Saturday, June 15, 2002 (Private)
Participants: Mary (Michael), Frank (Tyne), Edward (Colleen) and
Charliese (Tina)
Elias arrives at 11:52 AM. (Arrival time is 27 seconds.)

ELIAS: Good morning!

ALL: Hello!

ELIAS: Welcome. And how shall we proceed?

FRANK: Well, first I have a friend here, my friend Charliese, and I'd like to find out what her essence name is and family and alignment.

ELIAS: Essence name, Tina, T-I-N-A (TEE nah). Essence family, Sumari; alignment in this focus, Zuli; orientation, soft.

FRANK: Well, I was just wondering with Tina and Colleen here, what connection I might have had with them in the past. They're very important in my life now, and I just wonder how I shared other focuses with them and when.

ELIAS: And you recognize, Tyne, that you do incorporate the ability to be accessing this information?

FRANK: Do I recognize it? (Elias chuckles)

EDWARD: I told you he'd say that!

FRANK: No. (They all laugh)

ELIAS: Perhaps you shall incorporate practice in dream state or in allowing yourself to pay attention to your impressions, and practice in the impression manifestations. I may acknowledge to you, yes, you do incorporate many focuses with each of these individuals, some together.

EDWARD: All three of us in other focuses?

ELIAS: Yes.

EDWARD: So, she had a great impression this morning of herself at one time as a pirate or something in that realm, and at that point I got the impression that that would be a great time. I know these two share artistic focuses together; I'm positive of that.

ELIAS: Correct.

EDWARD: When she said the thing about the pirate, I could easily have seen these two together in that type of situation.

ELIAS: Yes, you are correct, 16th century.

EDWARD: And in that focus they're both male, correct?

ELIAS: Correct.

EDWARD: One of my questions is, I've been having this obsession, like I'm sort of realizing that all my interest in music, which is very limited now with modern music, a lot of it is in the Glam thing, the Glam period with stars like David Bowie and Steve Harley and Peter Murphy and all these people that were really ... and they're all British. Everybody I have a great respect for, David Sylvian, they're all British. There's two parts to that, one I believe that there's this artist in England right now called Steve Harley who is one of my current focuses, one of my eight focuses. I mean, I don't know where it came from, but I became convinced of it and I wonder if I've got the right impression.

But the other part of the question is I don't understand... It's the same for Albert, it's the same for Tyne and I think from what I'm experiencing from Tina she shares a lot of it, too. It's all about the British artists. It's all about this British scene. So is there some sort of thing like the Red Revolution thing and the Nazi thing, you know what I'm saying?

ELIAS: Yes, and this presents a familiarity in tone, and therefore you manifest that in this focus in a draw to that particular type of expression, for it is familiar in energy to you for you have shared focuses in that physical location together. As I have stated previously, you do manifest in groups repeatedly. Therefore, you also in different focuses share similarities in draw of familiar expressions, for you are experiencing those in other focuses now.

EDWARD: So what about the Steve Harley thing?

ELIAS: No. I may express to you, you do incorporate a temporary observing essence role, not throughout the entirety of the focus but temporary, yes, and this is what generates your impression of that focus.

Many times, Colleen, individuals may experience a draw to other focuses and identify themselves with those other focuses more strongly as an observing essence than they may at times being the directing essence, for your attention is very concentrated upon certain expressions and experiences of that individual.

EDWARD: I think that the British thing is launched off of all of our involvement with Oscar Wilde, isn't it?

ELIAS: Partially, one aspect, yes.

EDWARD: Tina is under the impression, I mean her strongest is Jack Kerouac. Was that a focus of hers or was she observing it? Because that's her strongest identification when she identifies, or is it just...?

ELIAS: Directing. Another focus - yes, you are correct.

EDWARD: So she was the directing essence?

ELIAS: Yes.

FRANK: Now why can't I have that? (All laugh)

EDWARD: 'Cause you're not hip enough!

FRANK: See there you go, sort of like arguing. Why do we have such a volatile relationship, Colleen and I, it seems like?

ELIAS: (Chuckles) I may express to you, one aspect that is tremendously influencing is your orientation. As I have expressed previously, individuals that incorporate the orientation of soft and choose to be engaging a relationship in intimacy with each other, you shall either create tremendous harmony or tremendous conflict. For this particular orientation, although you speak the same language, you also almost require paying attention to yourselves to generate harmony.

As I have expressed in explanation in analogy previously, soft individuals play ball merely with themselves. Therefore, if you are bouncing the ball to each other, what you shall observe in how you interact is that each of you shall receive the ball and hold it and not return it, and express to each other, "I shall play with my ball and you shall play with your ball. And we may engage each other and observe each other playing with our individual balls, but not exchange." Yours is yours and yours is yours. (Chuckles)

EDWARD: That explains why Tina is soft, because I would have thought common for certain reasons. When you said that about the individual ... because that's a great expression from you. Like you said the solitude, the individuality, the being amongst yourselves - you like interacting but you HAVE to be able to ... and that's where, I didn't realize that aspect was a soft part.

ELIAS: There are many misconceptions concerning this particular orientation. As I expressed in the explanation that individuals incorporating the orientation of soft require interaction continuously for this is an aspect of their natural expression and flow of energy, this has been quite distorted and misunderstood.

For one orientation that shall generate what you term to be isolation is this one of soft, for you are aware continuously of the objective and subjective activity. You may not necessarily interpret in thought the subjective movement, but there is a continuous awareness of it. Therefore, you are aware of more information many times. Regardless of whether you interpret or translate that information and incorporate an understanding of that information, there is a constant expression of both awarenesses, which generates confusion at times. Therefore the individual retreats to allow themselves an opportunity to focus their attention upon one or the other of these awarenesses and quiet one or the other.

In this, there are quite specific actions and expressions of energy that individuals incorporating this soft orientation generally express quite similarly.

Now; as I have expressed, individuals that are soft interact, in your terms, well with individuals that may be intermediate or common. You do not incorporate a tremendous difficulty in translating the differences of languages, so to speak. In relation to each other in some relationships, some types of relationships such as friendships, you may interact quite easily and generate little conflict, for there are allowances that you generate in relation to your beliefs in association with friendships.

In intimate relationships, be they romantic or family, there may be much more of a challenge in your interactions, for you project your attention out to the other individual and concern yourselves with the other individual rather than paying attention to yourselves. At other times you are paying attention to yourselves and you incorporate the expectation that the other individual should be doing the same. (Laughs)

CHARLIESE: That's so totally right! Unbelievable.

EDWARD: You're blushing!

ELIAS: This is the one orientation that generates more challenge than the other two in intimate relationships, for although it is significant and important for all individuals to be focusing their attention upon self and not projecting their attention to expectations of the other individuals in all orientations, this one expresses this much more objectively and obviously than the other two.

There are individuals that hold the orientation of common that may move through the entirety of their focus and not be concentrating their attention upon themselves in an intimate relationship and generate what you term to be a lasting relationship for the reason of the nature of their orientation and their natural flow of energy in projecting outwardly continuously. There are individuals that may generate quite similar expressions as intermediate relationships. Generally speaking, soft individuals shall not generate lengthy relationships without paying attention to themselves.

This is the reason that individuals that are soft and incorporate an intimate relationship with each other generally express in common with each other that they shall describe their relationship as quite extreme. Either they are experiencing tremendous affection and ease in flow, or they are experiencing tremendous conflict and drama - one extreme or the other, and within your perceptions it appears to you that you cannot generate a middle ground.

EDWARD: Well, I've gotten to a point in my relationships that I can, but at work I have a hard time with it. I get interacting with colleagues and you're trying to get something done. To me, in a relationship, you can take your time and you can just let certain things go.

ELIAS: Ah!

EDWARD: But at work...

ELIAS: As you do so well! (All laugh) Is this not what we discussed at our last meeting, turning your attention to you?

EDWARD: Yeah. I can do that sometimes in the relationship aspect of stuff and try to understand. It's hard for me sometimes to express to Tyne that because he uses the word "wrong," so I'm wrong or I feel this way. No, it's like those feelings are legitimate for you but they don't have to have any meaning for me.

FRANK: Well, it's a lack of understanding almost, isn't it?

EDWARD: No, because they're yours, so that... Right? I mean they belong...

ELIAS: This is an example of bouncing the ball, which is quite typical of individuals that incorporate this orientation. He is not bouncing the ball back to you. He is bouncing his own ball.

EDWARD: Is that not part of focusing the attention on yourself...

ELIAS: Yes.

EDWARD: ...what do I want, what do I...?

ELIAS: Yes. What generates conflict is the expression in the moment of offering your view to Tyne or viewing his expression and offering him an identification of what HE is choosing or what HE is doing. It is unnecessary. He is aware of what he is doing and what he is choosing.

EDWARD: But I'm not allowed to be quiet, either. That's the worst thing that can happen, not to say anything. (Laughs)

ELIAS: I am not expressing that you incorporate quietness or lack of communication but that the communication be in relation to self. As an example, you may be interactive and you may express that you are paying attention to yourself and that you are not incorporating responsibility for Tyne's expression. You need not further that expression in saying to him, "And this is what YOU are expressing. This is YOUR choice." He is aware of what he is expressing and of his choices. You need not inform him.

FRANK: That's a tricky tightrope if I've ever heard one! (Slight pause)

EDWARD: Go ahead.

CHARLIESE: Frank, it's your session. Speak up!

FRANK: You know, I have to do it all myself. I have to figure it all out myself. It's my own logical impressions.

EDWARD: Well, what are some of your impressions?

FRANK: I don't have anything specific. I feel like musically I must have done something. I'm so attracted to music. It's like everything to me, and it hasn't manifested itself in the way I wanted at this point. Did it ever? I feel it must have at some point.

ELIAS: Yes, but it matters not. What holds significance is what you are creating and generating now, and what you want and what you are not allowing yourself. And what generates that?

FRANK: You mean not allowing it? Obviously it's fear, I guess.

ELIAS: What do you not allow in your choices? What do you want?

FRANK: I want to make a living. I want to make a living off of my music, have people recognize it, hear it.

ELIAS: And what do you express within yourself that you cannot choose? (Pause) "Not good enough yet."

FRANK: Exactly.

ELIAS: Therefore, what are you DOING?

FRANK: I guess I'm doing nothing.

ELIAS: No, you ARE doing.

EDWARD: We're always doing.

ELIAS: What are you doing? Listen to your expression: "I am not good enough yet." What are you doing? (Pause) You are discounting of yourself and you are projecting your attention futurely. You are not paying attention to the now.

FRANK: Absolutely.

ELIAS: How may you generate what you want if you are not paying attention to the now and you are not allowing yourself permission to create that now? You shall wait and wait and wait and wait, for what you create in the now is what creates the future. The future is an illusion. There is no future.

What is, is now. If your concentration moves to waiting, you shall continue to generate waiting. Each day that you continue to express to yourself that you are not good enough YET, you continue to reinforce this discounting of yourself and you do not generate what you want. This is the significance of paying attention to you, familiarizing yourself with you, knowing what beliefs are influencing of your perception - which creates your actual reality - and paying attention to the now, being aware of what you are generating, expressing and creating NOW in each moment.

I am aware that this appears to all of you to be insignificant. "What am I generating now, in this moment? It matters not. I am doing nothing." Incorrect, you ARE choosing.

EDWARD: I discovered something that I'd guess to be ... because I've been trying to get another job, because I hate my job and all that, and it's not going anywhere. Then when I saw the ad for this music buyer position at the Wiz - I don't know if I'll get that or not - but I realized at that moment WHY I wasn't getting another job. Because what that job would give me would be almost like a Monday through Friday, 9 to 5, holidays off, something I've never had in retail all my life. I'm going, THAT'S my stumbling block. I feel like if I'm going to have to create another job doing the same thing, why bother. You know, the devil I know is as good as the devil I don't. But when I saw that I went, "This is it; this is what I'm trying to find." Maybe this is the opportunity I'll get or not, but...

FRANK: You want that.

EDWARD: I would like something like that. I realized that's the point, that's why I wasn't finding another job. I was just going to trade Walmart for Bed, Bath and Beyond, and what difference did it make?

CHARLIESE: But there are differences, actually.

EDWARD: The devil you know in the retail...? It depends where you are in the level. But I would have to enter into the same basic position to start in retail. Like I could go to Macy's and be a manager and still work the nights and still have to deal with every holiday I work.

CHARLIESE: You already have the time in Bed, Bath and Beyond. Why go beyond that unless you're going to do something radically different?

EDWARD: Right, yeah. So for the first time I think I realized what was blocking me.

FRANK: It's like what you're telling him right now.

EDWARD: I was focusing on the future, but then I couldn't realize what I wanted.

ELIAS: In the now.

EDWARD: In the now. That's what I want!

ELIAS: Let me express to you also, this is all objective imagery that you are speaking of, which objective imagery is abstract as you are aware. You may choose myriads of expressions of objective imagery in relation to one expression within you subjectively. Therefore it matters not.

The significance of paying attention in the moment to what you want and allowing yourself the freedom to generate that, to choose and to express yourselves freely without restriction, is that this offers you a familiarity with that action, which is quite unfamiliar.

In this day, I shall express to you that you each allow yourself to practice this exercise and allow yourselves to view the information that you offer to yourselves in this exercise in each moment, regardless of what you are interactive with. Presently you are interactive with myself. Subsequent to your interaction with myself, you shall be interactive with your friends. Interaction between individuals distracts, for you are familiar with projecting your attention outside of yourself in interactions with other individuals.

Now; in each moment regardless of how insignificant it appears to you, periodically throughout your day - this day, for you shall not generate this action continuously as it is much too unfamiliar yet - but allow yourselves the opportunity to pay attention in the moment and question yourselves, "What do I want in this moment?" - not what you may acquire, not what you want in relation to other individuals or what you want the other individuals to express. What do you want to express in the moment?

For in actuality, as I have stated, objective imagery is quite abstract. What you each, what you all want in the basic expression is to offer yourselves freedom to express yourselves without limitation in appreciation. And this manifests in objective imagery, as your example with the employment. In paying attention to you and what you want to express in each moment in freedom and appreciation of yourself without limitation, you shall manifest what you want easily and almost magically, for you shall generate that for you are projecting that energy.

Energy is quite real. And the manner in which you create physical imagery is that you offer information through energy to your perception, which is the projection mechanism, and that translates that energy into actual physical matter. The more you are paying attention to yourself and the less limitation you place upon yourself in interaction with time and perception, in your terms the faster or the slower you manifest.

EDWARD: I don't know how to hold that...

ELIAS: Let me offer an example to you that you shall understand as soft individuals.

EDWARD: (Laughs) You ARE a bitch, Elias! (Elias laughs) That's what happens when we share Oscar Wilde! This is what goes on!

ELIAS: Each of you may incorporate this example in your own individual unique manner, but you shall all objectively understand. Hypothetically, allow yourselves to imagine that you are interactive with another individual. It may be an individual known to you or it may be a new individual. Let us express that it is a new individual you are objectively encountering, and this individual is not objectively known to you. As you engage this individual, you may be experiencing a twinge of familiarity, or perhaps you may be noticing objectively that you incorporate mild attraction to this individual. It may be expressed in whatever manner you choose.

Now; in the moment, in paying attention to yourself and recognizing what you want and offering yourself the freedom without limitation, what shall you immediately express to this individual? What you want, in acceptance of yourself and appreciation of yourself and trust, is to be outwardly projecting that energy to the other individual. In recognizing that you incorporate beliefs concerning appropriate behaviors and interactions with other individuals, BUT allowing yourself the freedom of choice - not attempting to change beliefs but merely acknowledging them - your immediate influence may be to withhold, in relation to appropriate behavior: "I am encountering this individual in a first encounter. I know nothing concerning this individual objectively, and therefore I dare not express to this individual 'I am appreciating of you.' I am recognizing that I am experiencing this or that, and I am choosing to be sharing this in this moment."

I am understanding that my expression to you is much more formal than yours shall be with each other, but you are understanding what I am expressing to you. But in recognizing that there is an influence of beliefs concerning appropriate behavior, you may acknowledge that and CHOOSE, regardless, and move into the expression of allowing yourself to express what you want.

Now; in relation to your employment, how very often do you NOT allow yourselves to express what you want to express for it is not compliant with the rules or what you view to be the establishment of your employment? It is no different than our example of interaction in encounter with a new individual. This is what I am expressing to you: the objective imagery matters not. The action is what is significant, the paying attention to yourself, for this is what you express every day: limitation, non-allowance, compliance with rules.

EDWARD: I think we're better at that than she is. I think she's a little bit freer.

CHARLIESE: You think so?

EDWARD: Oh yeah. If you think about last night, I mean last night you were very accepting.

CHARLIESE: Yeah, but I was drunk also. (Elias laughs loudly) Well, you know, I mean because ordinarily if I'm not drinking I'm kind of more reserved. I would be more accepting, but I would have a tendency to kind of keep more to myself; whereas when I drink, it opens up that portal for me and it allows me to live in the moment and express myself without any limitations.

ELIAS: Which is what we discussed in your previous...

FRANK: Should we always be drinking then?

CHARLIESE: No, but it opens that door. It almost allows you to be something that you're ordinarily not. So you use it as a tool, almost.

EDWARD: But it's who you are; it's the Elias material. I can sit there, right, I'm hearing her, and I'm thinking about the whole idea about expressing yourself freely to people you just meet that you might feel something about. And I'm not talking sexual; I'm talking just like you said, familiarity. It's like when I met you, after I got over you - maybe not you, but Michael. After I got over the strange hippie thing that got out of the car, but then I met Michael after the session, there was an immediate something there, and I did not really allow my expression at that point. That's a very radical theory, and you're allowing yourself that when you drink. I'm allowing myself more to accept the Elias material, which is some of Buddha's material, which is something else you're hearing. It's very thready. And you're going, "I'm allowing it." I'm allowing it to go, "This is right."

If I could stay here in this moment of now, I would be doing so much better - like what you're doing now. If I could stay here, this open and free with people... Which is I think the expression of who she really is, right? If not, she's not drinking like some other people drink. Other people will drink just to suppress themselves. You and I are drinking for the same reason, you know, to be... Now, I think Tyne has a different reaction to drugs and alcohol. I think part of his is the creative process.

FRANK: It allows me to do it.

EDWARD: Some of it allows you to do it, but I think also...

ELIAS: Ah, but what are ALL of you expressing? That this substance allows you your expression - no, the substance incorporates no power...

FRANK: Whatsoever.

ELIAS: ...in itself, and in actuality the substance incorporates no actual physical affectingness in itself.

FRANK: It's our belief.

ELIAS: Correct.

EDWARD: We believe that the alcohol...

ELIAS: You may be consuming this substance in tremendous quantity and incorporate no affectingness whatsoever. It is your belief that influences your perception that generates this reality and the actual physical affectingness. YOU are creating that.

It is very familiar to you all to credit things, situations and other individuals with your expressions, and not to credit yourselves. "I choose to be in a relationship with this individual in intimacy for this individual ALLOWS me to express myself, and therefore without this individual I cannot express myself freely for it is their allowance that generates that." No. You are crediting another individual with what YOU are choosing and creating. You may create these expressions and the other individual matters not. "I may freely express myself openly and without limitation if I am incorporating a substance, for it ALLOWS me." No, YOU allow you.

In relation to your beliefs, you justify that allowance for the substance is generating a physical affectingness which is beyond your control and not an aspect of your choices, which is quite incorrect. There is no substance within your physical reality that intrinsically in itself generates ANY physical affectingness of you. Were there to be, you would be denied choice, and there is no expression BUT choice in relation to consciousness. It is merely your beliefs that limit your choices.

As I have expressed to many individuals and yourself also, Colleen, it matters not what substance you incorporate; none of them are bad. They are neutral. And it is not bad that you incorporate a substance to allow yourselves a freedom of your expression.

What is significant is that you recognize the time frameworks in which you do NOT allow that, and that you pay attention in the now - not merely to the now but to yourselves also - and offer yourself permission to express that freedom in each moment, to question yourself, "What do I want now?" I may express to you each, you shall be privy futurely to the interaction that occurred in our most recent group interaction, and I quite playfully expressed to several individuals the question, "What do you want now?" and the consistent response is "I know not." What do you want, now, this moment?

FRANK: (Whispering) A Margarita.

EDWARD: Yeah! (Laughing)

CHARLIESE: But that's the future.

ELIAS: Correct. Now?

CHARLIESE: I don't really want anything. I'm just kind of happy to be sitting here, you know?

ELIAS: THAT is paying attention, for what you want is to be engaging the interaction that you are engaging presently.

FRANK: And I could agree with that, or else you'd be somewhere else, you know.

ELIAS: Not necessarily.

CHARLIESE: So many people are always looking... It's so Zen, it's not even funny, you know? It's "Star Wars," it's like when - who is it - Yoda is always saying, "Your mind is always off in other places except where you are now. This is where you are. Pay attention. Stop looking towards the future!" I mean, come on, Yoda's so Zen it's not even funny! But he's making a point there.

We're always looking away and not right here, and then the next thing you know the moment is gone and you missed out on it. You have to pay attention, like even when you're eating something or chewing something. You eat something so fast, it's like did I even enjoy that? You have to sit there and savor each bite. (Elias chuckles) Because you lose it, you can't recapture it.

ELIAS: The point is appreciation. What you all express ideally that you want within this physical dimension and your physical manifestations, ultimately the one expression that you ALL express commonly is that you want to be expressing love. What is love? Within your physical dimension the translation of the truth of love is knowing and appreciation. Therefore you are continuously seeking, in your terms, this expression of knowing and appreciating, knowing WHAT you are appreciating, and this requires holding your attention in the now.

EDWARD: I find that very difficult.

ELIAS: (Laughing) As do many individuals!

EDWARD: We were talking about that one of the things we think is the reason we come into physical focus is for experience, to experience things.

FRANK: But is it the same thing all the time?

EDWARD: No, what I'm going for is that I know that's why we incorporate physical focuses where we're straight sexually or gay sexually or black or white or female or male and go through all these focuses where we're rich and famous or we're slaves. The whole idea is to experience. So my first focus is as King Tut and then this is supposedly my last focus. So why am I sitting on my ass in my last focus? I wonder if it's just I feel like I'm done and I'm just waiting or it's like I'm going to disengage. I don't guess you would say permanently, because I would still have the option at anytime, my essence, to re-engage in physical focus. Is that right, or once I disengage...? Like you have disengaged from physical focus.

ELIAS: Correct.

EDWARD: You have the option to re-engage in it if you choose?

ELIAS: Yes, although this is redundant. It has been explored.

EDWARD: So why at the end here am I just like not...?

CHARLIESE: Maybe you've explored enough.

ELIAS: And this is also a belief, that you shall explore and not incorporate interest any longer or that you shall be fatigued for you have moved through many focuses. This is associated with your beliefs concerning linear time.

EDWARD: Well, there isn't any, I know that. I know everything is happening at once. All my focuses are still happening right at the same time.

ELIAS: Correct.

EDWARD: It's one of the few things that I can grasp easily.

FRANK: You can?

EDWARD: Yeah, I can grasp that really easily because I feel it at times. I mean there are times when I can feel it. It feels like you can just feel all of it going through.

ELIAS: Many individuals that are designated final focus express a justification for not generating what they want or turning their attention to themselves for what is the point, they are the final focus.

EDWARD: I've said that a lot!

ELIAS: This is a camouflage. The point is that you DO wish to be creating what you want. You each do. And the manner in which you create that is to be offering yourself this freedom, not changing beliefs, not eliminating beliefs, and I shall continue to reiterate that throughout the entirety of my interactions with you all in reminder.

There are no beliefs to be changed. You incorporate them all and you shall not eliminate any of them, not even duplicity. But it is unnecessary to change them or to eliminate them, merely to be acknowledging them, recognizing that they exist, and allowing yourself the freedom of choice that you may align with them or you may not. It matters not. What is significant is that you offer yourself permission to express freedom to express your preference and direct yourself.

EDWARD: Ask about like when you get - which, of course, goes back to our relationship - when you angry why you run with it so hard. I mean you really, a lot of times...

FRANK: When I get ahold of an idea or I get angry at something I just won't let go of it?

EDWARD: Yeah!

FRANK: What about it?

ELIAS: Anger is an expression of extreme, in expressing within yourself in the moment the lack of choice. Anger is an emotional communication. The outward expression is the signal, and what you are communicating to yourself in the moment is that you view yourself to be incorporating NO choices.

Therefore you are immediately generating the role of victim, and in that there are many expressions that individuals incorporate: discounting of themselves, protection of themselves, holding to their energy, generating tension in physical body consciousness and your physical energy field which surrounds you, experiencing threat, and therefore creating an outward response of projecting your attention to the other individual or object or situation. At times, individuals generate anger in relation to a thing, not necessarily another individual.

For in the moment, the individual is experiencing threat, for they are discounting of themselves tremendously, expressing inwardly that they incorporate NO choice, which is quite threatening. The tension that is generated creates, in a manner of speaking, your outward expression of desperation to offer yourself a choice. In a manner of speaking, as you are projecting tremendous anger, you are desperately seeking a choice, and you are projecting that energy outwardly in expectation that the thing or the individual or the situation shall offer you the choice that you are seeking, any choice.

I may express to you quite literally, you may be experiencing a tremendous intensity of this particular signal, the feeling of anger, and in the midst of that signal, that feeling, allow yourself to turn your attention to YOU and eliminate momentarily every other aspect of your reality. If you are engaging with another individual, momentarily allow yourself to eliminate the other individual from your reality - they do not exist; all that exists is you - and express to yourself, "What do you want? What is being generated within you that is creating this signal of anger? What are YOU expressing? What is the threat? What are you DENYING yourself? How are you discounting yourself?" For these are all expressions that shall generate this signal of anger.

Offer one example that we shall explore concerning an expression of anger that you may experience. It matters not what your choice is of example.

FRANK: Well, we kind of went over it before. It's when I feel like you don't listen sometimes. I feel like I'll be expressing something or a feeling or an idea, and they don't understand what I'm saying. I feel like maybe I'm missing the point somehow, so I get angry: "Why don't they understand? What am I not doing?" And then I'll get really angry and then they may say something. Colleen may say something and then just ... you have something to add to it?

ELIAS: And where is your attention?

FRANK: Well, it's at the other person.

ELIAS: Correct. For you are expressing that the other individual does not understand or is not listening.

FRANK: Exactly.

ELIAS: Your attention is projected to the other individual, and you are generating an expectation of what you expect to receive from the other individual.

Now; the other individual is a reflection of you. Therefore, if you are expressing to the other individual, "You are not listening. You are not understanding," what you are expressing is YOU are not listening to you, and YOU are not paying attention, and therefore YOU are not understanding you.

In this, as you turn your attention to you, it matters not whether Colleen is understanding of you. It matters not whether Colleen is listening to you. YOU are creating Colleen through your perception. You are merely interacting with a projection of energy, which is not insignificant, but the actual physical manifestation is being created through your perception. Therefore, YOU create the response. And YOU incorporate the power and the ability, not to create Colleen's choices, but to create your perception of Colleen and the response. The manner in which you create the response is to be aware of what YOU want to be creating.

In this example, your attention is projected outwardly to the other individual. What you actually want is to express yourself, and if you are listening to yourself and trusting yourself, you shall not question whether Colleen is listening or understanding. You shall merely express and it shall be received.

In discounting of yourself, in doubt of yourself and not trusting of yourself, what you project outwardly is the same and therefore what you reflect is a lack of understanding or a lack of attention, which I may express to you is not necessarily what is being perceived by the other individual. Colleen may be interactive with your energy and may be incorporating an attention and an understanding objectively, but what YOU are generating in your perception is the actual reflection of what you are expressing within yourself, which also relates to what you expressed earlier in this conversation concerning what you want in relation to your creativity in music. But you are not good enough yet. You are not attractive enough yet. You are not generating enough affection or compassion or attention or appreciation YET. You are not good enough yet. This is associated with your perception of your worth and your value, and not valuing your expression as perfect in what it is.

There is no race. There is no finish line. There is no need of striving for more, for you do not acquire, you create. All that is created within your reality is generated from within you. It is not acquired from outside of you. This is a tremendous misconception. And this is the reason that I speak with you, to offer you information concerning how you actually do create your reality, not what you THINK you do.

EDWARD: See, I just thought you were bored, floating out there somewhere.

ELIAS: Ah! (Laughs) I may express, you are quite amusing!

EDWARD: Well, I think it's good. At least you're not good enough yet. I just go straight to the I'm just not good enough. I don't even project to the future that I'll get better. (Laughs)

ELIAS: Quite a challenge!

EDWARD: That's the challenge.

Well, I'm still working on my Roman and Greek focuses, and I think I may have nailed down the Roman one and it gives me the Greek one. But there's two that it could be, unless I'm both, which I guess could happen. There's Cicero and there's Suetonius. It's one of those.

ELIAS: The latter.

EDWARD: It's Suetonius. So that makes my Greek focus is not truly a Greek focus. It's the Jewish Greek, Josephus.

ELIAS: Correct.

EDWARD: I knew it! They're both gossiping bad historians! (Elias laughs) When I was reading Suetonius - and I'm reading part of Josephus, too - when they get to a stump and they don't know the real facts, they sort of make it up and they collect gossip. And I'm going, "That is SO Edwardian!" (Elias laughs) When in doubt, make it up, right? I knew they were connected. I knew the two were connected to each other, and the stumbling part was I was not a true Greek. (Elias chuckles)

CHARLIESE: And that's a disappointment?

EDWARD: No, I was a Jewish Greek. I was a Greek by association but I was truly Jewish, which goes back to all that Jesus stuff and being with Albert running around as thieves, not thieves but conmen. (Elias chuckles)

What about you, didn't you have an impression about who you were recently?

FRANK: I could make that up. I mean, I could read things and say I relate to that immensely, you know, but so do a lot of other people.

EDWARD: Well, that's what I'm saying. Sometimes when you're looking at stuff you don't get a distinct impression of "God, this is...!" Like she was saying today, that's why when you said it I said, "Oh, I can see that." That's why I asked. She said Jack Kerouac, and there was this great affinity that goes beyond... I see you as a classical composer, a very famous classical composer.

FRANK: The one that goes crazy or something.

EDWARD: No.

CHARLIESE: No, but you just have that kind of diligence and stuff. I can see that, too.

EDWARD: I see him as Mozart.

CHARLIESE: You know, totally.

EDWARD: I see him as Mozart completely.

FRANK: I don't know, I've never read enough.

EDWARD: And that type of character, because it's young, it's youth driven, you're in the race, you die young. You know, it's that Ernest Dowson... It's the same thing that I do in the threads of my focuses.

FRANK: You see, even with like the Ernest Dowson focus he never really came to fruition. It was way after the fact. And it's the same thing. I think he had a lot of doubt, too.

EDWARD: Well, so did Mozart. Mozart doesn't really make it in his lifetime. I mean, he dies because he's being overshadowed by a more... He's the punk rocker of his time. We're on the wrong track there? We're not, are we?

ELIAS: I may express this is not a focus of your essence, but I am encouraging of you to allow yourself your impressions and listen to your impressions, for this may also be an exercise in trust of yourself and acknowledgment of yourself, which is quite an unfamiliar expression in this focus.

FRANK: Absolutely.

EDWARD: Anything you want to ask?

CHARLIESE: No, 'cause I feel like I'm a little bit in tune with myself! (All laugh)

EDWARD: I agree!

CHARLIESE: Actually, I just feel like I'm very focused on myself a lot. It's all about me now. I've been in situations where I've projected, and I'm tired of projecting anymore. I don't need to be in a relationship now because I don't need somebody else to justify my existence. I feel like, what the hell, I'm here, this is me, I'm doing for me from now on. I'm not worrying about other people and I'm not relying on other people. I just kind of do it myself. If something happens, fine, but it if doesn't, so what. That's really how I feel. I spend a lot of time just thinking about myself and about things. Sometimes I think I think perhaps too much, but I can't help it.

FRANK: Which is ... I don't have the trust in myself. I can feel some of these things but then don't trust at all, and that's really the problem. I don't trust it.

CHARLIESE: Well, you have to go with it.

FRANK: I don't let it happen.

CHARLIESE: No, you don't. You're always worried about things to excessiveness, where you should just kind of float. You need to float. You need to dive. (Charliese and Frank laugh)

EDWARD: All right. Aren't you going home? (Laughter)

CHARLIESE: Not 'til after I get my Margarita - so I can express myself a little better!

ELIAS: Very well! (Laughs)

CHARLIESE: I think Ben was telling us time is up.

FRANK: Yeah. My stomach's growling, too.

CHARLIESE: Mine is doing a friggin' symphony thing, an overture.

EDWARD: Me and the dead guy are okay. We're doing just fine here. But you were talking about - this last thing real quick - you were talking about that we manifest in groups. I would think that Tina was also in the Oscar Wilde group, which would probably be...

CHARLIESE: I love Oscar Wilde, too. I think he's brilliant.

EDWARD: Right, something to explore for you. You could be looking around some of the stuff for Oscar Wilde and see where you really relate to. Like there was no doubt, when Elias said he was Oscar Wilde, I said, "How can that be? I was Oscar Wilde." It turned out it CAN be.

The manifestations of the group that are around you - not necessarily all the people that speak to you, but the group that gets tightly wound around you and Michael more and more in certain ways - seems to be the core group of most of these things: the Oscar Wilde focus, the French revolution focus - which I haven't gotten to yet, I'm still in the ancient world, I'm working on it - the Nazi focus.

So you're in all of these except for you stop at Oscar Wilde. Do we continue, most of the group, just continue remanifesting and recollecting what was left? Because I take it probably that other people are final focused also before then. Like in certain groups there's big...

ELIAS: Yes.

EDWARD: So it's the remnants just keep finding each other, in a way? No? Am I missing something?

ELIAS: It is dependent upon the manifestations and whether the focuses are chapter focuses or not. I am not physically manifest within this particular chapter focus but I am interactive, continuing to participate. Therefore as I have stated, there shall continue to be an interaction in some form in relation to chapter focuses, but not necessarily in relation to other focuses.

I am not participating in the focus of your second World War. I do not incorporate a focus of attention in that time framework. But I am interactive with you now in this forum, for this time framework incorporates another chapter focus in association with this shift in consciousness.

EDWARD: Speaking of the shift, is Albert going to go raise one of the baby Roses? (Laughs)

ELIAS: This is his choice. (Laughs) And so I have expressed to him.

FRANK: Do I have any connection to John Lennon?

ELIAS: You have participated in other focuses with this essence, yes, and therefore there is a familiarity.

FRANK: Thank you.

ELIAS: You are quite welcome.

EDWARD: He gets so nervous around you; he thinks the questions won't be worthy or something. I'm going, you know...

ELIAS: It's what we have been discussing!

FRANK: Yes, exactly. I got that!

ELIAS: Therefore I shall be reminding you to express this exercise today.

FRANK: Thank you.

ELIAS: You are quite welcome. I express to you each in genuineness the truth of knowing and appreciating to each of you in love and also in great affection, and encourage you to be incorporating playfulness and fun. Fun, fun, fun, fun! (Chuckles)

CHARLIESE: I'm all about that! (Laughter)

ELIAS: To you all this day in lovingness, au revoir.

EDWARD: 'Til we meet again.

CHARLIESE: Thank you.

Elias departs at 1:13 PM.

©2004 Mary Ennis, All Rights Reserved

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Copyright 2002 Mary Ennis, All Rights Reserved.