Thursday, September 6, 2001 (Private/Phone)
Participants: Mary (Michael), Lynda (Ruther) and Donnalie (Mallory)
In this session, Lynda is on the phone calling from California and
Donnalie is present in the session room with Elias.
Elias arrives at 9:47 AM. (Arrival time is 29 seconds.)
ELIAS: Good morning!
LYNDA: Good morning! This is me and Mallory! (Elias chuckles) He cracks up! (To Donnalie) So, don’t you want to say good morning to TDG now?
DONNALIE: Good morning! (Laughing, and Elias chuckles)
LYNDA: They’re in their pajamas, I’m not! Okay, can I make a couple of Game entries?
ELIAS: You may.
LYNDA: I want to make one for Lawrence. I know you already validated her impression, but I want to get it for the, ahem, ’written record.’ That would be Clichés, Sumafi, ’It takes two to tango’ - one point. Is that correct?
ELIAS: Correct.
LYNDA: Thank you, sir. I would like to make an entry in the Game under Composers, Harold Arlen under Gramada.
ELIAS: One point.
LYNDA: Get down! (Elias chuckles)
Well, Elias, yesterday, I think, or the day before - I can’t remember exactly - I spontaneously called Mallory ’Mookie,’ M-O-O-K-I-E. And I thought, hmm, this is an intimate connection with somebody named Mookie. So, my first-blush impression is that I have a focus with Mallory when I called her Mookie. Is that correct?
ELIAS: Correct.
LYNDA: And you know how I’m a really good Sumafi gal and I don’t ask crystal ball questions? Well, I just want to get a hint on the connection, like just the time zone and the country, and I’ll do the rest, I promise. (They all laugh, and a pause)
ELIAS: Early 1800s, physical location, New England.
LYNDA: Oh, wow. Okay, I will be investigating and report back my findings. (Elias and Donnalie laugh)
ELIAS: Very well!
LYNDA: Thank you! I got just recently a series of color images in my objective reality here of purple and green, and it started translating to me that that was healing imagery for myself.
ELIAS: Yes.
LYNDA: Isn’t that cool! (Elias chuckles) Yes, you can just say yes, I already know it is! But that was really a fun thing to me, and I’m feeling like that would explain a lot, too, with the direction I’m going in with my book and the wave of discounting of me that I experienced when I went to Kinko’s to get my second book copied. Rather than fight it, I stopped fighting it and relaxed about it, and started getting some pretty cool validation that everything was okay.
But I realized that there are things that I’m definitely still investigating with regard to the next phase of publication of not only my first book but this book, because since the last time we talked about my book, which was back in May, really, I had not gotten it published yet, and I have gotten it published since then and exactly in the manner that I wanted to.
What I wanted to ask you about is, now I’m in the process of creating readers for it, and my impression about the blocks that I’m moving through about that are really related to my own acceptance of not only what I’m saying in terms of the information about the shift, but in being really comfortable about it and not being afraid I’ll be burned at the stake. (Donnalie laughs and Elias chuckles) So I thought maybe if you would talk to me about that, because I am really wanting to know more and more about creating readers for this book and the direction I’m going in, which is to really trust what I’m saying and have fun with it.
ELIAS: This is the point. (Chuckles) You shall draw to yourself or generate what you identify as readers of the book as you allow yourself to trust and relax in that trust of your ability to be generating this manifestation.
LYNDA: Right, wow. I just want to say that I am definitely moving in that direction, and it’s pretty fun to me.
Michael made a really tremendously, to me, cool analogy in our discussion yesterday in her book session that we’re doing. She was talking about her imagery or the concept of moving a boulder. In a particular wave that she was dealing with personally, it felt like she was moving a boulder, but then rather than pushing against it, she decided to relax against it and go with the emotion of it.
Just that little hint of the action she took, I turned around and did the same thing in a similar situation of moving my own boulder, and genuinely allowed myself to feel the feeling of the despair or the frustration of it rather than push against it and create tension, which was a little bit of a different action for me. Doing that, I not only moved through it quicker but I generated a creation of corresponding with this individual that is really fun for me, and I shocked myself.
I think that the two are connected in terms of creating this little fun interaction that I’m creating, but it feels to me that that principle of leaning into instead of fighting against the duplicity wave or the frustration wave had a lot to do with it, and
I wondered if you wanted to comment on that.
ELIAS: You are correct, for you allow yourself to be incorporating information through this interaction that you engage with Michael, and in this, you are allowing yourself to be enacting these concepts through an objective understanding that you offer to yourself through example. This is your objective imagery that you are presenting to yourself that offers you an example of certain concepts that we discuss but in a manner that you understand physically within your actual reality.
In actuality, this is an example of the concepts that I have presented to you in relaxing and not creating the struggle and the push in relation to your experiences, and recognizing that in the presentment of emotion there is a message, not merely a signal.
LYNDA: That makes sense to me, because although the emotion ... I think the direction I’ve been going with emotion has been pretty absolute, because my emotions a lot of the times have been sort of fearful or depressing or I have labeled them ’bad,’ so I’ve tried to push them away. I see more clearly that in leaning into them rather than pushing that I move through them, and this is really interesting to me because I see where I have labeled them, judged ... well, not just judged them but limited their communication to me by judging them that way.
ELIAS: Quite, for as you create this judgment, you also create an automatic response to be eliminating the emotion for it is uncomfortable, and in your push to be eliminating the emotion, or to be overriding it through thought or altering it, you merely receive the signal and you do not pay attention to the message.
LYNDA: Right. This is starting to make sense to me. I think the thing that was a little bit confusing is becoming familiar with the choosing piece in the process of this, because as we discussed last time there’s no ... just starting to turn and pay attention to what I’m actually choosing moment by moment or the feel of that has really given me a lot of information about, for example, this other individual we’ve been talking about. No matter what my emotions and my thoughts are about this person, I’m watching myself choose a specific direction, and trusting that and making different choices and different creations.
And, Elias, as you know, this idea of giving myself permission to create what I want is really very new to me, and it’s pretty fun. It’s also very motivating for me to stay in the moment with no expectation. But even if I have a little expectation, I don’t kill myself, you know what I mean? (Elias chuckles) It’s being more normal with the flow of me, which is really fun.
Validating you - you get one point this morning!
ELIAS: Ah! Thank you. (Chuckles)
LYNDA: You’re welcome. This is very fun ... oh, goodness! I know what I wanted to do.
If this is acceptable to you, I know that you’ve given information in the sessions about our dear brother Adolph - joke, joke! - and when I talked to you my impression was that he was Zuli and Vold aligned, and at that time you validated it ... I’m sorry, Vold belonging, Zuli aligned, which you validated at the time. Then Deane asked you for his alignment and you said Ilda, and Deane questioned that. Both Lawrence and I made the same comment, that it was some kind of an energy fluctuation or that he’s both. I just wanted to get clarification for the record from you, if you wanted to do that, of his alignment.
ELIAS: You are correct in your identification of fluctuation, so to speak, for the individual focus alternates in alignment.
LYNDA: Oh, that’s interesting, that’s what Michael thought it might be. That’s a trip. Hey, Donnalie, are you awake?
DONNALIE: Yes. (Elias cracks up)
LYNDA: You know how these intermediate people fall asleep a lot! (Elias chuckles) I think I’ve got a lot of shared focuses with this Mallory individual, and I think ... she’s so familiar to me! Why is this person so familiar to me?
ELIAS: You have answered your question!
LYNDA: Ah, right - we have a lot of shared focuses. (Elias chuckles) It’s really fun to me.
You are really familiar to me, Donnalie. Do you have any questions you would like to ask our friend, Elias?
DONNALIE: Yes, I do have one. Is there a difference in just wanting something and creating it? I mean, if you want something I guess you can go in the direction of not creating it, but doesn’t that in itself kind of create it, or no?
ELIAS: Let me express to you first of all, any direction that you move into and choose any particular choice in any subject matter, each moment that you create any choice all probabilities are thusly created, but not all probabilities are inserted into this physical reality that you recognize. You choose one and you manifest that one in a particular moment, but all other probabilities in association with that subject are also manifest in probable realities which, in a manner of speaking, parallel this physical reality that you recognize.
Now; in association with your question concerning wants, you may engage your thought process, you may express a thought in association with a want, and you may not necessarily create that want. For you create what you concentrate upon, and you create expressions or manifestations in association with whatever direction you are moving in in a particular time framework or moment.
Now; let me explain. Your concentration is the expression of your attention. Your attention is NOT your thoughts. Therefore, what you think is not necessarily what you are concentrating upon.
Thoughts are designed in your physical reality to be translating and interpreting information that you offer to yourself. You offer yourself information in many, many manners. Thought in itself is not a communication; it is a translating mechanism. Therefore, at times you create a thought that expresses to you an identification of a want, but it may not necessarily be an accurate translation, for it is dependent upon where you are directing your attention as to whether the translation of the thought shall be accurate or precise or not. It may be partially correct.
You may express to yourself a want through thought, and indirectly it may be correct; but the identification of the want may be distorted for your attention may be scattered, and if your attention is scattered, the mechanism of thought moves to be assessing all of the directions of your attention in a particular moment, which may confuse the thought process. Therefore it gathers all available information, and in its compilation of all of the different expressions of information that it is being offered, it may express to you an identification of a want, but in actuality the genuine want may be disguised. (Pause) Let me offer you an example.
DONNALIE: That would be good. I have a hard time understanding you when you talk. (Elias chuckles) I’m concentrating so hard I’m going cross-eyed!
ELIAS: HA HA! It is unnecessary to be engaging thoughts to this extreme! (Donnalie laughs)
You may, in a particular moment, express a thought to yourself that in that moment you want to be consuming ice cream.
Now; in response to this thought identifying a want, you acquire a container of ice cream and you begin to consume this ice cream physically, and within a few moments you express another thought in questioning and you express to yourself, ’Hmm, this ice cream is not satisfying, but I thought I wanted this ice cream. Presently I am confused, for I am not satisfied with this ice cream.’ And you discard the ice cream, and you ponder in confusion why you have not been satisfied by the consumption of this ice cream, for you have clearly identified within yourself that you WANT the ice cream.
Now; this is an example of the creation of an identification through thought of a want which is unclear. It is a distortion. You are attempting to identify a desire which is being expressed inwardly. The translation objectively within your thoughts of the desire has been expressed to you in the form of a want, but it is an unclear want - although it appears to you to be quite clear and quite definite, for you have turned your attention to your thoughts.
In turning your attention entirely to your thoughts and not paying attention to communications - remember, thought is not a communication, it is a translator - therefore, in not paying attention to the communications and focusing your attention intensely upon your thought mechanism, you automatically trust the thought and you automatically respond to the thought as an absolute.
Now; once responding to the thought and recognizing that the want was expressed inaccurately, you become confused and you question yourself, expressing to yourself, ’If the ice cream is not what I want, what DO I want?’
Now; once identifying that the thought has been inaccurate and questioning yourself in the identification of the genuine want, you may turn your attention to the actual communications - your impressions, your senses, your intuition, your emotions - paying attention inwardly to what you are actually DOING. The want of the ice cream has been a translation of the thoughts in response to a subtle emotion of longing. The feeling of longing is the signal. You identify quickly signals objectively, but you also automatically stop with the signal. Your attention moves to the signal, and you respond merely in the identification of it, the feeling of longing. Most individuals do not allow themselves to pay attention to the message which is being offered with the signal.
Emotion is not a reaction. It is never a reaction. It is a communication, and in the moment the emotion is expressing a communication identifying precisely what you are doing inwardly in that moment. But if you are not receiving the message, you merely continue the signal and confuse yourself.
Now; in signals that you deem to be uncomfortable, your automatic response is to be overriding the signal through thought, attempting to change the feeling through thought, or to be pushing the emotion, the signal, away, distracting yourself that you shall not feel the feeling any longer.
Therefore, in relation to wants, many times your thoughts are accurately translating your communications and many times your thoughts ARE expressing to you a genuine translation accurately in the expression of wants, and therefore you trust the translation of your thoughts. But many times the translation is not accurate, and this creates confusion and frustration.
The manner in which you may recognize whether your thoughts are translating accurately or not is that you do create a quite efficient system in your reality of offering yourself many avenues of communication. In the moments that your thoughts are inaccurately translating, the communication systems move into expression and they begin expressing to you the identification that there is a misunderstanding of thought. You shall present yourself with imagery physically, or you shall present yourself with an emotion, [or] you shall present yourself with impressions; but the snare is that you have all become quite familiar with trusting and paying attention to thought in extreme, and you allow yourselves to move in the direction of altering your choices based upon the translation of your thoughts, and subsequent to these types of actions you create conflict or disappointment or frustration. This is the reason that I express to you all repeatedly to allow yourselves to become familiar with you, pay attention to you and your communications to yourself.
I may express to you, Mallory, you express within yourself a desire to practice paying attention to what you identify as your instinct. This that you identify as your instinct is synonymous with what I may express to you as your intuition, that voice that speaks to you in genuineness, that voice which may be trusted, which shall not betray you. But you struggle with this voice and challenge yourself with thought. You override that small voice with your thinking.
DONNALIE: So that is the voice to listen to.
ELIAS: Yes, rather than creating your continuous duel between the thoughts and the voice of your intuition.
DONNALIE: Because I use it a lot.
ELIAS: I am aware.
DONNALIE: Do you know why we ask these questions indirectly? Do you know what we’re really talking about when we do, sometimes? (Laughs)
ELIAS: Through your energy expression, yes. I may also express to you that you may ponder - pay attention - when you are expressing indirectly. What are you not trusting? What is the nature of your concern and your fear in the moments that you choose to be moving around your country to cross your street? And what are you avoiding?
For I may express to you quite genuinely, as I have many times with other individuals, in the moments that you allow yourself to clearly express a question, you also shall understand the answer more clearly, and I may express to you also, which I have offered many times throughout this phenomenon, although you all believe that there are secrets within your reality, this is an illusion, for in actuality within consciousness there are no secrets. (Chuckles)
LYNDA: You laugh!
ELIAS: It matters not; there also is no judgment. As you speak with this essence, I may express to you in truth there are no judgments. It matters not - your choices are merely your choices. Your experiences are merely an exploration. There are no good or bad or better or worse choices. They merely are choices for experience within a particular moment. They are not a reflection of your worth or your value, for that may not be affected in actuality by any of your choices.
DONNALIE: Well, that was crazy - not in a bad way! (Laughing, and Elias chuckles) I’ll have to ponder. I don’t know what to say to any of that!
ELIAS: Ha ha ha ha! Very well!
DONNALIE: You still there, Ruther?
LYNDA: Yeah. That would be me, Ruther! (They all laugh) Wow, Elias, you talk good, G-U-D! Thank you for that.
ELIAS: You are quite welcome.
LYNDA: I think that the big, big, big boogeyman of judgment and karma is pervasive in this dimension and in many, many, many, many time zones, and I did not even realize myself, Mal. It’s so automatic to think there’s gonna be consequences. It’s so difficult. I just love what you’re saying Elias, because concentrating on you in the moment and trusting self is doable.
ELIAS: Quite! And in actuality, as there is no actual expression of cause and effect, this is merely an expression of your beliefs. There are no consequences for any action that you do not create yourself. This is merely a response of your beliefs.
LYNDA: We just did that for the fun and the experience of it - excuse me? (Elias laughs) Oh god!
ELIAS: Why shall you not explore every aspect of this physical reality and all of its experiences?
LYNDA: Right, I get that!
ELIAS: Be remembering the physical design of this physical dimension is the expression of emotion and sexuality. Therefore, why shall you design a physical dimension to be exploring sexuality and emotion and not explore sexuality and emotion? Ha ha ha!
LYNDA: In every nuance of it.
ELIAS: Quite!
LYNDA: Right. I keep telling you that, Elias, but no no no no no, it doesn’t register; but okay, fine! (Elias chuckles)
ELIAS: I shall be studying, Ruther. (Donnalie laughs)
LYNDA: There will be a test.
ELIAS: Very well.
LYNDA: Thank you. This is great. I think I’m done, sister Mallory, are you?
DONNALIE: Sure.
ELIAS: Very well! I express to you both tremendous affection as always, and a reinforcement and an assurance of complete acceptance. Perhaps you may offer this acceptance to yourselves also, but in the interim you may receive it from myself. (Chuckles)
To you each, this morning, I bid you a very fond au revoir.
Elias departs at 10:31 AM.
(1) Lynda’s note: TDG stands for The Dead Guy.
(2) The Game is an exercise in impressions. For information regarding the Game, visit www.eliasweb.at, select ’Elias-Related Information,’ then ’,’ for an explanation of how it works and the current game board and entries.
(3) Lynda’s book is on-line at
(4) See , 6/28/01.
(5) Originally expressed as ’And what you are avoiding.’
©2003 Mary Ennis, All Rights Reserved
Copyright 2001 Mary Ennis, All Rights Reserved.