Session 1127
Translations: PT

Children: Making the 'Right' Choices for Them


"Children: Making the 'Right' Choices for Them"
"Altering Perception of Time"

Tuesday, July 9, 2002 (Private/Phone)
Participants: Mary (Michael) and Laura (Belagia)
Elias arrives at 1:48 PM. (Arrival time is 22 seconds.)

ELIAS: Good morning!

LAURA: Good morning, Elias.

ELIAS: (Chuckles) And how shall we proceed?

LAURA: Well, I've just spent quite a bit of time talking with Mary, and I think she's answered my main questions already! (Both laugh) We had a good talk about living in the moment, and making choices. I get stuck in the idea of making right choices, and she assured me that the choices I make in any given moment ARE the right choices for that moment. (Elias chuckles) It's really nice. I am a person who loves the idea of absolutes and want to do it right. Is that the Sumafi perfectionism?


LAURA: I also wanted to talk about some fun things.

One of the ideas I have, my son is I would say unconventional in a lot of ways, so we deal with that. He gets to be himself. He gets to make his own decisions, live a life that he enjoys living.

At the same time, we have certain conventional things that go on. I go back and forth about the school issue with him. It's the summertime, but you have to make decisions about the future sometimes, even in this moment. What school is he going to go to? Does he continue going to the private school? Does he go to the public school?

He doesn't want to learn math, and he doesn't want to learn how to read right now. He's about eight years old. I always wonder, well, does he really get to make that choice, that he doesn't have to learn how to read and he doesn't have to learn adding and subtracting? Those are kind of the things I ask myself questions about.

ELIAS: Let me express to you, what you are generating is confusion within yourself, for you are projecting your attention to the other individual, your son.

LAURA: Yep! I am very much projecting my attention out to him!

ELIAS: And concerning yourself with his choices rather than concerning yourself with your choices.

LAURA: This is where my confusion in this lies, one of the places. I'm sure there are more places where I'm confused. In a certain way, I could see he can go through life and maybe when he's 13 he'll decide, "Yeah, I do want to know math because I want to know this now," or "I do want to learn how to read because I want to know this now." I understand that that's an option to do that in the world.

At the same time, does my choice mean my choice about my response towards his choices, or my choice for him, which would be for him to learn to read and do math right now? When we're talking about my choice, what I think you're saying is my choice is my choice of response to his choices.

ELIAS: No! Not your choice of response to another individual's choice - what are YOUR choices? Be remembering, YOU are creating all of your reality, even the other individuals which participate in your reality. Every aspect of your reality that you objectively view, you have generated through your perception.

LAURA: You can read that and hear it a thousand times! (Laughs) On a practical, day-to-day level, it's so hard to grasp that.

ELIAS: I am understanding. Therefore, what you are interacting with directly is the energy projection of this individual that you perceive as your son.

Now; in this, it matters not what the other individual is choosing or generating or creating or what their perception is. What is significant is what YOU are choosing, paying attention to you and recognizing what YOU want, and therefore creating that.

This I may not emphasize strongly enough is the key and actually physically generates your reality, for perception is what creates your reality, even in association with other individuals. Paying attention to you and allowing yourself to freely express what YOU want creates that reality.

Now; your reality and his reality may be different.

LAURA: Can I jump in and ask a question?

ELIAS: You may.

LAURA: I'm creating Zane within my own reality. So all my questions about trying to find what's true for him and what's true to him and be the kind of parent that allows him to be himself, accepts him as he is, those kinds of issues are meaningless because I create it anyway.

ELIAS: Correct! You do not "allow" him.

LAURA: I think not inhibiting him is what I mean. I used the wrong word, you're right. "Allow" is still coming from me. My ideal mom would be not inhibiting his creative expression of himself.

ELIAS: But you do not create his reality. Therefore, you cannot inhibit him.

LAURA: So if I make a decision, he's going to go to this particular school and my decision in this particular moment... Let's imagine it's the future and he's in second grade and he has a math assignment. My decision in that moment is, "Yes, you must sit down at this table and you must do this page of addition problems. Then you can do whatever you want." And he says, "Well, I don't want to do that. I don't want to sit down here and do this math homework. I don't ever want to do this math homework." If I make the choice in that moment "you're doing the math homework," then I have not inhibited him in any way.

ELIAS: Correct, for it is his choice to be generating inhibition or not. This is not your choice.

LAURA: So if he ultimately does it, he's made the choice to do it.

ELIAS: Correct.

LAURA: But have I dictated his reality to him? That's my question. No, because I'm creating it in my experience.

ELIAS: Correct.

LAURA: Oh man, that's hard to get! (Laughs)

ELIAS: And if the other individual is not choosing to be compliant, they shall not be.

LAURA: Well, that's for sure! (Laughs)

ELIAS: And in this...

LAURA: So I create these struggles in the morning, like with my daughter getting her shoes on or brushing her teeth. I create these struggles.

ELIAS: Correct. Ultimately in these types of scenarios, it genuinely matters not, for you have created them. In the actual reality of your physical dimension, you may generate one experience in interaction with another individual, your son or your daughter, and their perception of the scenario may be quite different.

LAURA: Well, I mean, I think what I'm creating for myself are two children who are really happy and love their lives. At the same time, we have these struggles and they're struggles with myself now, because, as I was saying to Mary, to the vast majority of people on Earth, it wouldn't even occur to them to ask a question of whether you should have your child put their shoes on because we're going to the library. Of course they have to put their shoes on! But I struggle with these because I don't want to dictate to them their reality and their choices.

ELIAS: I am understanding, but this is a clear example of projecting your attention outside of yourself and holding your attention upon another individual and concerning yourself with the choices of the other individual, and therefore attempting to mold yourself into what you speculate is their perception or what you want their perception to be of you.

LAURA: Oh, there's the key! I would say that's an overriding issue of mine in my life altogether, concern about other people's perceptions of me.

ELIAS: Correct, and this IS key, for what you project is what you shall create. Therefore, you continue to generate this expression of concerning yourself with the perceptions of other individuals, and you deny yourself paying attention to what your perception is.

LAURA: So if I accept that I'm completely creating the reality of Zane and Cyan by my perception, that if, for example, I am completely accepting of myself saying, "It's time to brush your teeth," and by completely accepting that that's an absolutely reasonable request and it's my choice, then there won't be a conflict around brushing teeth unless I create the conflict around brushing teeth?

ELIAS: Correct!

LAURA: Oh man! That's so hard to get. There really are no other people.

ELIAS: YOU are generating those conflicts, for...

LAURA: Wow! I feel like I'm teetering on the edge of accepting that.

ELIAS: You are generating an expression of expectation of yourself, and therefore you reflect that outwardly in creating the conflict.

LAURA: Because I'M conflicted about asking my children to do things.

ELIAS: Correct.

LAURA: I'm conflicted about asking them to do anything!

ELIAS: Correct, for you are concerning yourself with expressions outside of yourself and not paying attention to you.

Reverse the situation, hypothetically. What do you experience if another individual is continuously focusing upon you and continuously concerning themselves with your choices and what you want?

LAURA: Yuck! Leave me alone!

ELIAS: Correct. This is not a preference, and this generates a discounting of you, does it not?


ELIAS: And you dislike this. In like manner, this is what you are creating in this type of expression, in focusing your attention outwardly and holding it upon these small ones and not paying attention to you. In like manner, that generates conflict, for it generates conflict within you and therefore you reflect that outwardly, and this is what you produce.

LAURA: I'm going to ask a very obvious question, but I just need to have it confirmed. There is no right situation for me to... How do I ask this? So here I am, thinking I have to make these decisions about what school they go to or whether they're going to go to school at all, and that completely doesn't matter.

ELIAS: Correct.

LAURA: And their acceptance of those decisions, in my experience, doesn't really have anything to do with them.

ELIAS: Correct, for it is your choice.

LAURA: Wow! Well, then there's no conflict at all.

ELIAS: Other than what you create. But this is the point, familiarizing yourself with you and therefore also widening your awareness and objectively recognizing what you create and how you create it. This is generated in genuinely moving your attention to you, which actually changes your reality, and this is evidenced in actual physical manifestations. I am not speaking figuratively; this is quite literal.

LAURA: I understand that. I was telling Mary about an experience I had four years ago. When we first moved here, the kids were one and three years old. I had no responsibilities. I had no job, they weren't in school, I didn't have any appointments, no outside responsibilities other than cooking and eating and cleaning and taking care of the kids in those sorts of physical ways. Those were choices that I made to do that.

I had made a choice to be very mindful in every moment, and I did this for a couple of days. Then I fell into... I think in this way of expressing I'd have to say I made the choice to be in each moment for the next six weeks, of living completely in the moment. That's what it felt like to me. My memory tells me that that's what was occurring at that time. There was so much ease and grace and peacefulness, and it was as if I couldn't even think of another moment. If a thought sort of passed through, it had no interest for me other than this moment. I just remember at the time there was absolutely no conflict at all.

ELIAS: Correct.

LAURA: And then I came out of it, and it was a very painful experience, emotionally painful experience coming out of it. I could feel myself shifting away from living in the moment. It was really painful and I cried for a number of days about it.

I guess the reason I brought it up was I wanted to see - I mean, it's already confirmed by me - I just wanted to see what you had to say about it. I was in each moment of those of weeks, making that choice to stay right in that moment.

ELIAS: Correct.

LAURA: And then I made the choice to come out of it at that point.

ELIAS: Correct, and offered yourself an example and an experience of genuine freedom.

LAURA: It was complete and utter freedom, and so simple. They were just such completely ordinary experiences occurring in each moment...

ELIAS: Correct.

LAURA: ...washing dishes, folding clothes, reading books on the couch with my kids, jumping in puddles. Absolutely ordinary and at the same time just the ultimate experiences of my life in a certain way, because they were the most true and direct, I would say.

ELIAS: I am understanding.

LAURA: And I have moments like that. I'll go through long periods of time stewing over some imagined perceived problem. But then I will wake up and remember, "Oh, wait! It's about this moment." (Elias chuckles) But I haven't had, at any other time in my life that I'm aware of, that long sustained moment after moment after moment for that kind of period of time.

ELIAS: But you have offered yourself the experience to evidence to yourself that this is possible, and that you do incorporate the potential to generate that type of expression, that it is not impossible.

LAURA: Yes, it's not impossible.

Well, let me ask you. This is one of the fun things. I gave myself a mild case of chickenpox a few weeks ago, as I was telling Mary, so I would have a legitimate reason not to go to work for a couple of weeks. I got my house so organized, and then I found this way to keep my house so clean and organized in a way that never really happened before. I have so much time to do things that I love and enjoy. At the same time, my responsibilities are the same as they were before. I feel like it's beyond just where I could name these steps that I went through to get here, like these ten steps to make your life organized so you have more time. It's beyond that. I feel like I've shifted my perception of time, in a way.


LAURA: You can confirm that.


LAURA: I have so much time. I always thought I'd love to play the piano and the flute again, and I would love to read all these books. I have so much time, it's like I get tired of reading! (Laughs) I have the exact same responsibilities and my house is clean! (Elias laughs) I don't understand it, but I'm enjoying the heck out of it and loving it!

ELIAS: And have you once again amazed yourself?

LAURA: I just look around this house every night, and there's nothing I have to do! All my responsibilities that I've chosen to have, they're all completed, and I have just hours of time!

ELIAS: And allowing yourself to appreciate the wondrousness of you and your choices and your efficiency in those choices. (Chuckles)

LAURA: So it's my perception that has changed.


LAURA: I have to keep confirming this. Even though it's my direct experience, it's just so outside of the realm of what seems to be possible. But here it is; it's right here.

ELIAS: You alter your perception and you alter your actual physical reality.

LAURA: It is completely altered.

ELIAS: This is what I express to you.

LAURA: Well, it's a blast! It's so much fun!

ELIAS: And this is a physical example in evidence of the reality of that movement. In altering your perception or changing your perception, you also change your physical reality.

LAURA: For some reason, it's the most difficult with my own children. I've identified with them in a particular way. But with other people, I understand - say with my husband - in certain ways that I create my perception of him. We were looking around the house and saying, "Oh, this feels so good!" "Oh, I know! This feels so good!" I perceive him now as helping around the house in ways he wasn't before. Before, it felt like I had this resentment, and I felt like he was hindering my efforts to be organized. Now, effortlessly, it just all gets done. There's no conflict about it.

Then I said, "What do you think about my just working one day a week, making a little bit of money, and learning Spanish, playing the flute and piano, and keeping the house clean? What do you think about that being my life?" And he said, "I think that sounds great!" (Elias chuckles and Laura laughs) I said, "Well, okay. I'll accept that I created that!" I created that choice for myself.

ELIAS: Correct! Allowing yourself to move your perception, allowing yourself to listen to your communications and to generate what you want in association with your preferences actually alters your reality. You have offered yourself physical evidence of this concept, generating it into an actual reality, and now you may incorporate that evidence as an example to yourself of how you may also generate that in association with the small ones.

LAURA: This direct inner experience of how I've altered my relationship with time or my time reality and my ease in my home reality...

ELIAS: And your interaction with your partner.

LAURA: ...with my husband, and use that as a reference point...

ELIAS: Correct.

LAURA: ...for my interactions with the children.

ELIAS: Correct.

LAURA: I'm going for the conflict areas; it's not that we have conflict all day. It's not like that at all. We have many times of joy that I just want to use my time wisely and go for those areas of conflict when my belief systems are not necessarily where I want them to be.

ELIAS: I am understanding.

LAURA: Is there any other information that you want to give me about this area at this point?

ELIAS: This may be enough to be assimilating in this present now. Merely be remembering to notice the moments in which you are projecting your attention, and allow yourself to turn your attention. Therefore, this shall also aid you in altering your perception.

LAURA: So now the fun stuff I want to talk about!

ELIAS: (Chuckles) Very well!

LAURA: I had had an appointment scheduled with Mary about a month ago. She was really exhausted from all her traveling and so that appointment didn't happen and that was fine. I think it worked out well that way.

I noticed that I was playing the piano a lot, since I now have created all this time for myself, and I was playing Beethoven a lot. Then after about a week or two of playing Beethoven an hour or two a day, I just started laughing. I realized that here I am communicating with you anyway...

ELIAS: Correct!

LAURA: ...through the music. (Elias laughs)

Before I sort of met you officially, I was playing some of the pieces that really have a lot of meaning for me, wordless meaning, I guess. As a teenager I was highly dramatic in certain ways, and I would feel when I was playing that I was actually having relationships with the composers. Is that valid or is that imagination?

ELIAS: Ah! Imagination is quite valid, for it is a communication avenue. I may express to you that your experience is valid also, for you allowed yourself to be interactive with energy expressions of those composers - in a manner of speaking, energy deposits - and therefore offered yourself a type of mingling of energies. This is what you defined as creating a relationship with each of these composers.

LAURA: I have had a sense for a long time of another essence... I don't know if talking about piano would be so much fun. I've had a lot of love and conflict around it. Maybe it would be highly useful, if not fun, for me to talk about it. But I feel that there is another focus of my essence that I call Piano Man. Is there such a...? That's my name for him, Piano Man.

ELIAS: Yes, you do incorporate another focus which engages this activity, not in association with fame, so to speak, but that does incorporate engaging this instrument in public display.

LAURA: Is he highly critical of himself and his playing?

ELIAS: At times.

LAURA: So am I, at times. (Elias laughs) I'm usually a very publicly confident person. My public persona is one of confidence. Whether my inner experience is of confidence or not, it doesn't really matter, because people think of me as a confident person. That's what I'm talking about right now. I can do public speaking; as a younger person I was in plays; I've even been able to play the flute in front of people. But piano I just absolutely hate playing in front of other people. I just start shaking, which is unusual for me. I'm not a highly anxious person in public, necessarily.

So I was wondering if that has to do with this relationship, this other focus and myself, that we have that going on? What I really want to do is understand that more deeply.

ELIAS: I am understanding. I may express to you, no, this is not an expression of bleed-through in association with that focus. What you are generating is a comparison of yourself in association with the energy relationships that you created previously with composers, and therefore generate criticalness of yourself in comparison to those individuals that you view to be masters in this particular expression of creativity. Therefore, you discount yourself.

LAURA: I set these very high standards.

ELIAS: Correct.

LAURA: Virtuosity would be the only way to meet that standard.

ELIAS: Correct.

LAURA: But the reality is not virtuosity.

ELIAS: Correct, and may be resolved in recognizing the comparisons that you generate, which creates this expression of perfectionism and these extremes in what you term to be standards, so to speak, and also inhibits your actual interaction with the instrument, for you do not allow yourself the expression of relaxation to move with the instrument in harmony and produce a free flow of energy of your expression and your creativity in relation to this instrument. You may once again surprise yourself or amaze yourself at your individual expression of creativity in association with this instrument in allowing yourself to relax and to flow with your energy and express yourself without limitation.

You are generating a comparison and an expectation that you must be engaging this instrument in the same manner in which the composers engaged it. But their expression is their expression, and your expression and your creativity is yours. Therefore, what you emphasize in a passage or in a chord or even within one note may be different from their expression, but it may be wondrous in your allowance of that flow of energy.

LAURA: This is kind of a funny thing to say, I guess, but when I am relaxed at the piano and I just play, I do love my own expression. I get critical of myself at physical mistakes, that my fingers don't hit the right notes...

ELIAS: Correct.

LAURA: ...all the time. Or I know a certain passage is coming that appears in my perception to be particularly difficult, and I get tensed up and the joy goes out and then the critical mind comes in. It makes it all the more difficult to get through the difficult passage.

ELIAS: Correct.

LAURA: So then it ends up being this absolute joy and also deep pain about it. I don't trust myself with it, and that's where the not wanting to play in front of other people comes in.

ELIAS: Correct, and concerning yourself with the perceptions of other individuals, for you are already generating a judgment and expectations of yourself. Therefore, you do concern yourself with the perceptions of other individuals, for they shall also absolutely be generating a judgment and expectation of your performance. And this is precisely what you shall create, for this is what you are generating within yourself and therefore you shall reflect that outwardly.

But you also offer yourself an objective recognition that in the moments in which you are allowing yourself to be relaxing, you do generate a free-flow and you do generate a pleasure in your interaction with this instrument. It is in the moments that you begin to express expectations, judgments upon yourself and comparison that you begin to generate tension, and you no longer allow yourself a playfulness or an expression of appreciation of yourself.

LAURA: So when I sit down to practice, more important than scales and arpeggios would be to be aware of my thoughts and feelings and inner experience as I'm playing.

ELIAS: Yes. Move in harmony with the instrument, not necessarily your thoughts but the feeling of your energy and how it is moving in harmony with what you are producing in the music. And if your finger wanders to a key that you perceive is wrong, merely allow yourself to accept and continue.

This may in actuality be an interesting exercise for you to be incorporating in paying attention to you and your expression in relation to your association of right choices, and in this, allowing yourself the freedom to be expressing yourself. If your fingers incorporate notes that are not incorporated in the official composition, it matters not. It is not wrong; it is merely an action. Shall you discount all of the experience in a moment of pleasure and appreciation for one unincorporated chord? (Chuckles)

LAURA: For the last thirty-something years, I keep going back to it, so there must be enough joy there to keep me going. (Elias chuckles)

I've been interested in France a lot lately, and I know about one focus I have in France. I asked you about her briefly one time, a prostitute in the 1800s, 19th century France. Are there any others?

ELIAS: What is your impression? What have you investigated?

LAURA: I believe there are, but I can't really get a good grasp of it or handle on it.

ELIAS: Ah, but yes you can! (Chuckles)

LAURA: The ones I've asked you about so far have just jumped out at me. Another one is sort of hinting at himself or herself around the edges, but I'm not quite sure. Does it have something to do with you, and you being in France? Do we have any other kinds of relationships other than this one, in another time and place?


LAURA: Do I have any relationships with any focuses of yours in France?

ELIAS: Yes. Not within that time framework, although there is a brief encounter in that focus between yourself and myself. But you do incorporate other focuses in that particular country in which you engage more interaction with focuses of myself than you do in that one.

LAURA: In France.


LAURA: When I've read other transcripts about other people who speak with you or have spoken with you and they've asked about their relationships with you in France, I felt a resonance. However, I discount it as wishful thinking or it would be too pat or whatever my ideas are. But I want to be true to that initial impulse, which is that there was a relationship. What you're saying is that's true. But I guess I haven't investigated enough to see if something really jumps out at me about what that relationship was.

ELIAS: This is what I am expressing to you, that the interaction was brief, but you do incorporate an interaction and an objective knowing of myself in that focus.

LAURA: The one in the 19th century.

ELIAS: Yes. There are many individuals within this forum that participate in that particular focus.

LAURA: I will investigate that further, then. There's that one in the early 19th century, but there are others where we had more interaction.


LAURA: Do you want to give me some more information about those others? (Elias laughs) Or is it for me to investigate? (Laughing)

ELIAS: Investigate one in Barcelona, and you may investigate one in Peru.

LAURA: Is that when I was an Incan Indian?


LAURA: That was a very strong one for me. Is that why I want to learn Spanish and signed up for a Spanish class?

ELIAS: This is quite influencing, yes.

LAURA: Do I have any famous focuses?

ELIAS: Yes - and you may investigate and listen to your impressions and practice!

LAURA: Can I give you an impression?

ELIAS: You may.

LAURA: A writer?

ELIAS: Correct.

LAURA: Female?

ELIAS: Correct.

LAURA: This century - not this century, we're in a new century - last century, 20th century.

ELIAS: Correct.

LAURA: Anais Nin?

ELIAS: Observing essence, yes.

LAURA: So that means I was not Anais Nin.

ELIAS: Yes...

LAURA: I'm trying to remember the definition of observing essence. An aspect of my essence incorporated with her essence, and I participated in her experience in that way.

ELIAS: Yes, but throughout the entirety of the focus. Generally speaking, essences may be an observing focus but for a partial time framework of the focus of attention and its manifestation. At times an essence shall be observing throughout the entirety of the manifest focus, which generates an experience the same as the directing essence. Therefore...

LAURA: So in a sense, Anais Nin had two essences?

ELIAS: No, one. But the observing essence, as being expressed through the entirety of that focus of attention, may be associated, in a manner of speaking, as generating or incorporating that focus, for you are allowing yourself to participate throughout the entirety of the focus in its manifestation and experiencing all of that manifestation.

LAURA: Do I have a focus related to or has something to do with Anne Frank?

ELIAS: Yes. Related to - I may express to you, sister. (Pause)

LAURA: As the directing essence.


LAURA: Any other famous focuses? (Pause)

ELIAS: Three.

LAURA: Any hints?

ELIAS: I shall offer you a physical location of one and time framework, and you may investigate the others: what you term to be physical location of China, 3rd century.

LAURA: Let me think about the time. Does it have something to do with Buddhism?

ELIAS: Royalty.

LAURA: Our time is just about up. I think we have two or three more minutes. This is fun! (Laughing; Elias chuckles) That's interesting about Anais Nin. She's in France.


LAURA: Was she interactive with you? No, you were already disengaged then. (Elias laughs) You didn't have any focuses after the Oscar Wilde time period.

ELIAS: Correct. (Laughs)

LAURA: I'm trying to keep all this straight! (Elias laughs) She died in LA. She was living in Los Angeles, and I can't stand Los Angeles. So I think that's interesting.

One more question, maybe two. How many focuses of essence do I have in this timeframe? I'm going to tell you what I think. I think I have five...

ELIAS: Correct.

LAURA: ...including myself.

ELIAS: Correct.

LAURA: I'll investigate further. And I was wondering about an essence name for my daughter. (Pause)

ELIAS: Nina.

LAURA: Could you spell it, please?


LAURA: I've always been conflicted about her name, Cyan, and she also goes back and forth about it, liking it or not liking it. Do you have any input on that?

ELIAS: You generated the choice. I may express that it is not uncommon for the entering focus to express some dissatisfaction with their physical naming for a time framework, for the existing focus generally chooses the physical naming. Therefore, this is not unusual that your daughter may incorporate some dissatisfaction temporarily with this choice. What is your concern of this choice?

LAURA: You're asking me?


LAURA: It hasn't felt like her, I would say.

ELIAS: I express to you, this is yet again another example to yourself of what we have been discussing throughout this interaction this day, of projecting your attention to the other individual and assuming their perception and placing a judgment or a discounting upon yourself in relation to your choices. This has been your choice to incorporate this particular physical name. But you perceive that she incorporates dissatisfaction with that, and therefore you discount your choice. (Laura laughs)

Generally speaking, individuals within your physical dimension generate dissatisfaction merely temporary in association with physical naming. I may express...

LAURA: Now that you mention that, I was doing that myself when I was a child.

ELIAS: If an essence or a particular focus of essence genuinely wants to be choosing the physical naming, they shall do so, and you shall be aware.

LAURA: It's an unusual name, and I've always just figured she did choose it and that's why it came to me. But she's been unhappy with it, so I always say, "Well, pick a different name, then!" It doesn't really matter to me. If she wants to have a different name, that's fine.

ELIAS: Individuals that choose their own name, in your terms, do not express this dissatisfaction. Those are individuals that you shall recognize are, in your terms, exceptions to the rule, so to speak, for they do not incorporate dissatisfaction with their physical naming throughout the entirety of their focus.

LAURA: A lot to process and assimilate today!

ELIAS: (Laughs) Very well, my friend. I shall be anticipating our next meeting and the report of your progress. Be remembering to be playful.

I express to you as always my tremendous affection. To you this day, au revoir.

LAURA: Au revoir.

Elias departs at 2:52 PM.

©2004 Mary Ennis, All Rights Reserved

Copyright 2002 Mary Ennis, All Rights Reserved.