefit to yourself in ALL of these avenues.
ALICIA: Right. And here’s the problem that I realized is, before in my life when I would look over my options, I would at some point see that there were more pros than cons or there were more cons than pros. And this time, when I thought, Okay, I could quit the job and just say screw it, I’m going to have complete faith and devote myself to writing; or No, I’m going to stay but I’m going to look for a new job; No, I’m going to stay and not look for a new job—all of these, they seem to have equal benefits.
'
ELIAS: Yes.
ALICIA: And so then, it’s like how do you choose? Because they’re all equal. (Laughs)
ELIAS: And in that, you are actually opening that door to your own freedom. It is not a matter that you must choose between them, but more so it is a matter of allowing yourself to experiment and perhaps choose them all.
ALICIA: Right. (Laughs) So I CAN choose them all.
ELIAS: Yes.
ALICIA: I'm trying to figure that one out.
ELIAS: It is not a matter of moving in the either/or, but that you can actually move in ALL of these directions, and in doing so, you can allow yourself to evaluate which directions you prefer more, which directions you are comfortable with, which directions are offering you the most value. And remember that in some directions you may incorporate some uncomfortableness, but that is not to say that the experiences are not valuable.
ALICIA: Right. I’ll tell you, when you said that a while ago that made so much impact on me, because I judged previously on my negative experiences, or in terms of feeling negative about them, to not have value. But then I went back and I’d think well, they’ve made me who I am and they’ve taken me to a next level, always.
ELIAS: Yes.
ALICIA: So, that’s valuable in and of itself. Which means then I don’t judge them, which means that I sort of don’t get stuck—
ELIAS: Yes.
ALICIA: I guess I would say. Or get depressed in the midst of them.
ELIAS: Yes. Which is quite liberating.
ALICIA: Yeah! But then what happened with the liberating is when I realize that I have five choices and I could equally go with the five choices and be okay, then it makes me realize that, Well, it’s hard to make a choice, but I guess that’s a signal to me that I need to experience all of them, and I haven’t come to a conclusion yet because I’m not completed in my exploration of them.
ELIAS: Correct.
ALICIA: That once I am complete, I will make a decision and things will happen.
ELIAS: Correct.
ALICIA: Would you say?
ELIAS: Yes. I would very much agree.
ALICIA: Okay.
ELIAS: This is your opportunity to—
ALICIA: And then I had a dream right after this that I sort of interpreted, but I don’t know if there is more to the interpretation. But it was kind of pretty obvious(laughs), in that right after I had this argument with my boss and I was worried about being fired Friday night, I had a dream that I was learning how to fly with my body, and I was with my best friend of childhood. In real life, her name was Ruth Ann, but Ruth Ann is also the main character in this novel that I wrote. So we were practicing flying, and I was being very gradual. And so I would be like maybe five inches from the ground flying, but I would say, Okay, even though I’m not up in the air completely with the birds, this is still flying. And then the more I did it, the higher I got. But then I noticed that we were going in a direction and so we were passing through buildings and going inside and outside of buildings through the doors, open doors, but I was worried that like a helium balloon if I go too high I might get stuck on the ceilings of these buildings and not be able to go through the doors. And then all of a sudden I found myself in a big room, and it was like a waiting room to a doctor’s office or something. And this woman gave me an iPod that was like a heavy gold, and she told me to just wait and meantime listen to the latest Harry Potter novel.
So, when I woke up I thought, Well, this is honestly having something to do with MY novel that I just wrote, and it has to do with freedom but also, I don’t know if I want to say fear but just concerns about boundaries or limits.
ELIAS: But also presenting yourself with the element of fun and magic.
ALICIA: Yes.
ELIAS: Therefore, what you are presenting to yourself is an encouragement in allowing yourself that freedom and the fun and the magic, but also addressing to your concerns and not allowing them to limit you.
ALICIA: Okay. So, to understand them so that I can move beyond them, not get blocked by them.
ELIAS: Yes. That you may naturally incorporate some concerns in different situations that may be unfamiliar to you, but not to allow that to create an obstacle or to limit you.
ALICIA: Right. Because I think how I’m associating what you just said with that is that it was so much fun to write the novel, but now I have to actually do something with it because I want to, but I’m also afraid to do something with it. And so, I am noticing that sort of in quote-unquote preparation I’m saying if I never find a publisher, this can be a lovely gift to give my children; or if I can’t find an agent, then well at least I’ve completed something, or—
ELIAS: No. No. No. No.
ALICIA: (Laughs) Well, yeah.
ELIAS: That is precisely CREATING the limits.
ALICIA: Right.
ELIAS: And THAT is what the imagery of the dream was concerning, not allowing yourself to create limits by allowing concerns to affect you. Remember your leprechaun. [1]
ALICIA: Right.
ELIAS: Remember: it does not distinguish between good or bad or comfortable or uncomfortable or success or a lack of success. It offers to you precisely what you are expressing. If you are moving in the energy of doubting your ability that perhaps you will not or cannot accomplish a particular action, your leprechaun is expressing, “Very well. You will not.”
ALICIA: Right.
ELIAS: This is—
ALICIA: How do you address…? Because I think this also explains another dream that I had about a week later. You had said the first time we met in person, in Chicago, that I was struggling with beliefs around accomplishment and age, and I’m noticing the age one is coming up now regarding having completed this novel, because what I’m saying to myself is, Okay, I’m 51 years old, I’ve never written a novel before and accomplishment: I’ve never gone to writing school, I don’t have my Master’s in Fine Arts in writing, which seems to be the thing these days, so how would anybody even look at the first chapter? Because one of the things that they want in their query letter or even by way of internet is to say where else you’ve been published. Well, if you’re 51 years old and you’ve never been published before, it’s sort of like a catch-22. So, how do you…? You know, these are things that are sort of also mass beliefs, not just my beliefs, and so how do you move beyond them, I guess?
ELIAS: First of all, I will express two factors to you: You are aware of and you know more than you think you do, and secondly, you incorporate more resources than you acknowledge and use. For this is quite common, to generate the thinking in specific manners that are traditionally accepted or are conventional, and that is the automatic and the first direction that you move in.
In this, remember the three factors in intentionally creating what you want. One is allowing the thinking as a translator in relation to what you want, but also generating the doing or the action, and the feeling or experiencing. These three factors move in harmony. And when they move in harmony, you are successful and you create what you want intentionally. If these three elements are NOT in harmony, you do not create what you want.
ALICIA: Right.
ELIAS: And you generate disappointment.
ALICIA: So, my thinking is here—not my thinking, but my awareness is that I… Usually what happens to me, and I’ll use the examples of the story of the novel creating, I have a really good feeling, and I look at it and I say Wow, I really like what I’ve done, I think I really have some talent, and I really enjoyed the process and felt great joy, so that’s SOMETHING there.
ELIAS: Yes.
ALICIA: And then I have thinking. The thinking comes up, which is being influenced by—and I also realize how influenced I can be from outside of me, where the thoughts, the beliefs of Well, but you are 51 and you’ve never published anything or… you know, which is sort of a mass belief that’s becoming more so. It’s becoming more so all these credentials, that you can’t do X, Y and Z unless you have a credential after your name. So, how do you…? So, I know that my feeling and my thinking aren’t in harmony, but how do you then get the thinking part, which is from society, in harmony with your feeling, which is personally from you?
ELIAS: First of all, let us return to the imagery of your dream and the end of your dream, which involved the other book, the magic book. And what is further imagery of that book, in relation to the individual that wrote it?
ALICIA: Well, this is what I was thinking, too, which is she just sat down one day. I mean, I thought that gosh, Alicia, you’re making associations because there’s a similarity between you and J.K. Rowling, where she had no money and she had a baby and she didn’t have a degree, and she didn’t go and get her Master's in Fine Arts and she’d never written a book, and she sat down and did it.
ELIAS: Precisely. And the outcome is what?
ALICIA: Success.
ELIAS: Tremendous success. This is imagery that is an encouragement to you.
ALICIA: Okay.
ELIAS: And a reminder to you that mass beliefs do not always override what an individual can accomplish.
ALICIA: Right.
ELIAS: And that it is not necessary for you to concern yourself with that, for that is not a factor in whether you can accomplish this action or not. You have enjoyed one facet of the process, and now you are moving into another facet of the process. And how you accomplish this facet of the process is first of all to be not doubting your ability to actually BE successful, to allow yourself to experience that now, and to be incorporating actions that are involving you in the process of creating that success now, not waiting for it. And I may also express to you another suggestion, which actually does create a difference in the energy. You can even practice pretending that your novel is a book, and it is published and you are generating the benefits of that. Even in that action of pretending, it changes your energy and it projects that energy to your leprechaun once again: “I have this book.” And your leprechaun expresses, “Very well. You do have this book.”
In this, I will also offer a clue in a suggestion in how you can move in somewhat of a different direction outside of that box in your thoughts. You incorporate your computer, correct?
ALICIA: Mm-hm.
ELIAS: And you have been investigating avenues in relation to your book with your computer, correct?
ALICIA: Yeah. (Laughs) You must be over my shoulder.
ELIAS: Now, perhaps you may incorporate your computer in offering the information to individuals within this forum that you interact with, with your computer, that you have written this book.
ALICIA: Oh, I have already done that. In fact, I’ve given it to a few people. Is that what you mean?
ELIAS: Yes. This is an avenue that you can tap into that you can generate support and avenues to connect with a publisher.
ALICIA: Mm-hm. You know, it’s funny because I was thinking about that a while ago. It was a little blip of a thought, but I thought, You know, there’s one way of going and finding a publisher via the old-fashioned way of just looking up publishing houses, but what if… who knows if somebody in the forum might know somebody who might know somebody who might know somebody who might be a publisher?
ELIAS: Correct.
ALICIA: Is that what you’re talking about?
ELIAS: Yes.
ALICIA: Mm-hm.
The other thought that I had, which I enjoy having but then I sort of think, Oh, you know, somehow this is kind of grandiose of you, Alicia, is if the idea that all time is simultaneous, then in some ways my book has already been published and what I’m doing is merely inserting it.
ELIAS: Yes.
ALICIA: So, it’s there. So, sometimes when I think THAT way I think, Well, that’s a way to kind of circumvent the doubting.
ELIAS: Yes.
ALICIA: Is it’s already there.
ELIAS: Yes. And I would be quite encouraging of you in this direction.
ALICIA: Because I felt like – thank you – I felt like (sighs), and I don’t know if you can speak to this, but the way that it flowed, the way that I started, and I’d only really allowed myself short stories that I thought, Well, you know, you can’t—it's like if you’re starting composing you don’t start with a symphony. And I never allowed myself, but then I felt this tremendous urge to do this, and it would not let me be. And I think probably about a year between the short story and the novel that it came from or that it turned into, that I didn’t do anything except let it entertain in my head. Then when I actually sat down to do it, even if I felt that there was a snag within the plot line, within a few days the answer was found by me, and I wrote it probably in about two months. And so, I felt like there was some reason why this was so easy for me, that either it’s already there, or I was getting encouragement from my essence or from some other energy essence because it’s meant to be there.
ELIAS: And I would say not either, but both.
ALICIA: Oh. Okay. (Elias laughs) I forget about that "both." That was kind of to me a clue why it was coming so effortlessly. And it is very much about the Shift, in a way that I want to address it to young adults and older adolescents in a way that kind of introduces some of the concepts. So, that’s another reason why I felt that connection, and it wasn’t just about… you know, because it was such a topic that is already drawing people to.
ELIAS: Yes.
ALICIA: I guess.
ELIAS: Yes.
ALICIA: All right. So, I just need to continue this, and I shall, and I will… Well, you know, the funny thing is that sometimes the creative process of this novel seems almost bigger than me. And what I mean by that is even if I put my own obstacles in front of me, I find that it doesn’t stop me. I sort of feel like I’m this speeding train or moving train.
ELIAS: (Laughs) I would express tremendous congratulations to you, my friend. You have generated significant movement.
ALICIA: Thank you. The other thing actually that has been coming to my mind is that somehow in this process afterwards, from the novel writing to the issue with my director was, I kept thinking of the phrase, “Lifting the veil of separation,” the idea of separation and my moving in exploring that separation really isn’t separation or that I have been a bit… I don’t want to say remiss, but that I’ve held so tightly to the idea of separation that I now want to explore removing that, is sort of indicative of these experiences that have been happening of late.
ELIAS: Yes. I would agree.
ALICIA: Okay. So, I was reading also the clarity exercise that you had presented [2], and I was wondering if you could say more about the clarity exercise in a way that I could find it useful for me to practice it in specifically helping me lessen separation.
ELIAS: And how have you been incorporating it?
ALICIA: Well, I know you said try it three times a day, and I’m lucky if I do that. But once a day, what I will do is, wherever I’m sitting I will softly gaze upon a specific point but try to look at everything, including visions from the side, as I try to listen to everything that I’m hearing, the sounds around me. And then I didn’t do anything with the other senses because I wasn’t sure if that was part of it, because it seems like if I’m not smelling anything then it’s… Do I create a smell? Like the smell of peppermint? Or if I don’t smell anything, do I just leave it like that? And then I know what you had said was when you do that, after a while then you can sort of drift with your attention to whatever kind of flows through you, which would be more of an altered state because you’ve allowed the clarity of your objective senses.
ELIAS: Correct. And the point of this exercise is to be more aware and also to be exercising your abilities and your power in how you manipulate your attention and how you manipulate your energy. In this, it is not merely a matter of being aware of what you are experiencing with your outer senses, but also moving into the experience of actually manipulating each of those senses in a manner in which you enhance it or diminish it. When I express diminish it, I am expressing that you actually move into an experience in which you can turn off a particular physical sense. And—
ALICIA: And this is when you’re actually doing the clarity exercise with the objective…?
ELIAS: Yes.
ALICIA: Okay. So, like if I was visualizing, if I found my focal point and let’s say it’s a vase, then while I’m continuing to look at the vase seeing something else in the room and making that appear sharper?
ELIAS: Yes, you can incorporate that action, or you can enhance one sense in relation to turning off another sense. If you turn off your sense of hearing, your concentration can be more focused in sight, and that will enhance that sense of sight. You can do this with all of your senses.
ALICIA: But what happens if you’re not smelling anything, which is oftentimes the case as I don’t have a very good sense of smell?
ELIAS: But if you are moving your attention to your sense of smell and you are turning off another sense, it allows you to be more focused and concentrate upon your sense of smell and that enhances it, and you WILL begin to notice different scents that you were unaware of before and that you were NOT engaging before. There are always scents present in any element of your environment. You may not notice them, and you may express that you are not experiencing any smell, but those smells are present; it is merely a matter of focusing and generating that clarity. Just as an individual may express that they are incorporating no taste, for they are not consuming any food or any substance, but in actuality, your taste buds are active continuously, and they are also very stimulated by smell. Therefore, these two senses move in conjunction with each other, in harmony with each other very well. And even without consuming any substance orally, you can engage your sense of taste in relation to your sense of smell.
ALICIA: Now would this…? I was thinking… You had used this as something to help with lifting the veil of separation. If I do this, then when I drift using my subjective senses, I will have more clarity regarding the all of me?
ELIAS: Yes.
ALICIA: Okay. That’s what I was thinking.
I have a couple of questions regarding people’s essence names. And also, Tracy – I think her essence name is Rafaela – wanted to know if she’s connected to my Henry Adams focus?
ELIAS: Yes.
ALICIA: Is she my wife?
ELIAS: No. Family member.
ALICIA: I didn’t think so. I think one of my children is my wife.
ELIAS: A family member.
ALICIA: A family member, right. My husband, Richard: What is his essence name?
ELIAS: (Pause) Essence name: TEAGON (TEE-gone), T-E-A-G-O-N.
ALICIA: Teagon. That’s interesting. And my sense regarding his family is that he’s Sumafi belonging/Sumari aligned?
ELIAS: Correct.
ALICIA: Okay. And we had such a terrible last couple of years, but I sort of feel like we’re re-finding ourselves in a new and different way, and it’s making me think that I’ve had many, many shared focuses with him?
ELIAS: Yes.
ALICIA: And of my 931, which I assume is still 931?
ELIAS: Yes.
ALICIA: How many have we shared?
ELIAS: (Pause) 245.
ALICIA: So, would he be considered like a soulmate?
ELIAS: Yes.
ALICIA: And I feel like I have a very deep connection with my four children, too, that they’re my soulmates?
ELIAS: Yes, I would agree.
ALICIA: And my sister. (Laughs) I have a friend Moira, and my sense about her is that she’s Sumari aligned and Milumet belonging?
ELIAS: Correct.
ALICIA: Wow! I have to say that I… This seems to be a strength of mine, where I can sense people’s energies in terms of the families, would you say?
ELIAS: I would express an agreement.
ALICIA: Okay. And Moira’s essence name?
ELIAS: Essence name: Pritzi (PRIT-zee), P-R-I-T-Z-I.
ALICIA: Oh. Cool Okay. And the other thing regarding my boss is that – and I meant to say this to you a while ago – is that I sort of feel like she and I have a lot of counterpart action?
ELIAS: Yes.
ALICIA: And that… one of the things that I was wondering if maybe this was deliberate in terms of my creating this at this moment in time since I’m exploring lessening separation, but that we have a very deep connection that I feel even while I don’t like her.
ELIAS: Yes. I would agree.
ALICIA: And that’s sort of very purposeful at this time, because normally I would say if I don’t like somebody that they’re separate from me, but I find myself drawn to her regardless.
ELIAS: Yes.
ALICIA: And we have had probably many focuses that have not been so combative?
ELIAS: Yes.
ALICIA: But this one particularly is combative, to uncover and explore my beliefs and how I respond with my energy?
ELIAS: Yes. You are correct.
ALICIA: I could see her as offering a gift?
ELIAS: In a manner of speaking, yes.
ALICIA: [Inaudible] Okay. All right. Well, we’re out of time. I can’t believe how fast this has gone, but once again, I always love talking with you. And…oh! One other question, speaking of loving to talk with you, sometimes I talk to you in my head, or I’ll just kind of… I may have actually, this may be a repetition. I’m getting old. (Elias laughs) Repeating myself. But I sometimes feel like, if I’ve gotten in my car I’ll just say, “Good morning, Elias” or whatever. Do you feel it when I do that?
ELIAS: Yes. I am always present.
ALICIA: You’re always present?
ELIAS: Yes.
ALICIA: Well then, why sometimes, like for example I created the balloon as a signifier that I felt came from you, but I haven’t felt that since? Is that just my not being open to it? Or the opportunity hasn’t arisen and in that particular time a blue balloon happened to be in somebody’s hand and so it was easier to have a physical message?
ELIAS: Correct. That is the imagery that you translated in relation to my energy. It is not necessarily a matter of objects per se, but that you are aware of my presence and you will translate that into some type of physical expression.
ALICIA: Okay. Like I felt that when I was writing the novel, too. Were you…?
ELIAS: Yes.
ALICIA: Your essence or your energy was present when I was doing that?
ELIAS: Yes. (Chuckles)
ALICIA: You don’t want to give me the answer? (Laughs)
ELIAS: I did. I expressed to you yes.
ALICIA: Oh! I missed it. (Elias laughs) There must have been a bleep on the phone—that happens sometimes. Okay. So, my just feeling you is as valid as a physical object, in terms of a connection?
ELIAS: Yes. Quite so.
ALICIA: All right. Very good. Thank you very much.
ELIAS: You are very welcome, my friend. I shall be anticipating our next meeting. And as always, I offer tremendous encouragement to you, and I am greatly acknowledging of you.
In dear friendship and in great lovingness, au revoir.
ALICIA: Au revoir.
(Elias departs after 57 minutes)
©2007 Mary Ennis. All Rights Reserved.
[1] Session 2227, March 17, 2007
[2] Clarity Exercise from Session 122, September 22, 1996:
Within the beginning elements of this exercise, I shall be asking you to be holding your field of vision; not closing eyes; for you are tuning to this attention, this station, this channel. You are noticing and allowing clarity of this channel. Therefore, the purpose is not to be altering your state.
In this, I will ask you to sit comfortably. (Pause) Focus upon any given object within your room, but do not concentrate intensely upon this object. Allow for your vision to normally encompass the entirety of the room, with one main focal point. Do not strain, and do not force yourselves to be concentrating very hard upon any given object. In this, now tune your consciousness to your senses. Notice your vision. Allow your vision to be as clear as it may possibly be. Tune to your hearing. Notice all of the sounds that occur. Many sounds are occurring that you automatically tune out and pay little attention to. Notice your body; your physical feelings; your body temperature. Notice your sense of touch. The air touches your skin continuously. Your clothing touches your skin. These are all elements that are a part of the clarity of your focus, to which you pay little attention to. Notice smells. You pay little attention to your sense of smell throughout your individual, mundane day. Notice your sense of taste. You view that if you are not consuming something, you are not tasting anything. Your senses are highly tuned, and respond regardless. They incorporate continuous stimulation. You only choose to not be clear upon these senses.
Take a moment to concentrate, unstrained, upon the activity of all of these senses that you incorporate throughout every moment of your physical focus. (Here, there is a ninety second pause)
Now, I will be instructing each of you to be closing your eyes and allowing your attention to drift. Do not be focusing upon your outer senses, so to speak. Allow yourself to feel comfortable, and calm, and quiet. (Here, there is a thirty second pause) Enough drifting!
You will notice that with your eyes closed, you will drift. You have experienced, within your attempts at meditation at times, difficulty in holding your focus. You experience, much of your time within your dream state, an inability to hold your focus and manipulate within that focus. This exercise of tuning your directed attention, your consciousness which is tuned to this channel, will be very helpful to you in instructional areas of developing your ability to be manipulating within alternate channels. Altered states, as you term these, are all alternate channels. If you hold the ability to consciously manipulate within the consciousness that holds your attention, you will more easily learn to manipulate and understand within alternate channels of consciousness.
Copyright 2007 Mary Ennis, All Rights Reserved.