Friday, April 01, 2005 
Volume Seven
In This Issue:
Sethnet Moderators Welcome Donald R. Johnson
Miss Blake Interviews Cain
Liquid World by Judy f. Clarke
Seth Gullible Nitwits and Other Creatures by Serge
Grandbois
Inner City by Bill Herrman
Treasure Hunt by Donald R. Johnson
The Egg by James Hasselhofer
The Open Door by Mike Pedde
Hammerstein's Bull by Abel
Sethnet Moderators Welcome Donald R. Johnson
We're proud to welcome Don Johnson (aka Don Really) to the ranks of the Sethnet moderators. Don is the owner of the Nagew Yahoo Group as well as a prolific writer and poet. He will bring his creative energies to Sethnet.
MB: Greetings Cain, a while back on BBC radio 4, Melvyn
Bragg asked the question 'is the Artist a special type of human
being?' Bragg went on to that 'by the romantic period , Wordsworth
had claimed that poets were endowed with a greater knowledge
of human nature and a more comprehensive soul that are supposed
to be common in mankind'. Seth also speaks about the importance
of poets. What is your personal response to these comments,
why does poetry matter to you?
Cain: I've always remembered this scene from Wordsworth's
The Prelude, when he's watching skaters on a frozen lake enjoying
the happiness of the moment, and he's thinking, yes, but for
me it's something more - as the poet, he could not just lose
himself to the moment without holding on to a different sensation
of what it meant, what it felt. I don't think that is a greater
knowledge, but it is certainly a different form of intelligence,
a different way perhaps of transmitting and receiving experience.
It is a joy as much as a curse, like those who can see ghosts
when they wake: you can never close your eyes to the depth of
sensation, never truly let go of the responsibility to perceive
within the dream. Poetry is like a lake in which the world falls
in stones, constantly rippling, breaking through the surface
mirror. It is a shortwave radio at night when the shadow of
stations you couldn't hear during the day suddenly creep through
the static like vampires.
It's holding an electric powerline together to form a current.
And its about not having a front door to your soul, so the spirit
is constantly slipping out through everyone you meet, until
you are like the child who still believes that the world around
them is part of their own created self. In that sense, poets
are more prone to live out a certain aspect of human nature
in all of us, which the poet merely loves and depends upon more.
It is their way of breathing, their way of thinking. That is
why and how poetry has always mattered to me. I like the intensity;
the magic that a single word can create a new reality.
When I read Hamlet for the first time, I learnt all the words
that Shakespeare had used that I hadn't heard of before, and
I thought that would be enough to be able to write Hamlet myself.
Of course, I didn't get far. Poetry is not so much about vocabulary;
it's the force that sculpts the words into their form and image
which counts. You know its poetry when you can see right through
the words into the heart of a molten core that burns you like
a love you can never forget.
MB: How important is writing to you, why do you do it,
what would you be, if you could not write…indeed could you 'Be'?
Cain: Writing began for me as escaping, a dimension that
seemed richer than where I was. Now, it's a place where I articulate
my energy rather than just sitting in the sand pit making castles.
I was always a late developer at school, was the last to be
able to hold a pen. I still don't think I've even started writing
yet - everything so far has felt like a prelude. I'm crossing
the divide between playing and meaning, between enjoying doing
something to understanding that the passion behind that act
depends upon it for my life. I sometimes think writing is the
other part of my heart, and if I stopped, the blood would cease
too.
More interestingly, writing has become the place that is creating
me. Over the last year or so, I wrote a handwritten novel which,
as I type up now, I begin to realise was not just the construction
of a narrative but the creation of myself.
Maybe it's not that we all have a novel hidden inside us but
that, through the process of writing, we can create ourselves
freed from the normal constraints that often limit that process.
In that sense, writing has become the way I direct myself out
into the world, and when I read myself I catch up on who I really
am becoming.
MB: Artists of any hue construct models to work with, thus
we have a common one being, Artists and muses. Does this model
resonate for you? How would you relate it to the writings of
Seth regarding the relationship between Anima and Animus?
Cain: I think I have sometimes mistaken my muse. In the
end, the muse as a person becomes a cover, a mask for what they
symbolise - which is exactly where the anima and animus comes
in. I can only write with a muse, but I don't need a person
to be the muse, I just need to know that I am channeling my
energy through that particular way. I don't think of it the
same way as D H Lawrence, where you find your missing part in
another. As I have matured, I have found the muse within me.
The people who once I would have called my muse have been the
ones who have helped me find and construct that. Experiencing
male energy within a female and vice versa has allowed me to
connect the female energy within my male.
It is the meeting point of anima and animus, the needle drip
in the vein, from where my art and self comes. Writing is just
like making love, or healing the displacement of self.
MB: What role do you ascribe to intensity in the creative
process? I am thinking here of Anais Nin who I know you to be
familiar with. How would you reflect on your encounters with
her work and why is she such a potent writer to you? Are there
others who are important to you?
Cain: Anais Nin was a name I was always familiar with,
but only dared pick up and read at an airport on the way to
Crete a few years ago. It was one of those destiny moments.
I felt she was writing from a particular place passionate Piscean
eroticism - that I had never experienced before from an artist
but where I had always wanted to be. She was so disciplined
too - she even used her own printing press to create one of
her novels, each letter set by her own hand - and that is what
made the emotional intensity of her work such an art form.
Like Warhol, her life was her art, her art her life. The fact
that you can find Anais in both the porn and literature section
is something of a triumph. People just don't know where to put
her work and we still haven't travelled even half the way that
Anais did to explore the human heart, to speak of a sensual
world we are taught to feel guilty about. Anais helps remind
me that I am not alone, even when I can't put my real writing
in the Seth group because of certain moral norms.
The other writer that has always meant so much to me was Lou
Reed. The intensity of a concentrated lyric, mixed with a subject
matter that explores the boundary of what we are, never ceases
to intoxicate. Like Anais, Lou explored intensity through a
creative life process that required his persona to provide the
material distilled into the final mix of his songs.
It's not that Lou took drugs and had alternative sex to write,
but that creativity was a holistic process that could only exist
on a similar edge of things where life mutates, changes, finds
form.
The only art that interests me is that which is honest and courageous
enough to exist there, and has the discipline to report back.
Fassbinder, Rimbaud etc… the Greek myth of travel to the underworld
and back. They mirror into me.
The artist is the person who gets drunk at the party but is
still in control to wake up the next morning to write it down.
MB: Imagery and words. …Often comments have been made
in the group about the images your words evoke. How do you feel
about this? Do you see the images as you write. How does it
feel to write? Some speak of being over taken by the muse a
divine creative possession. Is this true for you, do you step
aside and she comes through? Or is it as it is for other artists,
that they are very much the eye at the centre of their creative
making. Or is it something else altogether?
Cain: When I write I put my public persona, the shell
I live through, to one side. He gets in the way. I don't live
my life at the moment as an artist. The writer crouches within.
Once he needed to be coaxed out with drink, drugs and caresses,
but I was lucky enough to be taught over the last three years
that there was another way to access him. I step out of myself,
just like you do when your head hits the pillow.
My artist self is the person who is set free through dreams.
And that is what happens: writing is just an active dreaming.
I used to think it was about stealing into a room and trying
to get out with the objects I could see inside. But that meant
I could only sustain writing for short periods, for the length
of time I could stay within the creative space of me to take
what was there.
Now, it's an act of loving. I just step out, and let it come
to me. I have no idea what is going to happen, at least not
the public me, but the writer inside is a lot smarter than that.
I wrote a whole novel with no planning, no plot or character
work, purely because it would be the public self who did that
and the writer didn't need that type of control.
So when I write, first off I see a set of images that come to
me like the seeds of a dream, and its just a process of getting
beyond those, pushing them aside because they are only surfaces,
so I can tunnel through to the rivers that flow underneath them.
Sometimes when you go to sleep you start with a set of colours
or images, but you know that is only the beginning and you need
to step beyond those to what lies further in. I used to be lazy
and just write the first things I saw; but now I try to travel
as deep as I can into the dream mix. It's true I feel things
in images rather than see them. It's not creative possession
by a divine muse though.
I am dreaming through writing. In the end, I am in control -
just enough to be able to get it all down. The sad thing for
me is that there is a dream happening within right now as I
write, with all its colours and words, but I don't live there
enough to use it. Every second I lose an opportunity, a flower
not bloomed, a passion not tasted.
MB: Have you ever dreamt a book and known it was real?
Do you dream of books you are yet to write physically?
Cain: I used to dream of books when I wasn't writing. I
still remember one - a book of poems, with a picture of sunflowers.
I can see the shape of the poems in my mind but I can't read
any of the words. That used to drive me crazy. I guess now my
writing is a form of dreaming, the two things have merged together.
I only wish I could write as I slept. I think my dreams are
working on the same themes, which are always ahead of my conscious
awareness. I dream states that are becoming within me, and of
ways of communicating with feelings and energies that I need.
You have to dream intensely as well as live. The dreams I have
feel an entirely different art form; maybe I'll be able to define
that when I'm wiser. I do need to be smarter about how I use
my dreamtime, and that's something I use Seth to remind me about.
MB: Since you began reading the Seth material do you
find your approach to creativity has changed in anyway, if so
how and what was it like before? It used to be lazy, careless,
and unthinking.
Cain: I really treated my creativity without love or respect.
It worked or didn't, but I never worked with it. I was lost
in the romance of inspiration, which was just an excuse not
to take responsibility. I was directed to Seth, and to my creativity,
by the same person and at the same time, so the two have always
been linked together ever since. I keep a copy of Seth near
me just to remind myself of who I am. Seth made me more aware
of creativity as an energy, a process, and a way of living:
A choice.
MB: What is 'Story' to you? Do you feel that the statement
'The death of Story' could ever be true? You are an author as
well so when Barthes wrote regarding 'The death of the Author'
did you in any way think he stumbled upon a metaphysical truth
in that as we create our own reality each reader must and does
construct their own story even as they read the authors words?
Cain: Story to me is a form through which energy is contained
into a particular shape that people interact with. When there
is no story we superimpose one - thus our obsession with biographies.
Humans first told stories to give meaning to the elements around
us, as well as to make them into being through the mythology
of narrative. We all have the power to 'storify' , it goes hand
in hand with our creative life force. We just use it in different
ways.
I can see the greater symbolism Death of Author might have,
but there is also a lesson there for Sethians: the idea of the
reader creating their own reality has been abused somewhat through
the neo-pragmatist approach wherein reality is just something
that those with the most authority can construct at will and
there is no ground to question them on as there is no reality
except that consensually agreed upon- which allows the infringement
of the most basic human rights.
There is a limit to 'over interpretation' as Eco called it,
which is based around the need for 'necessary truths' or if
you like boundaries in order to safeguard the responsibility
that goes with the powers of creation. We create from a set
of defined possibilities within a certain form. If you like,
we have chunks of rock at our disposal to sculpt from, but if
you don't respect the rocks, if you think you can create the
creation of the rocks, then you lose the responsibility that
comes with being 'reader'. The death of author reminded us that
the rocks are rocks and need the position of the reader to find
the statues within them, but you can go too far the other way
and lose sight of the influence of the story over interpretation.
Being 'author' is about playing with the rocks at a different
level. In the end, the death of the author is about 'the birth
of authors' and the complexity of the creative process. In terms
of metaphysics, I'm not sure Barthes stumbled upon that - he
always walked very carefully.
MB: Did you ever read anything in the Seth material that
jumped off the page and startled you and yet it was something
though new, that you knew you has always known?
Cain: I would say every word has been like that. Seth is
like a universal reminder. Something that has put all the sensations
of life into a form that you already connect to but have not
spoken to yourself. Maybe that is why it is a book of voices
speaking through people. I read Seth if I want to be more aware
about what I'm already doing, if I need to vocalise it out of
my living and look at it from a different perspective.
MB: Is there an interior world, a world of images that
only you as writer occupy? Is the interior, if it exists, populated
with others? Do characters wait to be given life by you…and
when you have written about them, what then? Do you feel their
life ends with the end of the story or do they go on…maybe in
similar fashion to the dream fragments that Seth speaks of?
Cain: I inhabit a certain section of the stream, which
is uniquely mine, but at the same time I'm fishing from the
same species pool of images as everyone else. I don't think
characters so much wait to be given life as start their life
in earlier forms or seeds that may take years to reach the point
of formation in my work.
Hopefully they are not so much waiting as creating themselves
with me, all flowing to the one point. I think if you take the
energy that makes up a character to its end point, its edge
of definition, then that will be the end- but it's not often
you have the ability to do that as an artist, and the energy
continues to haunt you until you express it in other characterisations
of the same essence.
Afterwards, someone else may come and pick up the vessel of
character and add their own energy to it, but at that point
it is no longer the source it was. At the end of my novel, the
central character dissolves into the river Arno - and if you
follow that image to its logical conclusion, it's not the end
of that character but the point at which they become all of
us. They are created and their life carries on in every reader.
In that sense, every work of true art should have a health warning:
touch and be contaminated with the energy, the passion. Art
demands a sexual response, something from the whole being, and
through that process everything keeps on mutating.
MB: In terms of being a creator of story, do your characters
contain something of you in them or do you see them as independent
entities? Though gender has no real meaning is the process anything
like what you would consider giving birth to be?
Cain: Oh absolutely - bits of now, bits of then, bits of
tomorrow. Character runs across the whole spectrum of every
life I may have and will live. They are still independent though,
but there is a bond. They also contain people I have touched
more deeply in my life.
Sometimes I think of them each as a separate dream, in which
I'm living out a part of energy pushed to its extremity. Like
all dreams, there are voices and characters who seem to come
from outside you, but what you are writing from is what they
have left within.
I keep a lot of kisses and scars in my heart. I don't think
it's a birth, more of a … possession, a discovery. There is
a space, and it is being possessed through these images, claimed
as the totality of form that is being created: A naming. We
look for ground to build houses on but don't see the gaps in
existence still waiting for colour.
MB: The Seth we speak about often is Jane's Seth and
yet each of us is our own Seth, have you ever thought along
those lines if so what is your Seth like?
Cain: The Madonna.
MB: This was posted in the group recently and its seems
both existential and yet infinitely practical so I ask it of
you: "What is the question to which your life is the answer?"
Cain: How to reconcile the masculine sun and feminine
moon within one expression of physical self, so that one can
find the sun within the moon and the moon within the sun of
others, and from that create a unity, without burning up into
the excess of sun or moon.
MB: Does it matter to you to have a person or group or
a person in your life who understand why creativity is important
to you? Some creative types seem to be hard-core loners; do
you feel poets are more prone to this than other types?
Cain: Yes, it matters as much as any group of people help
to stimulate and influence. I think all artists have to know
how to cope with the loneliness that creative awareness and
process can require. Poets no more so than others, although
the art of writing may sometimes be more prone to that. However,
due to the need to retain ones purity of vision, artists can
sometimes find it harder to befriend each other at certain levels.
They become like molecular elements that react through an explosion
of energy, and the influence of one over the other can sometimes
be both crushing and sapping, or the exchange itself takes over
as the creative focus.
I admire how Anais Nin and Henry Millar used each other. Maybe
I create characters to fill that void within me at the moment.
MB: What type of music most touches you or evokes the most
images within you?
Cain: I use music a lot both as a launch pad into creativity,
and also as a defence shield to keep distractions from getting
in the way. I often write with Chopin's romantic piano in my
ears. Sometimes it helps me get to the heart of an emotion I
need to live within, sometimes they just inspire and drive me
to get on, and other times they put me into a meditative focus
so I don't hear anything at all.
I love Tarkovsky's use of Bach in his films, St Mathew's Passion
etc, though I always come back to what is most poetic in the
end, and so something with words means more to me.
A piece of music is wonderful when it opens the door to spirit,
when it releases emotion, and I try to take the flow of that
energy and ride it with words to the images beneath.
It doesn't have to be just the music: the sound of a voice breaking,
of something that signifies an intensity, will bring tears to
my eyes.That is why I tend to use a lot of live gigs of Lou
Reed from the early and late 70s, when he was so passionate,
so over the edge, that its like the cry of an animal at night
which the soul must answer through art.
MB: Of the Seth books, which have you found most important
in your journey thus far and if you could ask Seth a question
or two what would they be?
Cain: The most important has been the first one I read
- The nature of personal reality - for like a first love it
was the beginning of things from which I continue to create
shape and meaning. The book had sat by my bed for a long time
unread, waiting for the person to give it life within me.
I would ask Seth if he had exhausted what he had needed to say
and the form in which it was said; and whether in a way if the
books have become a trap towards moving on as much as an important
part of our journey. Where does Seth end and I begin? Reading
Seth does not necessarily require one to open the books to feel
the effect of the words.
MB: Words are things. What to these words mean to you?
[Adore] [The erotic] [I] [Passion] [Reality] [Inertia] [Sex]
Cain: The words mean a relationship that is completed through
a meeting in an erotic space where adoration finds its active
fulfillment in the delivery of passion to the I, and reality
is formed by the inertia or movement to and through the sexual
act of creation that completes this cycle.
The missing words are death and life, which both follow. There
is also a relationship between the words, a charge, that brings
together source through the active states of there being. This
is life in concentrate, refined to its sincerity.
MB: Last but by no means least, do some cities evoke
a particular type of story, is there a feeling tone that is
part of the fabric of a city be it Florence, Paris or London
that you as a writer can tap into?
Cain: You can hook your hard drive into the energy field
of a city and download what you need. I went to Paris once to
write a particular set of stories, because I knew the images
I wanted would come from its emotional make up.
Like people, cities have a certain tone, and when you resonate
with the same sound landscape then it is like making love just
being there. Or you can use a city as a backdrop to a story
- my novel is set in Florence - because it offers a certain
body in which the story can be germinated and take life.
You choose a city in the same way as you choose your life. One
can not underestimate the importance of travel to expand one's
awareness of the body of the world.
Imagine never having felt your legs until you are 50. At least
dreams and writing give me a way of compensating for getting
to places I don't have the time to get to.
MB: Is there anything else you would like to share with
us about yourself?
Cain: My life has reached the end and beginning of a
phase. The existing one was signified by a preoccupation with
ideas and preparation of self; the new is a more physical and
direct expression of energy. Hopefully, my novel, Angel of Florence,
will be completed this year, although I do not feel that it
will be made particularly welcome, for its matter and form are
'other' in the texture of their expression to what our culture
commonly chooses to live with.
We all need to find different evocations as we grow. This is
only one. I read less, to dream more, to love forever.
MB: Thank you Cain, as always its been a delight and if
you ever find a place that sells lavender ice-cream, let me
know.
Liquid World
by Judy F. Clarke
"The poem (or writing, or whatever) has nothing to do with
waking up after too much partying. It is about a real moment
when it was made clear to me that we create our reality from
the inside out. Our physical environment literally "flows" out
of us." - Judy f. Clarke
I woke to see the walls waver
The corners of the ceiling fluid
Instead of straight.
The lines and angles where they meet
No longer following the rules.
I suddenly saw that the straight came from
Me, inside my mind,
And not from the carpenter's ruler at all.
I could make them dance and bend
At will, and make them straight again.
I'll never see the world the same
Now that I know the mental game.
Seth Gullible Nitwits and Other Creatures
by Serge Grandbois
I know that the more heady posts here are short lived, often
in favor of more 'playful' essentials, so I'll be brief. Mind
you, this is a topic that could be expanded upon, as it does
reach at the heart of why and what we read as material that
can, should, could and does enlighten us. Even why we collectively
need Seth’s and other similar teachers.
Now, at the risk of boring anyone with this issue, here is an
amazing little quote found in Early Sessions Book 4, from Seth
conversing with Dr, Instream, on the subject of gullible nitwits
and similarly feathered creatures:
The Early Sessions: Book 4 (session 169, p. 138)
Conversation with Dr. Instream continued:
Seth: "There is much here to be studied about personality.
From your viewpoint the information available to you can
be practically endless. There is much to be learned about
perceiving other realities. Trance states are only a beginning.
The self is made of action. Teaching the self to expand
is most important, and the ways are not difficult... this
is what makes the experiment interesting. This is not
beyond human abilities. The structure of the personality
makes this possible.
"The peoples of the East know more about this, but they
have closed their eyes to the human conditions of existence...
they live in poverty and filth, and there is no real reason
for this. Experiments in expansion can be carried on that
I will be glad to discuss with you... they can be for
the use of any intelligent personality."
Dr. Instream: "Some very interesting possibilities
here...."
Seth: "I deal with possibilities, and so do you."
Dr. Instream now asked Seth about the possibility of bringing
some other people in on the sessions.
Seth: "We must not deal with the overly gullible
or skeptical. The mean will work for us very well."
Dr. Instream: "Yes, I agree...."
Seth: "I have no objection, except that we must not
deal with the gullible or skeptical. The gullible can
do us more harm than the skeptical."
Dr. Instream agreed again; and Seth/Jane's voice, strong
to begin with, took on a note of mock horror.
Seth: "I quail before such a possibility. I can
to some extent deal with the skeptic. With the gullible
I cannot deal. We will indeed at all times try to be as
reasonable as possible. I do become impatient. This is
a characteristic of my own. I try not to let it direct
my relationships."
The Early Sessions: Book 4 (session 169, p. 147)
Seth: "There are many reasons why adequate proofs for
immortality have not been received in the past. These reasons
have to do, among other things, with the laboratory experiments
and atmosphere, which do now allow for spontaneity.
"They also have to do with the idiotic and gullible attitudes
of those who have been involved with many notorious séance cases.
For here we find self-deluded well-meaning nincompoops, ready
and willing to accept any fraud, and cry hallelujah!" (Much louder.)
Original
Message Here (#79399)
Inner City
by Bill Herrman
Seth spoke about the "Inner City" which is part of "Dierdelyle,
the dream world that is real." Some of his most useful goodies
are his suggestions to "plan what you would do there," and
that this is fun.
Seth:
You have an opportunity now to open new roads,
if you will - TO FORM YOUR OWN INNER CITY. You will
be the new inhabitants. It can be your own city. You will
have to make your own politics! They will be any kind
you desire".
..It will be used symbolically as a meeting place. You
will have your own inner home, then, that you form for
yourself.
You should go there as a founder, each of you. You can
begin forming that city now. And when you form such city,
you form it for yourself, and yet you also form it for
others. And, in greater terms, of course, you have already
formed it; and when you no longer need it, it will be
used by others, and it will be a kind of inner landmark
where others may use what you have created."
There are old tales telling you that 'the way' is prepared
- that there are many mansions in God's house, but who
made the mansions? Now I am beginning to hint in "Unknown'
Reality at a different kind of culture and activity. I
would like to see, in this space and time, a beginning,
made again, of that kind of activity. I would like to
see you, then -- and you can -- build up an entirely valid
culture, beginning with a city in another level of reality;
where, if you believe what I am telling you, you can deal
with mathematics - mathematics that you have not dreamed
of, and realities of which you are not as yet aware. You
can, therefore, build an inner level of freedom that gives
you access to far more information than you usually have.
You can colonize an entire inner level of reality. To
do so, you must give your best with dedication and joyful
creativity.
THIS WILL NOT BE AN IMAGINARY CITY! It will have a greater
reality than any physical city you know. . . there, you
will hopefully work on developing skills . . . you will
learn what you have forgotten, and yet when you do so
you will learn something new. . . Try, then, before you
sleep, to remind yourself of your own endless creativity.
Remind yourselves that what I say can definitely be accomplished.
Try, before you sleep, to remind yourself of the city,
and to plan what you would do there, for you will do it!"
Now, each of you in your own way have been working with
the nature of reality, and of creativity. There is much
I have not told you about your city, for you will have
to discover it for yourselves. And yet, there is, indeed,
this other reality in which your creativity blossoms;
and when you make your plans here, they do indeed come
to fruition. I am merely encouraging you to focus your
joint energies in that direction. And if you do, you will
have in whatever terms, a dimension in which you can meet.
. . You will be dealing with symbols, yet you will learn
that symbols are reality, for you are symbols of yourself
that live and speak, and you do not think of yourselves
as symbols. You do not understand that symbols live -
that there is no symbol that does not have it's own individual
life.
I speak to you theoretically of other realities. I challenge
you now to be as creative in another reality, as you are
in this one.
And if it seem to you - if it SEEMS to you - because of
your beliefs, that you are limited here, though you are
not limited here, then I challenge each of you, joyfully,
as in a game, to create a city, an environment and perhaps
a world in which no such limitations occur. And if you
had your choice, what kind of world would you create?
And so you have begun the building. For each of you, in
your own way, will contribute in your own way. There are
birds to be created, to fly through those skies - and
those birds are your thoughts, freed to their own fruition;
and again, in other words, what wrens and robins and cardinals
- fly invisibly out of your skull to materialize in your
city, and light upon the trees, that are also the fruition
of your desire?
Now, you take it for granted, most of you, the fact that
you can, indeed, travel out of the body. For centuries,
in your terms, there have been no pleasant, recognizable
roads for out-of-body travelers to follow. So I am suggesting
that you create such a road and such a destination. Now,
listen - you think there is nothing impossible, intrinsically,
about building a platform in [outer] space - a handy place
where supplies may be gathered. I am suggesting, then,
a platform in inner reality; a safe place for travelers,
and you can build it. It is as valid, and far more valid,
than an orbiting city in the sky in physical terms, and
it challenges your creative abilities far more.
You need a good challenge - it is fun! Not because you
SHOULD do it, but because you DESIRE it and because it
is fun, and because there is no other such creative challenge
that you can throw down to yourselves - and no one else
has ever thought of a better one: throw down to yourselves
from future selves that you shall indeed encounter, and
you know you can do this, and you know that you have done
it; and on the face of the Earth, as you know it, there
is no greater challenge that you can give yourselves.
. .
My dream,
last Saturday, was of inspecting tracks upon which a new technological
wonder would be rolled out for use. It was in a clearing near
the dream city. I didn't remember the rest of the dream, so
I didn't think there was enough to report.
Love, Light and Laughter, Bill Herrman
Original
Message Here (#16435)
Treasure Hunt
by Donald R. Johnson
The gray two dimensional man laughs and collects five dollars
"Haw, haw, haw, I knew they was gonna win" he spews
The sounds in the bar agree with his world view
But not with mine; I am a cat at a dog convention
It was just an impulse that brought me here tonight
To remind me of how the basic segment lives
Sometimes I forget that there are such people
I don't dislike them but they tend to not like me
I've learned not to say that I don't like football or boxing
Because of the inevitable comments and questions
How do you tell the barbarian king
That you really are not fond of dogfights?
Then there's his cousin, Robert the Homesteader
On his knees in his front yard, with a ruler
Measuring the grass, is it time to get the riding mower out?
Lawn is looking shaggy, neighbor cut his yesterday
The normal segment, the average man and his house
He parks a sensible car and an SUV in the garage
He works at a good job; only twenty more years til he retires
And at night he enters his castle and watches TV until bed
It's good to be a respected member of society today
To be dependable, he does today what he did yesterday
And on and on until he has a heart attack shoveling snow
Whoever dies owning the most stuff, wins the game
You'd think that Robert's intellectual brother would know
What makes the world tick; why did we come here?
A scientist, he spends his time filling out forms
Scrambling for status among peers, trying to gain respect
Occasionally he has an original thought; it's still possible
He examines it and decides it's not practical, too weird
Where did that come from? It adds to his self-doubt
No wonder his colleagues are more competent, he thinks
He's forgotten that young boy that he was, long ago
Who stared at the stars and wanted to fly to them
Now he knows that they are just balls of gas
Too far away to be useful anyway, too far to think of
Sometimes when I'm asleep, I remember why I'm here
It all makes perfect sense to the sleeper, of course
I remember the thrill of the trip on the way here
And the high spirit of optimism about the excursion
We lived in bodies of pure energy, glowing in shades
Nothing physical there, no gravity to pull us down
Everything was a game to be played, but not seriously
Because that would take away all the fun of playing
We knew about Earth and other places like that too
We could float down and look at the land and the people
But our hands just passed right through matter
We couldn't participate and nobody there could see us
But there was a way to go there; it wasn't easy
We had to become human and take on a human body
Some of us thought this would be a great experience
Like a masquerade and a fun-park rolled into one
We thought ourselves to the vortex that led to Earth
Friends, we all said "We'll find each other and have great fun!"
"How hard can it be? This will be such a blast!"
We entered the vortex, laughing and trying to be first
We flew down the black hole; a trip to remember
It couldn't hurt us because we weren't made of matter
We made timeless negotiations with other parts of ourselves
And human bodies were waiting for us, made to order
But it didn't work out like we had planned, not at all
We hadn't researched the project; there were rules
We came alive in the bodies of infants who couldn't talk
Some couldn't handle the loneliness and they left their bodies
As we grew, time had meaning; what an bizarre idea!
Everything was slow and heavy and so so drab
A few of us had trouble with time and couldn't relate to others
They were put away in special places and they died young
We hardly ever did get together; it wasn't often possible
I saw a girl that I knew once in a shopping center
She recognized me and smiled and started to walk over
But her mother grabbed her hand and led her away forever
One friend had a problem with feeding his body
He hated the heavy food and the whole idea of eating
His body reflected this attitude and tried to stop working
He went to a hospital and I never saw him again
As I got older, I forgot all about the reason I came here
I went to school, went to work and got married twice
I never really fit in with those who effortlessly live here
And at times I feel a reminder that things were different for me
Once I met a woman who knew me but couldn't remember
I knew her too, but didn't know why there was an attraction
We were very comfortable with each other for some reason
But when reality called, we went our separate ways
Someday this treasure hunt will be over and I'll leave
I'll return to my home and find my friends who left me here
Then I'll have a few things to say to them about our dumb ideas
And I'll float off on a vacation, to create a galaxy or two
The Egg
by James Hasselhofer
Cracking open,
Too light,
Unyoked by attachment,
Yielding time and space
To my scrambling dreams.
Freed from objective myth
Unbearably high,
I'm over easy love
And hard boiled Hate.
Beating from dark night,
Gliding down,
Far from poaching fear.
Fallen from my sacred wall
Om - I'll let holy words pray.
Like a breaking day splitting earth from sky.
The Open Door
by Mike Pedde
One summer afternoon I laid myself down and went to sleep - a needed
break from this dream of Life. And in my sleep I awoke and saw
myself standing before an open doorway. Above it was marked the
word Tomorrow. To my right I saw another door, this one closed. It
was labeled Yesterday. When I looked down I saw I was on a path
marked Present; each stone was carved with a Now that glimmered and
shone, then faded as I passed.
Here in front of me was Choice, but my dream self thought there was
no choice at all. The open doorway beckoned, yearning to lead me
forward into the life I chose. Still, in an instant there was my
old friend Doubt. He called his companions Hesitation and Fear, and
together they turned my focus toward the other door. For within all
its dark entrancement there was a certain attraction.
Comfort lived here - the mate of Fear.
"The known is much safer." they said. "Why fill your head with dreams when you have three such as us to guide you? Have we ever led you astray?"
Nodding in agreement I reached out my left hand to the right but it would not move. A new light filled my senses and with quiet passion my eyes were drawn down to the ring of silver, the turtle who now lived there. The fire in the stone was gleaming, and in my dream eyes I saw her stand before me and slip the ring onto my finger.
"With this ring I thee wed", and we stood, face to face, ring to ring, together. The voices of my old friends were muted. All I could see was her, and my eyes were filled with tears laughing with Joy. Everything had changed. With renewed confidence, fresh determination I stepped through the open doorway.
As I passed I noticed the keys were etched with Potential, Freedom, Power and Love. All of them fit where there was no lock. Within this room lived Challenge and Growth. Comfort lived here also, but here her mate was Excitement.
As I looked around I saw there were no walls, no floor, no ceiling. No limits to block the way. I stepped back into the Present and saw I was not trapped in this Future, for Future is created every second. It held out its hand to me also. With a last look back I saw the other door begin to crumble, falling into natural decay. As it should be, and I took my next step . . .
onto the path of Now.
Hammerstein's Bull
By Abel
Hammerstein's Bull
Was never too full
To chase us through the field
He'd thunder to chase
We'd squeal and race..
A rickety fence our shield...
Candy sticks and pickle licks"
On Koshers giant and chilled...
Sidewalk heat and old brick streets
Kept us "toe to heel"
The promised land, the soda stand
The stool we rode as steeds...
Chocolate cows would fill the mows
till "the Roxy's" call, we'd heed...
Chicken legs and Ice tea dregs
And Grandpa's old worn tweeds...
Grandma's smile and biscuits pile
Finished off our needs...
Then fireflies flight on "June bug" nights
And sonatas from the reed...
As frogs conspired and crickets sired
The dreams that we would seed...
The Bull is gone and concretes spawn
Cover brick to mall
Fireflies flight now Neon Light
As Summer now is Fall
'Yet deep inside where soul abides
In memories Sacred Hall...
We live again, the Summer Span
We knew when wee and small...
For love, so grown, in gentle home
Sustains us through it all....
Announcements
Kris Workshop: Heal the Heart - Heal the Soul
Saturday & Sunday April 16 - 17, 2005, 10 AM-4 PM. - in Toronto, Ontario, Canada.
Cost: $150.00 US.
The Next Level in your Spiritual Healing Journey
If you attend any workshop for Inner Awareness and Spiritual Development this year, this is it!
Are you ready to change your life?
Ready to bring Balance, Harmony and Joy back in your life??
This is an international event, with participants attending from as far away as Oregon, Los
Angeles, and more.
"How much pain, fear, anguish, and hardship do you believe the human heart contains and
can hold? How much joy, harmony, bliss, love do you believe the same human heart can
carry?" ~ Kris
For info and registration:
Call: 647-439-5076
Email: webmaster@krischronicles.com
Web: http://www.krischronicles.com/workshops.html
Location:
Ramada Hotel and Suites Downtown
300 Jarvis (at Carlton) - Toronto - Frontenac Room (top floor)
Call: 1-800-567-2233
Web: http://www.ramadahotelandsuites.com
We'd love to see as many of you there as possible.
Serge Grandbois & Mark Bukator
Chapter 13: A serialized story of the not too distant future
by John J. McNally
In the year 2015, Samuel Quinn awakens from a ten year coma to find the world is a very changed place, and not for the better! The United States has continued to devolve into a fascist oligarchy, only giving lip service to the values that the country was founded on.
Sam has changed as well, he learns that the ten years he spent in a coma were far more than just a state of unconsciousness. He has to discover who he really is in this new world, and the role that he has chosen to play.
Sam's adventures will be presented in regular installments on the Mind Altering Fiction website.
Seth Applied
New Haven, CT
October 27-30, 2005
The Fine Art of Forming and Transforming Individual and Mass
Reality, A Fresh Creative Drama?
Your thoughts now seed worlds. It is only because you do
not know that, that what I say sounds strange. You are here
because your thoughts before your births seeded this world into
which you would grow. You did not come here strangers. There
is still, you see, much to learn. ESP Class 29 Sept 1979
As Seth readers we are aware that our beliefs, thoughts and
expectations create our individual and mass reality seed our
world/planet. We know this yet many of us wonder why we continue
to be faced with events that are not pleasing to us, events
that appear to lack value fulfillment for so many, and we wonder
why this is so. Does this happen because we allow our focus
and attention, our fine sense of discrimination to be drawn
away from our inbuilt propensity to form ?dazzling mental and
psychological creations i.e. our civilization its arts and sciences.
During our 'Seth Applied' weekend we aim to re-establish a 'feel'
for those in-born leanings through stimulating discussion centered
on the significance of Dreams, Framework 2, (inner reality),
use of the Imagination, Focus and Expectation. We will also
visit a display of the Jane Roberts papers housed in Sterling
Memorial Library at Yale. And best of all we will take time
to playfully and rambunctiously ?daydream? (envision) a society
more in line with an evolving consciousness intent on value
fulfillment for all. And better still during our weekend we
will apply Seth?'s suggestion to 'act as if' all this has taken
place, as we concentrate on what we want. So join us bringing
not only your ideas of what areas of a society/civilization
you feel disposed towards transforming, but most importantly
your good intent, your sense humor, and ready to share your
personal experiences and successes through use of the Seth material.
The world is changed in imagination. It is changed in dreams.
It is changed in inner creativity and through your dreams, and
then it is created physically.
LOCATION:
MARRIOTT COURTYARD
30 Whalley Avenue
New Haven, CT 06511
Room Rate: $115.00 per night (mention Seth event).
Phone: 1-203-777-6221
Fax: 1-203-772-1089
Registration Fee: $270 Early Bird (before September 1st).
After September 1: $300 Leisurely Bird
Registration Fee includes Thursday night pizza and dinner on
Saturday.
Contact:
Mary Dillman
437 Orange Street, Fl 3
New Haven CT 06511-6202
Email: marydillman@earthlink.net
Links
The Classic Seth Portrait by Rob Butts This is a low resolution scan for those interested.
Monthly Reminders
Announcing New Seth Books! Volumes 3 and 4 of The Personal
Sessions are now available from Rick Stack and New Awareness
Network! Check: http://www.sethcenter.com
DAS
Handbooks - A series that explores dreaming, art,
and science. Compiled by Miss Blake.
UFOs
and Seth’s "Observations" - A two-part series that
examines the UFO phenomenon. Compiled and comments Mark M. Giese.
A
Brief, Probable History of Sethnet - what/who gave
birth to this group and why? Compiled by Paul M. Helfrich.
Who
is the "You" in You Create Your Own Reality? -
a three-part essay that explores the nature of the Self who creates
all its reality. By Paul M. Helfrich.
Greg Polson's Early Sessions Index, Vol. 9
is now available. (This completes the set of all nine books!)
Alphabetical
Order Page
Order
Check out the Mindscapes
Music CD: "A picture is worth a thousand words,
but a song is worth a thousand pictures." Listen online to the
Mindscapes CD, 22 tracks of new music from Paul Helfrich. Also
available for purchase.
Cool Conscious Creation Resources on the Web
2005
Conscious Creation Calendar of Events
Sethnet
Basics - get the most out of Sethnet
Seth
Library - lots of free articles and material
CCSearch
engine - tons of great resources, photos, articles,
exercises, quotes, etc.
Random
Seth quotes
Conscious
Creation - explore the concepts introduced by Seth/Jane
Roberts, and other sources. Hosted by John McNally and Kristen
Fox.
The
Elias forum - website by Paul & Joanne Helfrich
contains an expansion of many of the conscious creation concepts
introduced by Seth/Jane Roberts, channeled by Mary Ennis.
What if the Seth material was a foundation to be expanded later
by other channeled sources? Can any perennial source ever be
considered complete AND infallible?
Seth readers will want to check out:
Introduction
& Overview
A
Seth, Elias Comparative Overview (Updated!)
Digest:
Seth, Jane Roberts
The
Kris Chronicles - an expansion of many of the conscious
creation concepts introduced by Seth/Jane Roberts, channeled
by Serge Grandbois.
NewWorldView
- provides a forum to explore the practical applications of
integral conscious creation, dream-art science, and more.
Parabolic
Mirror - explore the interests and insights of author
John McNally.
Psychic
Weather - explore the interests and insights of author
John McNally.
Useful Email Addresses
Post message: sethnet@yahoogroups.com
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