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albionspeak: a draught of language (2.4)

The Table of Contents below is too long to display fully. If you click to the right of these Lessons,you'll see the primary source documents displayed under each. These original sessions are a world treasure.

3b Images & Attributions (in order of appearance)
1.  Banner:  Rhiannon C. 2016
            a)  Jewel Mandala (2):  D.C. Albion 1994
            b)  Jewel Ouija Board (2):  D.C. Albion 1994

2.  Mickey Mouse as "The Sorcerer's Apprentice," Walt Disney, ©The Disney Company
3.  Photos of Albion's magic rainbow kite (a-l): D.C. Albion 2017
            a)  rainbow head
            b)  navy blue w/ moon & stars
            c)  magenta
            d)  pink
            e)  vermilion & f) knotted blue tail
            g)  orange
            h)  yellow & i) knotted blue tail
            j)  green
            k) knotted blue tail
            l) knotted blue tail

4.  Mickey Mouse as "The Sorcerer's Apprentice," Walt Disney, ©The Disney Company
5.  Photo of Kate Bush  
By Permission obtained from the creator here (Archived here) - Philip Chappell aka squidneyImage courtesy of a user of the Kate Bush News & Info Forum, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2027491

Kate Bush

1958 -

SESSION 25:  2ND NIGHT, 6/22/95                                                                       


            The first night of most years' ouija sessions tends to be shorter, introductory.  After airports & jet lag take their toll, Scribe's energy is a factor.  But more, first nights are an opportunity to reacquaint ourselves with friends & process and set an agenda for the coming nights, one open to serendipity.  Session 25, as you can see above, is a second night, normally the big night in any given year's sessions, when we get our most mind-blowing news.  (Then subsequent nights help us cement these revelations into their new paradigm.)  Session 25, however, reads more like a first night, as we slowly wander through new settings and barely seem to get to business.
            That we might appear to "waste" valuable ouija moments dithering on fanciful settings and nautical metaphors can irk the impatient apprentice.  Let's get down to the business.  And I confess I heard this voice in a corner of my head before I knew to call it the cricket.  But Scribe—because he is a scribe—loves fancy, loves the flowers & fruits of imagination, so setting settings was his brain child, starting with scenes from Keats's "On the Sea."  Clearly Scribe saw what I did not, for our teachers then pounced on his suggestion and ran with setting.  I knew we were doing more than playing "pretend." I saw at once, for instance, how setting connects to the profound concept of ports.  But it's taken me decades to grasp why my teachers (including Albion, my overseer) felt that setting was pedagogically necessary to our curriculum. It's more than window-dressing (and will now have to be addressed in a future lesson).
           Session 24, the first night, was nearly devoted to settings.  Jane led us from a seashore to a cave in a cliff and eventually to our Grotto—not some small weeping wall with icons & offerings—rather an expansive underground lake, silent and illuminated only by a galaxy of dim stars on the ceiling.  The Grotto is a place all Jewel members come to for contemplation, and all are represented in the deep stars.  Conjunctions & constellations were identified & discussed, themes to come.  Importantly, we are not the stars. Rather the stars mark the points where two members meet & collide.  As Anand poled our boat across the shallow cavern lake, we followed our stars reflected in the still water. 


9:40 PM

A Look Back

  1.       Question:            [Guide], are you there?
            Answer:           
[YES]   I  AM IN [THE] BOAT
                            ARE YOU READY TO DISEMBARK?


  2.       Q:            Yes, we are.
            A:           
SAME CAVERN    ONLY [THE] SHORE IS NEW –
                            ONE LAST LOOK BACK?


 3.        Q:            Please.
            A:           
JANE –
                            I  AM STANDING HERE ASHORE
                            BEHIND A NIGHT SKY
                            AND BEFO. . .
 
4.                                       FORE A NARROW PASSAGE

  5.       Q:            Shall we proceed?
            A:           
[YES]   ANAND HAS TO FASTEN OUR BOAT

  6.       Q:            Anand, will we be needing it for a return trip?
            A:           
[YES]   ALMOST CERTAINLY

                                        
Was there a plan after all?  A significant datum. [The

                            previous night we'd learned that "we need not to plan," something

                            Scribe just discovered in composing poetry.]

  7.       Q:            Will we be returning to the grotto, or the harbor outside the cliff?           
            A:          
  TO [THE] CAVE OF MANY LIGHTS

  8.       Q:            Does the passage lead to the ship?
            A:           
[YES]   ITS AS NARROW AS ONE PERSON
                            GO ONE BY ONE BY ONE


                                         (cf. 94:  22.75)  This reference, in turn, quoted my poem

                            “Sleep Talk.”



The Narrow Passage


                                         
I understood that we were being led through this narrow

                            passage for a reason, so that we might discover something.  (That

                            is, I don’t believe in the spatial necessity of such a passage.) 

                            Therefore, it was logical to explore what little one could.

10:00 PM

Markings on the Threshold

  9.       Q:            Are there markings on the walls?
            A:           
[YES]   OUR FOREBEARS ON [THE] THRESHOLD OF TIME

10.       Q:            Made the markings, or are represented by them?
            A:           
BOTH MADE & DEPICTED

11.       Q:            Are there any that any of you would like to point out?
            A:           
HERE IS A TREE
                            HERE  A FLOWER
                            HERE  A CUP


                                         
We were quite familiar with the flower and the cup, and

                            last year we did learn of Kteresh, a living tree sacred to one of our

                            early forebears; but Kteresh was never held up as a metaphor of our

                            karass.  I now suspected that our talks would at some point turn

                            to the subject of the tree; yet when they finally did, I’d already

                            forgotten about its image on the wall.

12.       Q:            Why did they make these markings?
            A:           
JANE -
                            I  SPOKE OF [THE] FEARSOME PASSAGE
                            IT IS MARKED FOR OUR BENEFIT


13.       Q:            What is there to fear?
            A:           
TELL ME PLEASE WHY WE FEAR THE DARK?

14.       Q:            Isn’t it largely because our primary sense modality has been         

                            rendered useless?
            A:          
  SO HERE IN INTELLECT & WE PROCEED BLINDLY

                                         If our intellect were turned off, how could we communicate?

                            Q#14 is a good illustration of how Scribe often phrases questions

                            in ways I would never consider.  I can be articulate, especially if

                            given a moment; still I’d have never asked this question in this way.

15.       Q:            More so here than in the grotto?
            A:           
THERE WE HAVE TWIN COMFORTS
                            [THE] STARS    [THE] MIRROR
                            HERE WE FALL BACK ON OUR SELVE


16.       Q:            Isn’t it enough that we can trust ourselves?
            A:           
CAN WE?

17.       Q:            If the passage is so narrow, how could we go wrong?
            A:           
ITS BECAUSE IT IS NARROW THAT WE FEAR


                                         We never tried to find out why apparently we’re
instinctively

                            claustrophobic.  I tend to think that on an allegorical level, we were

                            walking through our birth:  The Grotto is the womb; we pass through

                            the narrow passage, fearsome & constricting; then we enter the

                            outside world.   (This insight did not come to me until late in our

                            sessions, however.)

18.       Q:            Our forebears are depicted on the walls; is our mandala also here

                             somewhere?
            A:           
[NO]   BECAUSE SIGNS INVOLVE OUR NET RATHER

                                        THAN CIRCLE

19.       Q:            Is the Jewel depicted somewhere?
            A:           
BY AN ANCIENT RULE [NO] IMAGEZ OF [THE] JEWEL

                                         ARE TO APPE[ar]

                                        Obviously to keep members from making the Jewel into

                            an idol. (This is so Old Testament.)

20.       Q:            Please lead on.
            A:           
I WANT TO SHOW YOU ONE MORE IMAGE
 
10:27 PM

The Flying Man / The Falling Man

21.       Q:            Please do, Jane.
            A:           
I  CAN DESCRIBE OR SHOW OUR SCRIBE DIRECTLY

                                        Scribe was given three direct visions last year (the linen

                            napkin, the tree of Kteresh, & the terrible Loom).  It seemed just

                            a matter of time before he’d be sent another one this year.  Scribe

                            now quoted the instructions for receiving such visions as they

                            were presented to us last year (cf. 94:  18.18).
 
22.       Q (Scribe):  Halt session?  Stand in darkness?  Or should I lie under the t
able

                           again?
            A:           
DARK IS NOT NEEDED
                           BOTH MUST WORK TOGETHER AGAIN –
                       
     [Albion]  LOOK DOWN & [Scribe]  LOOK UP AT [THE]

                                       SAME POINT –
                           I  SHOW


                                       [Over the years Scribe and I were asked to focus our intents

                           through a variety of exercises, generally in tandem, but with distinct

                           & complementary roles.  The vision described below was sent

                           after we had assumed a position that allowed each of us to look

                           at a different side of the ouija board/mandala.  Thus, Scribe had to

                           lie under the glass dining room table (immersed) to look up at the

                          mandala, while I looked down (from my peak) onto the ouija board     

                           face.  And to be clear, while I had constructed the ouija board, I

                           hadn't really looked at it deeply.  Recall, my eyes are closed during

                           messages.  Conversely, the mandala, which I know on the most

                           visceral level, Scribe had barely looked at, though he knew the

                           ouija face intimately.  We each gazed on the side most foreign to

                           us.  As to what these exercises actually do, I have no idea.  I

                           know that intending is really hard and physically taxes me as much

                           as running wind sprints.  But I have no rational explanation.]


                                       My role in this episode seemed insignificant:  I have

                           nothing to report.   Here’s Scribe’s side of the story (the underside):

            The Flying Man:
                           As long as my eyes were open, I could see only the pattern on the

             dimly-lit underside of our board.  It was when I shut my eyes that I saw a

             human figure, carved in bas-relief on a ground of grey rock.  The figure was

             rough, stylized, head-downward with arms outspread, in an inverted Y. The

             figure’s back and the back of its head were toward me.  Seen from a low

             vantage, the figure appeared to loom from the rock wall.

 
23.       Q (Scribe):  Jane, I saw a person (a man?) falling toward me with his arms

                           outstretched.
            A:           
FALLING OR FLYING?

24.       Q (Scribe):  Please tell me, Jane. To me, the vision was disquieting.
            A:           
FLYING    
                           BUT ONE ONLY FLIES IF ONE MUST


25.       Q:           Who is the man?
            A:           
[THE] FLYING MAN WAS MEANT FOR [THE] THREE OF

                                       US IN  PARTICULAR

26.       Q:            Please go on.
            A:           
[THE] ART IS TO FLY WHILE STILL IN TIME
 

                                       Here we are given a goal.  This must be attainable for

                            us; yet phrased in this way our goal sounds superhuman.

27.       Q:            Why must we fly?
            A:           
BECAUSE OTHERWISE WE FALL
 
28.       Q:            Is that true of everyone?
            A:           
[YES]   BUT SOME ARE BORN INTO FLIGHT & WE ARE [NO]T

                            Clearly, a lot of people are falling if this is all true.

29.       Q:            Can you tell us of someone who was “born into flight”?
            A:           
[YES]     DON   VILANSIT   JOSEF

30.       Q:            That means they could achieve effortlessly what we must work

                            to acquire?
            A:           
[YES]   DIRECT SEEING & DIRECT TRAVEL

                                        Whatever flight is, it’s not freedom from struggle; it’s not

                            enlightenment; it’s not clear knowledge of one’s place in the

                            scheme of things.  We know from their own words that both Don

                            and Vilansit were suffering humans, as we all are.                    

11:09 PM
31.       Q:            From what we’ve heard, Don did not know he possessed direct seeing.
            A:           
DON IS MODEST & ALSO GOOD AT CONCEALING

                                        Had Don deceived us?  Just how much did Don know when

                            he was alive, and why the deception?  These questions were raised,

                            but never with any hint of betrayal attached to them.  Now that we

                            were discussing “direct seeing,” it seemed like a good time to

                            introduce – and put to rest – my experiences in April of “automatic

                            writing:”​*  I was stoned on marijuana and by myself for the first

                            time in almost seven years.  As was generally the case back when I

                            smoked regularly, I heard voices.  That is, I found myself able to

                            hear the natural conversations which go on all the time in my head:

                            some of the voices being my own, some most definitely not (women,

                            children, old men, etc.).   I had written down such conversations

                            in the distant past and was generally disappointed with the results

                            the next day.  On this occasion, however – the first since we started

                            at our board – I found myself writing in the same Question/Answer

                            format found in these transcripts.  In fact, when I repeated this

                            experience the following night (having more dope than I’d thought),

                            I went straight to the computer and experienced something like

                            “automatic typing.”  
                                        Now by strict definition this was not automatic writing,

                            since my hand was controlled by me.  I knew what I was doing.

                            However, I did my best to write down what I heard, word for word. 

                            The content of the material is spiritual and karass-based.  I believed

                            I was speaking with our friends in the mandala, and I did gain

                            some valuable insights, especially some detailed information about

                            my drawing of our mandala and specific correspondences within it. 

                            Was the whole experience authentic?  Was it direct hearing?  Or

                            was it hubris-inspired delusion?  I had to find out.


The Kite’s Higher Colours

32.       Q:            Was Albion’s experience of “automatic writing” authentic?  If so,

                            was this direct seeing?
            A:            
[Albion]  YOU SPOKE [NO]T TO US

33.       Q (Albion):  Was I speaking to anybody?
            A:            
[YES]   YOU SPOKE WITH YOURSELF AS YOU ARE

                                        BEYOND TIME

                                        Naturally, I was pleased to have my experience confirmed

                            (and by extension, literally hundreds of like events from my college

                            days), even if my reading of the experience was incorrect.

34.       Q (Albion):  It seemed as if I were speaking with voices not my own. Does

                             the me outside time include voices such as yours?
            A:           
ILLUSTRATION?

35.       Q:            Please.
            A:          
  TAKE HOLD OF [THE] KITE’S END


                                        [I have to remind the reader that my kite is 33 feet 5 inches

                             long and, following explicit instructions from our teachers, encircles

                             the entire dining room table.  The head and tail meet to my left,

                             where we open or close our "door."  Somehow creating and entering

                             a circle enhances energies needed for focused work (and our teachers

                             recommend it for any such work:  writing, painting, playing piano,

                             etc.)  Very simple in design, the beautiful silk kite is comet shaped,

                             consisting of descending planes of solid color, roughly 2' x 3.5',

                             before tapering imperceptibly to a thin blue triangle  Notably the

                             tip of my kite has six or seven knots that mysteriously tied themselves

                             during the kite's maiden voyage (another whole story​*).  In an

                             earlier session we were told to think of our lives in time as "our

                             knotted days" and that the 9 inches of knotted tail is a fair image of

                             our lives compared to the rest of our soul, the other 32+ feet.]


36.       Q (Albion):  I have it.
            A:           
GOOD -

                            NOW TOUCH [THE] END TO A COLOUR HIGHER IN THE TAIL -
                            I  WAIT


37.       Q (Albion):  I have done so.  [blue against yellow, skipping green]
            A:           
NOW TELL ME WHAT THE KNOTTED END. . .
38.                                                                                                      
CONCEIVES

                                        OF  ITSELF AS DOING?

39.       Q:            From its point of view, it is talking to someone else.
            A:           
GOOD - NOW MOVE [THE] END YET HIGHER

40.       Q (Albion):  I have done so.  [blue skips over orange and touches red]
            A:          
  GOOD - WHAT DOES [THE] END EXPERIENCE NOW?

                                        Although we did not know it at the time, in choosing

                            yellow and red I chose the colours which correspond to me and

                            to Scribe respectively (cf. 27.47).

41.       Q:            Yet another voice.
            A:          
  ONE WITH MORE AUTHORITY MAYBE?
 
42.       Q (Albion):  So it follows.  But at that higher level, might I not include

                            Vilansit, say?
            A:           
NOT IN [THE] SENSE YOU MEAN

                                        This illustration, which involved my twice getting up and

                            adjusting the kite, seemed slightly excessive.  Couldn’t Jane have

                            just told us?  But I’ve come to view everything we do at our board

                            as necessary; therefore, there was method to this illustration. 

                            Besides planting this event more firmly into consciousness, moving

                            the kite’s tail further validated my experience of writing in April.

43.       Q (Albion):  When I spoke to my “higher” selves, was this a form of flying
                            or direct seeing?
            A:           
FOR FLYING [THE] KITE MUST [NO]T BE FOLDED

                                        BACK ONTO ITSELF

                                        So “flying” necessarily implies accessing outside information

                             (persons, places, & events included).


On the Scribe’s Visions

44.       Q:            When the scribe sees images, is that direct seeing?
            A:           
NO   THAT IS AN EXAMPLE OF WHAT SUCH SEEING

                                        IS LIKE IF HE…
45.                                 
                           …COULD SEE THEM WITHOUT OUR

                                        SENDING THEM WITH OUR ALIAH

46.       Q:            But surely all such seeing depends on the aliah of others in the karass?
            A:           
[YES]   BUT ITS [THE] DIFFERENCE BETWEEN

                                        DISCOVERY & BEING  TOLD

                                        It may also be the difference between flying like a bird

                            and flying in an airplane.

Jane’s Warning

47.       Q:            When speaking with one’s higher selves, is there a danger of narcissistic
                            idolatry or of being lost within a house of mirrors?
            A:          
  [YES]   IT IS VERY DANGEROUS  I  THINK

                                        Here I return to my concern of the last several years

                            (cf. 94:  21.53; 93:  13.38).  In the net of Indra, since every jewel

                            reflects all the rest, then each can see itself reflected everywhere -

                            a danger.  This is one reason why I believe a  karass is a union of

                            unlike minds.  Because we’re different, we can find each other

                            in the Loom; and we don’t get lost in ourselves.  However, travelling

                            up the colours of the kite presents a possible threat.  One sees only

                            oneself, and one can be dazzled by self-vertigo.

48.       Q:            Do you advise against it?
            A:          
  I  AM NOT FORBIDDING
                            I  ONLY MAKE YOU AWARE OF RISKS


49.       Q (Albion):  Can’t I trust my higher selves to watch out for me?
            A:           
ITS [THE] KNOTTED END  I  AM CONCERNED ABOUT*






                                        Our first use of the period.  Because it is so easy for a reader

                            to miss its deliberate use and emphasis, I feel it is necessary to use

                            the “*” in place of the small dot.  Frankly, after so much consideration

                            into what punctuation Scribe & I should include on our new board,

                            the period now seems unnecessary.  It should be noted that I did

                            have a third “automatic writing” session.  This one, however, was

                            cut short from above.  That is, I was receptive enough to get a couple

                            of clear responses, responses which told me there would be no further

                            message.

50.       Q:            Have Scribe or Albion ever flown before?
            A:            
OH [YES]   MANY TIMES IN MOMENTS OF INTUITION -
                            I  SPEAK OF MAKING IT CONSTANT


                                        Intuitive moments are for me the breath of life.  I drool at

                            the thought of a constant breeze under me.

51.       Q:            Anand, will you tell us of your experience of flying?
            A:           
[YES]   I  WAS NOT BORN TO IT
                            BUT CAME TO IT VERY SUDDENLY


52.       Q:            Tell us more.
            A:           
ONE DAY  I  WAS IN MID AIR     OR MIDSTREAM?
                            BUT  I  DO NOT THINK. . .

53.                                                                  
…YOUR WAY IS LIKE THIS -

                                        ALL OR NOTHING
 

                                        Scribe & I have a hard time distinguishing this experience

                            from what we’ve always considered “enlightenment.”   And we had

                            already acknowledged that the sudden path (as some zen schools

                            teach) is not ours.  Although I might desire my own road to Damascus,

                            I’m being timed-released, like a capsule in the bloodstream. I think

                            the reason for such a gradual progression is so I can survey all the

                            steps along the way, that I may empathize with others on their own

                            paths, and that perhaps I can help others with obstacles I have

                            personally overcome.  Who is better able to counsel an alcoholic,

                            for instance, one who’s never known vice or a recovered alcoholic?

                            (Obviously any world needs both kinds of teachers.)

54.       Q:            Jane & Anand, we are grateful for what you have shown us in the

                            narrow passage.  Will our butterfly now lead on?
            A:           
[YES]   FOLLOW ME -
                            ITS GROWING LIGHTER AHEAD

 


The Gathering Port

Before the Falcon

55.       Q:            We’re right behind you.
            A:           
I   JOSEF   GREET MY DEAR SONS

                                       We’d been called “children” before, and [the first Albion]

                            had said he was like a father to me, the latest Albion (cf. 94:  18.37);

                            but never had we been recognized in this manner.


56.       Q:            Greetings, Josef.  Thank you for the dreams you’ve sent in the last year.
            A:           
THE MORE YOU RECEIVE THE HIGHER  I  WILL LEAD YOU

                                        An important response, though easily passed over.  Josef         

                             never wastes his breath.

57.       Q:            Josef, where are we?
            A:           
WE ARE STANDING ON ONE OF. . .
58.                                                                                  
…OUR PORTS


 
                                       I was confused about the preposition “on” here.  We soon

                            learn more.


59.       Q:            Will you describe the view?
            A:           
THERE IS NOTHING TO SEE EXCEPT OUR VESSEL

                                        WHICH DON ONCE CALLD THE FALCON

                                        (cf. 94:  23.58)  This was our winged ship.
 

60.       Q:            Shall we board?
            A:           
DON §

61.       Q:            We are glad to hear from you again, Don.
            A:          
  DO YOU FORGIVE ME FOR DECEIVING TWO FRIENDS?

62.       Q:            Of course, but why did you feel you needed to?
            A:           
BECAUSE IT SOUNDS SO PROUD TO SAY  I  AM FLYING

63.       Q:            So your knowledge of the Net was more specific than you allowed
                            (cf. 19:10-11)?
            A:           
IT WAS –                 
                            BUT LIKE BLAKE  I  DID NOT KNOW NAMES
                            & LIKE HIM  I  SAW A GREAT DEAL WITHOUT SEEING

                                        MY OWN ROLE –
                            I  DO NOT SEE IT EVEN NOW


                                        I'm still not sure what to believe, but I like and trust Don

                            completely.
                                        [At this point, having confirmed that my clairaudience

                            was authentic—though along my own axis of selves, not others—

                            I wanted to confirm the content I'd received.  Were we each indeed

                            represented on my mandala drawing?  Did I get it right?]


Other Ports Confirmed

64.       Q:            Is the brown planet we located on our board indeed you (or yours)?
            A:           
[YES]   YOU WERE QUITE ACCURATE, ALBION

65.       Q:            Accurate in each of the correspondences?
            A:           
DOWN TO [THE] LAST –
                            OH BUT ONE THING


                                        
“Down to the last.”  This is total confirmation of my

                            automatic writing contact with higher selves.  Prior to this experience

                            I had never even considered correspondences.  And to go eight-for-eight

                            in my first at bats!
                                        “
Oh but one thing is signature Don (cf. 94:  23.68).


 66.      Q:            Yes, Don?
            A:           
[THE] PLANET IS [NO]T ME EXACTLY
 
67.       Q:            Please explain.
            A:           
IT IS RATHER A PLACE WHERE MY POWER TO SHOW

                                        IS MOST ACUTE
                            THIS IS CALLD A. . .

68.                                                        
…PORT


                                        I’m always interested in terms to which we have no reference.

                            Unlike  aliah,  port is at least English.  Yet from Don’s response

                            world or stage seemed to make more sense.  Now we knew how one

                            could be “on” a port.


69.       Q:            Are we now standing on your port?
            A:           
NO   THIS IS A SPECIAL PORT FOR THE USE OF [THE] CIRCLE
                            IT IS A GATHERING PORT


70.       Q:            Vilansit, are you with us?
            A:           
I  AM   &  I  INVITE ALL ABOARD OUR FALCON
                            IT IS TIME


                                       [The previous evening, as we established the themes of our

                            sessions, we were told of our waiting ship.  I would be the navigator,

                            while Vilansit would provide a telescope.  Kate Bush's song   

                            Constellation of the Heart was already a touchstone:]  

​      

                           "If we take all the telescopes and turn them inside out

                       And point them away from the big sky,

                       Put your eye right up to the glass,

                       And here we'll find the constellation of the heart."


71.       Q:            What can you see out of your glass?
            A:           
IN   [NO]T OUT

72.       Q:            In your glass?
            A:          
  I  SEE A THREAD THAT IS OUR PATH 


How to Pull

73.       Q:            Do we now push off?
            A:           
IT IS MORE A QUESTION OF PULLING -
                            PULL THE THREAD AND [THE] DISTANCE BETWEEN

                                        THIS PORT & THAT  FOLDS UP

74.      Q:             Is it Anand’s role to pull the thread?
           A:             
[NO]   YOURS - I THOUGHT YOU KNEW


 
                                       I most certainly did not even suspect.  I thought navigators

                            just drew lines on charts.


75.       Q:            Anand, what is your role?
            A:           
THINK OF ME AS TAKING CARE OF NECESSARY

                                        STORES OR SUPPLIES

76.       Q (Albion): Vilansit, how do I pull on the thread?
            A:           
YOU INTEND [THE] FALCON & [THE] FAR PORT TO COINCIDE -
                            I  WILL TELL YOU HOW


77.       Q (Albion):  Please do.
            A:           
IT WILL BE TIRING IF YOU DO IT CORRECTLY
                            FIRST SIT OUTSIDE OF [THE] CIRCLE IN YOUR FORWARD

                                        BENDING POSTURE
                            HOLD THE PLANCHETTE BEFORE YOU
                            NEXT. . .

78.                                  
 …FREE YOUR MIND OF ALL BUT [THE] PORT
                            THEN PULL WITH ALL YOUR FIBERS
                            [THE] PLANCHETTE WILL BE IN MIDAIR IN FRONT OF

                                        YOU ABOVE YOUR LAP
                            TELL [THE] SCRIBE OF. . .

79.                                                                  
…ARRIVAL - YOU WILL FEEL IT
                            I  ESTIMATE FIVE OF YOUR MINUTES FOR PULLING

                                        OR FOLDING

                                        
What a bizarre task!  Clearly, this was an exercise equivalent

                            to Scribe’s immersion or his being sent visions.  Intent seemed to

                            be a key here; and since we associated intending with dreams, we

                            decided to ask Josef for help.

 80.      Q:            Josef, can you advise me on how to intend?
            A:           
YOU HAVE INSIDE YOU A NEEDLE   LIKE THAT OF A COMPASS -                                      FOLLOW?

81.       Q:            I understand your words.
            A:          
  USUALLY IT WAVERS & FLOATS & WOBB. . .
82.                                                                                        
WOBBLES -
                            YOU HAVE FELT IT

83.       Q:            How can I point it toward a planet I can’t see?
            A:           
DOES A NEEDLE NEED TO SEE NORTH?


                                        As soon as I asked the question, I knew his response.  Still,

                            I was fishing for something more concrete. 


84.       Q:            Have I missed anything?
            A:           
JANE -
                            ALBION   YOU LINE UP THE NEEDLE SO IT IS STILL

85.       Q:            Lights?  Music?  Eyes open?
            A:           
EYES CLOSED   OF COURSE

86.       Q:            And music?
            A:           
IF IT FOCUSES  [YES]
                            IF IT DISTRACTS - [NO]


1:23 AM
87.       Q:            Shall we proceed?
            A:           
JOSEF SPEAKS FOR ALL
                            THIS IS NOT WHAT YOU CALL FUN
                            DEAR SON, WE ALL RELY ON. . .

88.                                                                              
…YOU IN THIS TASK

                                        Very unsure of myself, I chose no music and total darkness.


                            Albion:   "This was no easy task.  Much went through my mind,   

            much of it being visual.  Initially, I tried visualizing my depiction of Don’s

            planet on the mandala.  I found this nearly impossible, and I quickly grew

            frustrated at my inability to hold such a simple image.  I would capture it;

            then a fog would come over my image.  After perhaps eight or nine minutes

            I noticed that the background to this fuzzy image was no longer black, but

            rather purple, the colour Scribe ascribed to Don in “The Partitas.” 

            Furthermore, I noticed a distant star near the planet and believed it was

            Albion’s sun, no longer close.  At some point later I grew near panic, my

            legs and arms shaking wildly with the fatigue of maintaining my position.  

            Perhaps the hardest part in the process was not knowing what constituted 

            success or failure.  I resolved to go until I could go no further, barring some 

            sort of revelation.  In near desperation I saw myself literally pulling on an 

            endless cable as fast as I could, hand over hand, pulling our boat up to the

            stars.  Still later, I found myself equally near panic, yet equally determined 

            to stick it out until physical breakdown (which seemed imminent), when I

            noticed Don’s world seem to slide up, over, and behind me, as though it

            were two-dimensional, like a coin.  Suddenly, I pictured myself hovering, as

            if in orbit, over Don’s brown world.  Then, after another desperate push - or

            rather pull - all my strength doing. . . what? - I found myself and our ship on

            Don’s planet.  Brown, barren shores were bordered by a purple ocean and

            a purple sky with a single star.  It seemed serene & beautiful, although lifeless. 

            My panic was abruptly gone; the image didn’t fade or shift.  I knew that

            although I could still stress my body for a little while longer, I would travel

            no further.  Still, I wasn’t at all confident of having succeeded." 

                                        After 12 minutes (not five) I called an end, and I had to break

                            to recover, exhausted.



Don’s Port


1:43 AM

The Result of Abysmal Magic

89.       Q:            Friends, have we arrived?
            A:           
[YES]   DON HERE
                            [THE] PORT IS BEFORE YOU
                            PLEASE REST
                            WHAT FOLLOWS IS NOT. . .

90.                                                                      
…PLEASANT OR EASY

 
                                       What preceded was not pleasant or easy.

91.       Q:            Don, please describe your port.
            A:           
RECALL THIS IS NOT MY WORLD   BUT WHAT  I  MAY SHOW
 
                                        Another disclaimer—signature Don. 

92.       Q:            Show us what you’d like to show us.
            A:           
I  WOULD CHOOSE NOT TO IF  I  COULD

                            BUT WE HAVE A RULE IN  [THE] NET    THAT EVERY MEMBER

                                       MUST SEE THE RESULT OF. . .
93.                                                                                    
…ABYSMAL MAGIC


                                        I knew this was coming.  My prepared list of questions

                            addressed this topic first, and I knew we were ready for such an

                            introduction.  I suspect Scribe, in contrast, was not thinking along

                            these lines.  Of the members of our mandala, only Don and I show

                            any fascination with the study of evil.  Know thine enemy; study

                            thine opponent.  While Scribe does not shy away from this study, he

                            seems to pursue it reluctantly and with a heavy heart.  He prefers to

                            look at evil, the fact, whereas Don & I want to understand evil as a

                            lust and drive, to learn why, why someone would ever choose it. 

                            The others of our group are almost uniformly silent on the subject.

94.       Q:            It’s better that we know.
            A:           
ALL THE POWERS THAT ENHANCE CAN BE USED TO

                                        COERCE -  FOLLOW?

95.       Q:            We do.
            A:           
IN THIS THREAD WAS A CIRCLE NOT WHOLLY UNLIKE OURS

96.       Q:            From the Jewel Net?
            A:           
I  WAIT TO TELL YOU THAT
 
97.       Q:            Please continue.
            A:           
THEY CULTIVATED [THE] POWER
98.                       
IN A WAY THEY WERE BRILLIANT
                            THEY LEARND NOT ONLY TO SEE INTO OTHER MINDS

                            BUT ALSO HOW TO ATTACH ONTO THE THREADS OF

                                        THOSE MINDS. . .


Josef Interrupts

99.                       
                      
      DON STOPS NOW AT MY REQUEST
                            JOSEF


                            NO PARTING TONIGHT
                            I  WILL BRING US HERE AGAIN NEXT TIME
                            GOOD NIGHT

                            ALBION   I  AM GLAD OF YOUR EFFORT


 

                                        Whoa!  Dramatis interruptus.
                                        Though disappointed, we did recognize the late hour and

                            the need for a lengthy discussion.  We were mostly sorry for

                            missing out on our nightly poem and parting words.  More Castaneda

                            similarities – disturbing ones.  Our main criticism of Castaneda,

                            now that we have begun our own sorcery apprenticeships, is that his

                            world is too cutthroat, too predatorial and devoid of love & art.  Yet

                            not only was Don’s to be a tale of evil, it also began with brilliantly

                            powerful (& presumably ruthless) forebears – hopefully not of our

                            lineage.  This corresponds exactly with what Carlos learned of the

                            ancient, pre-Toltec sorcerers from his own Don (Juan).
                                        I was very grateful for Josef’s words of approval.  It had
​                            been hard.




Hail aliah



§