3C Session 26
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. "The Tyger," William Blake (plate & poem) By William Blake - William Blake Archive, Public Domain, https://commons.wikimedia.org/w/index.php?curid=7882947
albionspeak: a draught of language (3.2)
SESSION 26: 3RD NIGHT, 6/23/95
[If you just finished the previous webpage, Session 25 (Chapter 2.4), then this
represents our next evening at the board, starting immediately with Don's interrupted lesson. While this represents a continuity of narrative & setting & content, a day's interval meant Scribe and I had hours to discuss and contemplate the previous night's session. This is not trivial. Josef's interruption intended the interval. Some knowledges need to be slept on as well.]
The day went quickly and without event. [My wife] departed before
dawn. We began with anticipation, perhaps even apprehension on [Scribe]’s
part – I am only guessing. Months before we had discussed choosing invocations
which would set a tone for discussion. Tonight’s was one I suggested nearly
a year ago (half in jest), Blake’s “The Tyger.” Neither serene nor “fun,” this
poem seemed perfect for the night’s dark opening topic. Indeed, I present it
here because it becomes a reference point. We each read it once.
The Tyger
Tyger Tyger , burning bright,
In the forests of the night:
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deep or skies,
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp?
And when the stars threw down their spears
And water’d Heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?
- William Blake 1794
1. Question: [Guide], are we here?
Answer: [YES] ALL ARE GATHERD
The Tale of a Fallen World
2. Q: Josef, may Don now continue his tale?
A: [YES] HE MUST – HEED HIM
IT WILL TAKE TIME
3. Q: Don, we heed you.
A: [THE] CIRCLE I SPOKE OF HAS NOW GROWN IN POWER
& ALL BUT CONTROLS [THE] DREARY EARTH
ON WHICH WE STAND
BUT. . .
4. …OF COURSE THEY ARE NOT [THE] SOLE CIRCLE
ALONG THIS THREAD – THERE ARE RIVALZ
5. AT LAST THEIR FOES DECIDE TO STRIKE AGAINST THEM
WITH [THE] AID OF A POWERFUL ALLY IN THAT
RIVAL CIRCLE –
THIS MEANS BOTH CIRCLES ARE USING MAGIC IN
[THE] FORBIDDEN MANNER – FOLLOW?
6. Q: We know of several stories not unlike this one, Don.
A: [YES] IT IS COMMON –
[THE] EVIL THAT MAKES USE OF MAGIC IS NO DIFFERENT
IN KIND – BUT IN A WAY WORSE, [NO]?
7. Q: Why is it worse, Don?
A: BECAUSE IT INEVITABLY COMES FROM PERSONS WHO OU. . .
8. OUGHT
TO KNOW BETTER –
[NO] IGNORANT MAGICIANS EXIST
9. Q: Could it be a question of being misguided but well-meaning?
A: IN [THE] BEGINNING?
IT IS POSSIBLE
THAT IS WHY WE TELL YOU SO EARLY
This all made good sense to us.
10. Q: Continue your tale, please.
A: THE END WE SEE ALL AROUND US –
IT IS A DEAD WORLD
11. Q: Is it necessary to describe this dead world?
A: IMAGINE A LABYRINTH OF STONE EXTENDING TO [THE]
HORIZON.
BELOW AN ASHEN SKY IMAGINE PYRAMIDS OF [THE]
MAYA RISING AT INTERVALS
[NO]T FROM A FOREST
BUT FROM THIS MOTIONLESS MONOTONY OF STONE
12. Q: Is a dead world preferable to one ruled by abysmal magic?
A: WHO CAN ANSWER THAT?
I CANNOT
It seems that once the first circle took control there was little
hope for that world. Was there another way out?
Throughout the discussion, I was very conscious of a response
from three years ago, “World is mostly not beautiful.” Could our world
also be ruled by such forces? Are there competing circles at work?
(Is this what our paranoid militias think is happening?)
Why It Fell
13. Q: What turned the first circle to abysmal magic in the first place?
A: I THINK IT WAS TWO THINGS
14. Q: Tell us the first, please.
A: A SENSE THAT ONE HAS [THE] RIGHT TO USE ALL [THE]
SOURCES OF POWER AT HAND
Somehow, I think in an age when colonialism, totalitarianism,
capitalistic exploitation, and eco-rape have borne their poisonous fruits,
Scribe & I are better able to appreciate this failure in understanding.
Might is not right. Then again, seeing the poison fruit simply
demonstrates the poor utility of such systems, while Scribe & I both
clearly feel the moral imperative as well. I told Scribe I couldn’t
understand, for example, why so many have pursued power for its own
sake. What’s the point? Isn’t it strictly a means to an end? He
responded with an answer I once offered him when he asked me
why one would ever want children: “If you have to ask, you’ll never
understand.”
15. Q: And the second?
A: A MISCONCEIVED IDEA OF FREEDOM
16. Q: Please explain.
A: FREEDOM AS LICENSE TO EXTEND [THE] SELF IN EVERY
DIRECTION*
17. Q: How do we know when it’s right to extend the self?
A: DISCOVERING [THE] KITE THAT IS THERE IS NOT EXTENDING
Our kites include Mayan pyramids, lunar eclipses, the Indian
Ocean, and ideal spheres; these, we have been told, are within us,
not outside. As we mature and our identities ripen, we become these.
Importantly, we become more uniquely ourselves and do not merge
with the pyramids and eclipses of others (into, inevitably, a singularity).
Discovering ourselves is a freedom we are allowed. And yet, as Jane
warned the previous night, becoming lost within one’s higher colours
is “very dangerous.”
18. Q: Death is not the end. What happened to the responsible parties?
A: FLAME WE SPOKE OF -
[THE] TEAR IN [THE] FABRIC?
A LINE THAT VANISHES
A fate much worse than. . . .
19. Q: All parties?
A: I DO [NO]T KNOW
I WISH TO TELL YOU OF ONE LINE
20. Q: What about individuals who did not use abysmal magic?
A: THEY ARE [NO]T ACCOUNTABLE FOR THESE KNOTS
21. Q: Therefore they did not vanish?
A: EXACTLY
“Business is with individuals, not mankind” (cf. 91: 8.35).
“The individual is the atom & the aleph” (cf. “Uncle Ludwig’s
Ladder”). This is hope, for one caught on an abysmal world. Death
is as far as one must descend, if the worst should befall. I think of
Tibetan monks lighting themselves on fire before Chinese troops,
smiles on their burning faces. Or Jews at Auschwitz & other camps
who refused to fight on religious grounds, and not out of cowardice [1].
Don’s tale told, we turned to my prepared list. Topic: The
Destruction of a Karass.
10:14 PM
Our Lost Member
22. Q: Josef, we once spoke of the destruction of an entire karass. Can
one evil circle bring about the fall of every member in & outside of time?
A: IT MAY CAUSE [THE] CENTER TO BE SO OBSCURED THAT
THE NEEDED ALIAH VANISHES - DON
23. Q: Can’t members of the karass reach back in time before the fall &
make the necessary corrections?
A: SO I FOR INSTANCE COULD ALTER YOUR CHOICES -
BOTH IN INTENT & RESULT?
We knew, of course, what Don was aiming at, but not all
interactions are abysmal.
24. Q: You could persuade us.
A: ONE CAN WARN & REASON WITH A CHILD BUT. . .
25. Q: Is there more?
A: YOU FINISH PLEASE
[The transcript often doesn't reflect how thoroughly Scribe & I
talked out and processed our lessons. Here, I can say with confidence, we
would have followed Don's instruction to its end, feeling then ready to
move on.]
26. Q: When some part of a karass falls, is it possible to expel that part?
A: JEWEL NET HAS DONE SO
JOSEF
[Scribe] chose “expel” over my word, “amputate,” which
he found distasteful; however, I used both in my oral rendering, and
I still prefer the organic connotation. Without doubt, the Jewel Net
is an organic structure.
27. Q: Josef, dare you give us an illustration?
A: [YES] WE SPOKE OF [THE] EMISSARIES FROM ETERNITY
DO YOU RECALL?
28. Q: We do recall.
A: SOME OF THESE CAME INTO OTHER KARASSES
JUST. . .
29. …AS OUR BUTTERFLY HAS INTO OURS, SO OUR
NET SENT THE BUTTERFLY’S COUNTERPARTS
ABROAD - FOLLOW?
This quietly confirmed what we believed last year, but were
not allowed to have confirmed: [Our guide] is not only a”
representative of eternity” (cf. 91: 8.43), but its “emissary”
(cf. 94: 21.3). We learned these emissaries were sent to Earth to
pave the way for the Jewel’s arrival in spacetime. We do not know
if this was [our guide]’s personal function, however; and it’s fair to
assume these emissaries have other missions as well. (Is [our guide]
an angel?)
[No, he's a daimon, but we hadn't heard that yet.]
30. Q: Please go on.
A: ONE OF OUR EMISSARIES WAS [THE] ALLY DON SPOKE OF
We did expect something like this, something personal to drive
the point home. Otherwise, as we commented at the time, Don’s tale
was simply a variation on a well-trodden theme, nothing new to us:
Castaneda’s ancient sorcerers, the fall of Lucifer, The Lord of the Rings,
etc. In hindsight, I regret our failure to appreciate the weight of this
horror. We heard the story, yes, and we intellectually took in the lesson;
but we could not remember our lost friend, as most certainly the others
at our table could. I am not sorry I couldn’t call up this lost friend -
that’s the lot of being human - I am, however, deeply sorry I failed to
realize how this tragedy was, for our friends, a personal one.
31. Q: While a member of the “rival” circle, this member of our karass employed
abysmal magic?
A: [YES] AND SO BECAME [THE] FOE OF OUR NET
But just as he fell in time - time being but a category of
experience - part of him still exists in time prior to his fall.
Jane & the Tyger
32. Q: Though this emissary fell in time, isn’t a part of him still a member
of our karass?
A: JANE §
33. Q: We greet you, Jane. Please go on: question or illustration? [Jane’s
twin signatures at our table]
A: ILLUSTRATION IF YOU WISH
34. Q: Please.
A: LET US SAY IT IS NOW WHAT IS OR WOULD BE [THE] FUTURE -
I AM ALIVE
35. Q: All right.
A: I RECEIVE [THE] DEEP CALL [to join the karass in time]
I DO NOT HEED & I DO NOT JOIN
36. Q: Please go on.
A: WHAT BECOMES OF [THE] PERSON TO WHOM YOU ARE
NOW SPEAKING?
37. Q ([Albion]): I have often wondered.
A: YOU CANNOT LOSE [THE] FACE I NOW PRESENT
BUT. . .
38. Q: But?
A: THAT JANE DOES LOSE ALL THE FACES YOU HAVE SEEN
[Scribe] had not really considered the thought before, whereas
I’d worked out whole metaphysical systems based on different
possibilities. Here, Jane answered several of my prepared questions.
39. Q: So we (the Jewel Net) still enjoy the faces of the lost emissary, but
he no longer has access to them?
A: WE SEE THE LAMB
HE PERSISTS AS [THE] TYGER
A new way to read Blake. The tyger & the Lamb not only have
the same creator, they are different faces & facets of the same creature.
Scribe misquoted for the lesson:
40. Q: “Could he who was the lamb be thee?”
A: [THE] TYGER CANNOT RECALL [THE] LAMB
[THE] ABYSS IS FORGETTING
41. Q: The tyger cannot recall the lamb. The lamb in turn can never be
full-grown?
A: YOU GRASP IT WELL -
VILANSIT
The abyss, among other things, is discontinuity. The thread
is cut. Depending on the vantage, it’s either a loss of past or of the
future, amnesia or existential death.
42. Q: If every time we spoke to Jane, she had the face of, say, a 5-year-old, we
would have cause to worry?
A: [NO] BECAUSE WHILE JANE IS ACTIVE NOT ALIVE
SHE CAN WEAR ANY FACE
["Active not alive" is a designated status we'd heard before
(like for a team roster). Scribe and I were similarly active in prior
centuries—such as my "visiting" Blake in 1794.]
43. Q: So she can present herself as an old woman, even if in life she will
die young?
A: [YES] AND SO CAN YOU
A clear reference to (and good illustration of) my automatic
writing experience. Although I was in contact with a “higher”
[Albion], I believed I was speaking at times with Vilansit, an old woman.
Kites That Are Torn
44. Q ([Albion]): So, Vilansit, just because I have spoken with older faces of
mine (including one called Vilansit), I cannot then assume I will not
tomorrow fall victim to abysmal temptation?
A: WELL PUT
NOW LET US SPEAK OF KITES THAT ARE TORN?
45. Q: It does seem to be the theme of this session.
A: CLOVENNESS
These last two responses were right out of a conversation
[Scribe] and I had had minutes before. While trying to grasp the
difficult concept of the Lamb & the Tyger, we had spoken of torn kites.
I had even joked about preferring the gerund “cleaving” to “cleavage,”
for reasons of [middle school] modesty.
46. Q: You were listening in on our discussion. Please clarify.
A: [NO]T AT ALL –
YOU WERE LISTENING IN ON US
47. Q: Is that direct listening?
A: IF YOU WISH [I didn't catch this pun until 2017.]
48. Q: We recall the proposition: “Just as you cannot be reborn, so you
cannot be cloven.” (cf. 94: 18.45)
A: NOW APPLY THAT TO A RIP IN [THE] KITE
49. Q: One can’t be on both sides of the tear at once it seems.
A: WELL SAID. . .[[Scribe] loses track of the rest.]
More on How to Pull. . .
50. Q: Is there more?
A: JANE §
51. Q: Go ahead, Jane.
A: I ASK [Albion] WHETHER HE CAN MANAGE ANOTHER PULL –
WE NEED NOT STAY ON THIS WORLD
52. Q ([Albion]): I will do my best. (I was feeling quite strong & capable.)
A: GOOD –
THIS LEAP IS EASIER & ANAND WILL HELP YOU
53. Q: Where to?
A: TO [THE] GREEN WORLD OF WATERS
Anand’s port. I’d had no prior insight of water on this world;
but given his life on the Ganges and his predilection for ferrying, this
was in character.
Don’s Pyramids
54. Q: Don, any last look at your world?
A: [YES] KEEP IN MIND THESE PYRAMIDS –
AS DIFFERENT AS THEY SEEM THEY ARE COUNTERPARTS
OF YOUR CIRCLE OF LETTERS*
A strange parting image, emphatically punctuated.
As backward as our ouija board appears (in this modern cyber-
world), it seems remarkably practical, compared to what we’ve heard
of light jets & corn circles, the plains of Nazca, and now rows of
Mayan pyramids on dead worlds.
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.
[1] Correction: This last sentence doesn't reflect my thoughts accurately, either now or when I wrote it: I don't think of the gassed Holocaust millions at all as "cowards"; I meant that some faced their fate without denial, knowing exactly the extinction before them.. That kind of heroic honesty does not make most other people cowards.
. . . Pulling Continued
55. Q: Same procedure as last night? If so, are we ready, Anand?
A: JANE STILL -
BEFORE WE LEAVE LOOK BOTH OF YOU AT [THE] MANDALA
& ESPECIALLY [THE] TWO PORTS -
WE WAIT
Again, we lie under the table. Little talk this time, just a
quick look.
56. Q: We have done so.
A: DON -
[THE] TASK IS NOW TO BE PICTURED DIFFERENTLY
57. Q: How so?
A: PUT BOTH PORTS BEFORE. . .
58. BEFORE YOUR MIND
DO [NO]T TRAVEL BETWEEN BUT PULL THEM TOGETHER -
DO YOU SEE [THE] DIFFERENCE?
59. Q ([Albion]): Where do I stand with respect to the planets while pulling?
A: TAKE [THE] POINT OF VIEW OF YOUR DRAWING
EXCEPT OMITTING ALL [THE] OTHER PORTS -
60. Q: Anything else?
A: ANAND §
61. Q: Yes, Anand?
A: THINK OF ANAND AS BEHIND YOUR SPINE -
ALL TENSION OF INTENT FLOWS OUT OF YOU & INTO ME
I recalled one of my early poems, from June, 1980:
The mystery is here,
in the yucca,
whose spines one will not touch.
Here, in the butterfly,
who sits on the spine.
Isn’t [our guide] the butterfly? This was pre-Germany,
even largely pre-[Scribe]; yet even then I knew there was something
“right” about this image. (That is, I intended the pun, knowing there
was something mystical about it.)
As is often the case in the wee hours of the morning, mistakes
are made. Not for the first time [Scribe] numbers incorrectly. For
the next twenty-one responses there will be a one-question discrepancy
between the typed and original transcripts. At response Q#82 there is
another correction. ([Scribe] hates making this kind of inevitable error.)
62. Q: Is there more?
A: ONLY RECALL THAT INTENT ARISES IN YOU & ENDS IN ME
GO AHEAD
[Albion] : This was much easier and lasted only six minutes. I was
able to visualize both depictions of the ports rather easily. Almost immediately
the two two-dimensional planets moved to face each other and then slid around
& behind each other, occasionally merging. After a while, I saw only Anand’s
planet, green, with the sun creeping over the northern horizon. I visually rushed
to meet the sunny north and found myself descending toward the planet at a
sharp angle. Although there was no apparent atmosphere, I wondered if I might
not skip off, so shallow was my trajectory. The scene, however, was far more
beautiful than if I’d simply gone straight down. There was a tremendous sense
of speed and a Stanley Kubrick-like grace to the approaching green ocean.
Suddenly there was a clear splashdown. Although I had orbited at least a third
of the planet in my descent toward the planet’s daylit face, I found our boat on
a green sea at night. This time when I announced the end, I was confident of
success and remained fresh.
12:24 - 12:30 AM
Anand’s Port
Undersea
63. Q: Anand, were we successful?
A: [YES] WE ARE COME TO MY PORT
64. Q: What do we see?
A: WE ARE NOT ON LAND BUT UNDERSEA
IT IS VERY LIGHT STILL BECAUSE. . .
65. …[THE] LIGHT THAT
ORIGINATES IN ALBION [THE] SUN CAN GO MUCH
DEEPER THAN ON YOUR WORLD
My visualized splashdown put us on the sea at night, not
under it during the day. While we now knew, from Don’s confirmation,
that the sun on our mandala represented me, this was the first we’d
heard of its light reaching - and presumably affecting - other ports.
Another clue about the Albion role.
66. Q: What would you like to show us?
A: WHEN DARKER THE FIERY FISHES
FOR NOW WE WAIT ON YOUR QUESTIONZ
Last year we were told Anand would aid [Scribe] with
“immersion” and was [Scribe]’s “help for this stretch” (cf. 94: 19.22).
One of [Scribe]’s priority agenda items - sometime during our sessions -
was to thank Anand for [Book I, recently finished]. This was the
obvious opportunity.
The Importance of Sequence in Poetry
67. Q ([Scribe]): Anand, I would now like to thank you formally for your help
in writing [Book I, recently finished].
A: REMEMBER IMMERSION
IT IS YOUR MODE & I ACT AS A PORT OF ENTRY
One fascinating aspect of writing [Scribe's first scribal book]
occurred when [Scribe] discovered – toward the end of writing it –
that each section corresponded to a member of our mandala, with an
additional section for the Jewel. Members are not named or talked
about; rather their auras seem to set each section’s tone. That the
members were arranged sequentially seemed more governed by
aesthetics than by any karass necessity. (It’s not a karass poem.)
However, over 700 lines into his next poem, [Book II], [Scribe]
discovered not only did sections again correspond to mandala
members, but we were each represented in exactly the same sequence.
68. Q ([Scribe]): You do seem to come first in the sequence in that poem &
the following [Book II, underway].
A: WE HAVE A PARTICULAR AFFINITY
69. Q ([Scribe]): Why is the entire sequence necessary?
A: FOR YOU IT IS LIKE TRAVELLING UP THE KITE THROUGH
[THE] COLOURZ
70. Q ([Scribe]): The only anomaly is that the Scribe element appears so late
(between [our guide] & Vilansit).
A: IT REQUIRES THAT MUCH ENERGY BEFORE YOU CAN
LOOK AT YOUR OWN ROLE
71. Q ([Scribe]): So, in the act of writing, I’m going from what requires less
energy to what requires relatively more?
A: ISN’T THE ORIGIN EFFORTLESS –
ISN’T THE END ALMOST PAINFUL?
[Scribe] agreed wholeheartedly with this assessment.
72. Q ([Scribe]): Why aesthetically (rather than procedurally) should the poem
proceed from easiest to hardest?
A: IT IS LIKE A PROCESS OF KNOWING OR ARRIVAL
73. Q: If [Albion] were to write a poem (or undertake something analogous)
would he have the same sequence?
A: [NO] IT WOULD BE RATHER DIFFERENT BUT AS
STRICTLY GIVEN
My own pressing agenda item with Anand concerned our
bargain (cf. 94: 20.56). Apparently my early interest in “arrival,”
which I call “enlightenment,” was an interest I gained from Anand
in exchange for what I’m best at. To date, however, I haven’t decided
what I’m best at, so I haven’t yet compensated him. (At this time my
intuition tells me my area of mastery will be in games, as a Magister
Ludi. I am not, of course, referring to cards, board games, or sports,
although I do have natural love & talent there. I refer more to my
approach to reality, to rules & limits, to metaphysical knots, etc. I
could be way off here, but I include this speculation for the record’s
sake.)
Anand’s Bargain with Albion
74. Q ([Albion]): Anand, anything to say on our bargain?
A: [YES] OUR TRANSIT WAS A SMALL FABLE OF WHAT
EXCHANGE IS LIKE
75. Q ([Albion]): Please go on.
A: INTENT MUST FORM IN YOU FIRST –
I CAN HELP BUT AM ABSOLUTELY FORBIDDEN TO
CAUSE INTENT TO ARISE –
YOU TELL ME WHY
76. Q ([Albion]): This rings of Don’s illustration of the karass which fell. [namely, it
would violate my free will, the worst harm]
A: [YES] NOW DO YOU SEE WHY WE MUST NOT ANSWER
YOUR DEEPEST QUESTION?
If this is my deepest question, I’m pretty shallow. “What
am I to do?” is dripping from my sleeve.
My other item for Anand in particular concerned the
numerous connections between him, as well as Josef, and Hermann
Hesse, most recently with respect to Anand’s ferrying role.
Clues in Hesse?
77. Q: Is there a connection between Hesse & the Jewel Net?
A: [YES] BUT [NO]T MEMBERSHIP
78. Q: Please clarify
A: ILLUSTRATION?
79. Q: Please.
A: EACH MEMBER FINDS CLUES – DON SAYS –THAT TELL
HIM WHO HE IS
ONLY A FEW OF THESE ARE. . .
80. …SHARED BETWEEN MEMBERS
(cf. 94: 19.14) Some of these clues were left by Don himself…
81. Q ([Albion]): So, in Hesse’s work, there are for me, authentic clues?
A: YOU TELL ME –
DOES THIS ART SPEAK TO THAT HIGHER ALBION?
YOU MIGHT ASK HIM
82. Q ([Albion]): Can I ask him now?
A: NOT HERE –
MY PORT DOES NOT ALLOW IT
I don’t feel the need to ask at this point. This is confirmation.
Next time I talk to a higher Albion I do intend to ask why Hesse?,
why Genesis?, why Kate Bush? Why am I attracted to X and not Y?
Note: Here [Scribe] has numbered Q#81 as #87. Because
we were off by one question already, there is now, therefore, a five-
question discrepancy for the remainder of the session. All corrections
are accounted for in the table of contents.
We decided to ask Anand about his role on our ship.
Fibers & Synchronicity
83. Q: What kinds of supplies do we have?
A: WE CARRY ONLY ONE KIND BUT WE GIVE IT MANY
NAMES - CURRENTS OR FIBERS
THEY AFFECT YOU DIFFERENTLY
This surprised us.
84. Q: It would seem more natural to say that we are fibers or currents
than that they are something laid away somewhere.
A: THAT IS NOT SO –
THEY REALLY CAN BE WITHHELD JUST AS OTHERS
STOREZ MIGHT BE
85. Q: What are they?
A: WHEN THEY PASS THROUGH YOU THEY ENABLE FLIGHT
I can almost feel the sensation. I have a physical intuition.
86. Q: Are they limited in number?
A: [YES] LARGE BUT NOT INFINITE
(cf. 94: 19.44)
87. Q: Might the fibers link two threads in Vilansit’s loom?
A: [YES] FILAMENTS. . .
88. Q: Please continue.
A: FILAMENTS THAT DO NOT MEET OTHERWISE CAN BE
JOIND IN THIS MANNER
Here I was a little confused between “fibers” and “filaments.”
The distinction gets sorted out on another night.
89. Q: Are fibers then an explanation for synchronicity: an acausal principle
of connection?
A: IN A WORD [YES]
It was getting late, and there was one question we really
wanted asked.
When Anand & Vilansit Lived
90. Q: Can you tell us when in our reckoning you lived?
A: HALFWAY BETWEEN [two historical Jewel members by name]
… (Thus,) Anand lived around 900 AD, which means
Vilansit lived then as well.
“The Fire Fishes” (Poem)
91. Q: Does anyone have a poem? (“The Fire Fishes”)
A:
BEYOND US IN DARKNESS
THE FIRE FISHES GO
THEY ARE METEORS OR MEETINGS
BETWEEN A LINE OF LIGHT AND ANOTHER
FLASHING AND FAILING
AND NEVER COMING TO REST
JANE
2:24 AM
92. Q: Parting words?
A: GOOD NIGHT FROM [THE] CIRCLE ABOARD [THE] FALCON
ALBION DECIDE WHERE WE FARE NEXT
LOVE, JANE & ANAND
Very quickly I knew we should be heading toward [Scribe]’s
port next. [Scribe] had never knowingly spoken with himself before,
and this was something I’d wanted to do at the board for several years
now. The next morning, before C.L. came to pick him up for the
weekend, I voiced my decision in order to give him the time to
prepare. However, it was not to be.
Hail aliah
§
[2] When I first published this session online, I cut it off after A#54. What follows includes subjects not yet properly introduced. Having since then finished Lesson 5, where I find these subjects feature prominently, I return them to their original spot. Please, then, dear Reader, just regard here what is not properly explained as foreshadowing for Lesson 4. It comes quickly.