albionspeak: a draught of language (3.4)
SESSION 23: 7TH SESSION, 7/7/94
During the day [Scribe] took a solo walk from my house, while I, suffering from late nights & early morning childcare, napped with the girls. [Scribe] went to the beach closest to my house a few minutes away and had an enjoyable time of quiet reflection. (I live on a peninsula in Puget Sound.) This walk prompted his choice of invocation and gave him the idea to have a scene set by our friends.
Our last night together. We followed our ritual carefully, including the placement of my magic rainbow-tail kite around us [which Vilansit asked us to bring again to the table just the night before].
[Scribe] recited Keats’s sonnet “On the Sea.”
9:30 PM [Final nights at the ouija board generally began & ended “earlier” (by Scribe’s
ungodly hours), as his flight to the East Coast nearly always departed early AM.]
1. Question: [Guide], are you there?
Answer: I AM [THE] MONARCH AT [THE] END OF YOUR KITE STRING
GREETINGS
[“Monarch” refers in part to butterfly, our Guide’s self-characterization,
and] butterfly kites are not uncommon. Did [our Guide] know this?
2. Q: Do you have any subjects for us this evening?
A: [YES] BUT YOU COMMENCE PLEASE
On the Sea
3. Q ([Scribe]): Last night we had weather. May I, this evening, ask us to share a
particular setting?
A: WE MAY TRAVEL WHERE YOU WISH
4. Q ([Scribe]): I would like to go to a seashore. Will you help me to see it?
A: CLIFFS & A BAY
[NO] SAND BUT SMALL STONES
MOONIGHT
“Moonight” does not seem to be in error.
5. Q: What does the sea look like?
A: CALM IMMENSE [NO] SHORE IN SIGHT
6. Q: Vilansit, you asked us to bring back our magic kite.
A: [YES] IT PLACES YOU BETWEEN OR WITHIN? TWIN CIRCLES
7. Q: Why is that important?
A: IT STRENGTHENS YOUR MESSAGES
I think we’ve learned from experience that asking how? to this kind of
phenomenon is futile. Any explanation we’d get would prove incomprehensible to
us. Metaphysics in concept is difficult & fun; where it crosses into physics,
however, seems entirely beyond us. This is similar to the difference between
watching TV and knowing how a TV works. We went to what remained from my
list [of questions, compiled & typed over the course of the year. After so many
sessions in 1994, most questions would have been crossed off.]
The Letter in the Attic
8. Q: Do [Scribe] & [Albion] visit and/or affect other people on Earth in non-
physical interaction? (Do we, for example, interact with others on the
dream plane?)
A: JANE §
9. Q: Jane, please go on.
A: YOU ARE & ARE [NO]T VISITORS OF OTHER MEMBERS —
AN ILLUSTRATION?
10. Q: Yes, please.
A: IMAGINE YOU WROTE A LETTER WITH [NO] ADDRESS &
LEFT IT IN AN ATTIC
11. Q: Please continue.
A: YOU DIE & THE HOUSE IS SOLD
A LITTLE GIRL PLAYS IN [THE] ATTIC & FINDS [THE] LETTER —
IS IT A MESSAGE FROM YOU TO HER?
12. Q: Could just anyone have found the letter?
A: [YES] BUT ONLY [THE] GIRL TAKES [THE] TIME TO READ IT
13. Q: Was the letter written to the girl in the first place?
A: IN A WAY—THINK OF A CASTAWAY’S MESSAGE
What a neat illustration! A castaway’s message would address any would-be
rescuer, presumably anyone who’d take the time to open the corked bottle. (And
just who else would send a message in this fashion?)
14. Q: Do non-physical interactions happen between members of the Jewel Net
and others not in the Jewel Net?
A: OH [YES] ALL THE TIME
15. Q: Will you provide an example?
A: ONE COMMON WAY IS USED BY [THE] BUTTERFLY
16. Q: Please explain.
A: BLAKE & ROBERT
[It is both documented & confirmed at the board that] Blake’s younger
brother Robert, though deceased, remained alive for Blake and even gave him
valuable & practical information [most famously, for instance, instructions on how
to create multiple color prints from engraved copper plates].
17. Q: And between a living member & a living non-member?
A: THIS HAPPENS BUT I WAIT TO SAY MORE
I know this happens all the time, but this information would open a real
Pandora’s Box which I honestly didn’t believe we were ready for. Still, part of me
is always chomping at the bit.
18. Q: Do thoughts alone have positive & negative effects? (If we momentarily
consider something wicked—and do not act—have we nevertheless
created negative ripples?)
A: ANAND
19. Q: Anand, please go on.
A: TWO ANSWERS
More About Knots
20. Q: Please tell us the first.
A: EVERY THOUGHT MAY BE [THE] SITE OF A KNOT
21. Q: What kind of thought might cause a knot to form?
A: IT MUST STAY IN PLACE & [NO]T FLEE
22. Q: Suppose the thought that stays is a beautiful thought?
A: [NO] KNOT FORMS
23. Q: Must the thought be held consciously for it to stay and form a knot?
A: LEADS TO SECOND ANSWER
24. Q: Please go ahead.
A: DO YOU RECALL POSSESSION
25. Q: Yes, we do. (How could we forget!)
A: IT IS POSSIBLE TO ATTACK ANOTHERS THREAD BY TYING
A KNOT ON IT
26. Q: Please explain.
A: [YES] I REFER TO A MEANS OF HARMING ANOTHER BY
CREATING
A PLACE WHERE MORE & MORE KNOTS GATHER
27. Q: As a parent can harm a child?
A: [YES] IT IS COMMON
[Teachers are often privy to awful details about parents & children.]
28. Q: Is it also possible to untie the knots in others?
A: [YES] WHAT TO CALL THIS THOUGH?
29. Q: Compassion, perhaps. ([Albion])
Charity, perhaps. ([Scribe])
A: [YES] IT IS THE COSTLIEST GIFT IT SHINES
30. Q: Can you explain why it is the costliest gift?
A: BECAUSE IT IS WORTH MORE THAN OTHER KINDS OF HELP
31. Q: How can one know which knots in others to untie, and which not to
attempt?
A: TRY MANY & UNTIE A FEW—LOOSEN WHERE POSSIBLE
Very interesting, although much remains. For example, I don’t see how
“possession” explains whether a thought must be held consciously for a knot to
form. It is valuable to learn, however, that we have the power to affect others on a
deep level, and it’s especially useful to know we don’t have to be too selective with
our charity & compassion.
At this point I pulled out my brother’s drawing referred to in the previous
night’s kite discussion. (I had retrieved it from my basement earlier that day.) This
drawing was begun while [my brother] was sick for an entire day in some idyllic
Swiss valley. Exactly at the same time, I was having my kite LSD trip on the
morning of July 11th, 1982 in California. Apparently his drawing took several days
to finish.
Perhaps what is most significant about the drawing is that my brother had
no idea what he was doing, except that the two main figures both represented me.
(Coincidentally, Peter Gabriel’s “Shock the Monkey” was a new & important song
at the time.) When [my brother] showed me a month later, I instantly recognized
that he had included two self-portraits as well, the blind prairie dog (corresponding
to the monkey) and the dancing frog (corresponding to the “princely” figure with
the pipe). The frog is staring the artist in the face saying “Look at me!”
Humpty Dumpty
32. Q ([Albion]): Will someone read—only if relevant—“[Albion]’s Trip”?
A: VILANSIT §
33. Q: Please go on, Vilansit.
A: WHICH FIGURE IS THE MEDIUM? [that is, me]
34. Q ([Albion]): The monkey. The noble figure represents the totality of [Albion].
A: [YES] NOW FIND ANOTHER FIGURE THAT IS YOU AS WELL
I WAIT
35. Q ([Albion]): My first impression is Humpty Dumpty (although I’m not sure).
A: I THOUGHT THE SAME
TELL ME THE STORY PLEASE
36. Q ([Albion]): (Aloud I joke, “it’s a sad story.” Then I recite the rhyme.)
A: ARE WE TO LAMENT THIS FALL?
37. Q: Normally, we do not lament Humpty’s fall. Should we?
A: [NO] BUT WHY DONT YOU?
11:07 P
38. Q: Because it’s a nursery rhyme—& a fable—& the idea of Humpty Dumpty is
ridiculous in itself, a comedy.
A: GOOD — NOW TELL ME WHAT IN THE FABLE INVOLVES YOU
39. Q ([Albion]): Clearly, Vilansit I felt as if I had had a “great fall.”
A: MANY FALLS AN OLD SAYING
Vilansit has a penchant for quoting old rules & sayings.
40. Q: Is there anything else in the picture that you would like to read?
A: [NO]T AT THIS TIME
41. Q: Can you tell us why this picture concerning me was sent to my brother?
A: RECALL MY STORY — OF MY KNOT? [illness resulting from
her being childless]
42. Q: Yes, we do.
A: MY AUNT SAW [THE] KNOT AS I COULD [NO]T
IT IS [NO]T UNCOMMON IN FAMILIES
[Scribe] & I enjoy reading this response aloud.
Our Learning Circle
43. Q: Thank you, Vilansit. [Guide], may we know who else is with us at the table
tonight?
A: JOSEF & DON
DO YOU WISH TO KNOW WHY US ONLY?
44. Q: Yes.
A: WE ARE IN A LEARNING CIRCLE — IT CAN BE CALLED A
MANDALA
WE NEED EACH OTHER
Apparently this is our nucleus within the Jewel Net karass, and we
understood immediately that we’d reached another milestone. After [Scribe]’s
return to [the East Coast], he reminded me over the phone that “mandala” means
“circle” in Sanskrit. [Scribe] claimed no prior knowledge of this, and I had
forgotten it at the time [though, to be clear, we knew mandalas as a concept well,
both having studied various mandalas throughout the world, especially Tibetan and
Navajo sand paintings. The mandala I had just finished for our ouija board was
called a “mandala” from the start. Now we find out why.]
Of further significance was the absence of [xxxx] & Blake. After all, they
were two of our earliest acknowledged members. How did they fit in with our
circle?
45. Q: What, then, are the roles of Blake & [xxxx]?
A: VALUED GUESTS THERE WILL BE OTHERS
46. Q: Why were these guests among the first to be introduced to us?
A: BECAUSE THEY ARE YOUR ANALOGUES IN A SENSE
[Another] albion & a famous scribe, although they were hardly
contemporaries. Could they share a learning circle? Among Blake’s first paintings
were images of [other karass members, too, not me alone].
47. Q: Blake and [Scribe] are both scribes. But we were told that Blake helps us
with images, not with words as we would expect. (cf. 93: 14.39 & 15.45)
Can you explain?
A: [YES] THIS IS YOUR ROLE IN [THE] MANDALA
TO RECEIVE [THE] IMAGES WE SEND
YOU HAVE HAD EXAMPLES
48. Q: Do you refer to the image of the napkin, the sacred tree and the terrible
loom? [all visions sent to Scribe during the week’s previous sessions]
A: [YES] WE WILL SEND MANY SUCH TO OUR SCRIBE —
LOOK WELL
To think that [Scribe] might even have a fraction of the visionary powers of
Blake is, well, utterly fantastic!
We turned back to the topic of learning circles specifically. What constitutes
such a conjunction? Is it a temporary, ad hoc committee, or is it eternal?
49. Q: Were Anand & Vilansit, in their time, part of a learning circle that included
us, not alive?
A: [YES] BUT BEAR IN MIND [THE] MANY KINDS OF LEARNING
AVAILABLE
50. Q: Would you explain?
A: IN LIFE ANAND KNEW LESS OF HIS MANDALA THAN YOU
VILANSIT MORE THAN YOU NOW
Earlier, we were informed that among [xxxx], Josef, & Blake, only Blake
had awareness in life of our karass. Neither Don nor Anand knew as well. [Scribe]
guesses that he and I have been given such knowledge to compensate for a relative
deficit in direct knowledge.
51. Q: Josef & [Guide], do you participate in other learning circles as well?
A: JOSEF HERE
I AM IN MANY OUR BUTTERFLY IS OURS ALONE
MAY WE [NO]T THANK HIM?
52. Q: [Guide], we thank you very much indeed. We are honored by your
presence in our learning circle.
A: I AM LEARNING ALSO FRIENDS — DO [NO]T FORGET
53. Q: Does each learning circle within our karass contain the exact analogues of
our circle?
A: JOSEF —
ALL ARE DIFFERENT EACH IS UNIQUE
54. Q: Does everyone in the karass belong to a mandala?
A: [YES] IT IS REQUIRED
[It’s also required that each member live a soul’s life in time—namely, one
worthy of an origin. Actually, most karass members live their lives along different
world-lines disconnected from this universe, never discussed at our ouija board (so
we know nothing of these other worlds). But every member has a life and a
learning circle.]
55. Q: May we ask what Anand’s & Jane’s roles are within the mandala?
A: FAKIR IS IN FACT A ROLE
JANE’S IS TO EMERGE
56. Q: Josef, is the schematic below an apt one, for now?
A: [YES] WE ARE ALL SEATED
JOSEF
master of dreams
sunlight
DON VILANSIT
librarian mistress of the loom
branchingness many-coloured messenger
depth of roots fibers
[our Guide]
[nonmember]
butterfly
JANE ANAND
[to emerge] fakir
weight of petal strength of fiber
[Albion] [Scribe]
albion scribe
colour fragrance
“We are all seated,” implies there’ll be no surprises (in this context) next
year and that we’re about to start learning in earnest.
[The second attribute below each of us above refers to our Jewel Net karass
as a “flower.” Each member contributes something to the growth of the flower.
Scribe & Albion, we note, are sexual attractors.(!) While this metaphor didn’t go
much further in later years—so this is more a curio than anything else—I will
mention, however, Blake’s slightly salacious contribution to the flower is “bite of
thorns.”]
Don on the Mandala
57. Q: Don, what are your thoughts on our mandala?
A: WHEN I BEGAN TO LOSE MY VISION IN A SERIOUS WAY
I OFTEN PICTURED A MANDALA [1]
58. I GAVE IT VARIOUS NAMES
[THE] ROSE
[THE] EYE
[THE] FALCON
PERHAPS I SAW OUR CONSTELLATION & DID [NO]T KNOW IT?
59. Q: Don, tell us more about what a mandala does.
A: IT IS A CIRCLE THAT IS PINCHED OFF FROM PLACE & TIME
THIS HAS TWO EFFECTS
60. Q: Please tell us the first.
A: IT MAGNIFIES THE ENERGIES INSIDE [THE] CIRCLE —
THIS YOU KNOW?
61. Q: We are not surprised to learn it.
A: I DO [NO]T CARE FOR [THE] TERM — ENERGY —
TELL ME THE BETTER TERM
The Power to Travel
62. Q: Aliah?
A: [YES] — GOOD —
[THE] SECOND EFFECT IS EVEN STRANGER —
YOU WILL [NO]T FOLLOW — I FEAR
63. Q: Try us, Don.
A: IT ALLOWS [THE] CIRCLE TO TRAVEL THROUGH [THE] DEEP
64. Q: The deep—what is it?
A: [THE] DEEP OF [THE] LOOM — PLACES IN THE LABYRNTH
IF YOU LIKE
65. Q: When we travel together, is that like leaving a thread in a labyrinth?
A: VERY MUCH SO IT 1S DISORIENTING LITERALLY
Remember, [Scribe] and I had each been sent a “deep call.” [by Josef,
as children]
66. Q: What will it be like so to travel?
A: IT WILL FEEL [NO] DIFFERENT
BUT [THE] SCRIBE WILL SEE OUR LOCALE
[THE] ALBION—OUR MEDIUM—WILL POSE QUESTIONS &
EXPLORE OR EXCAVATE
Don warns us in A#62 that we may not be able to “follow.” This proves to
be a pun, followed by a demonstration. That is, every thought becomes a place to
go. I believe we all experience this regularly when we find ourselves thinking
seriously about something and then, for instance, we realize we’re suddenly a
dozen miles down the road. Where did we go?
This response provides some guide to the role of albion and his relation to
the scribe. It seems my leading role as questioner is part of my function. The “fun”
in this response, as [Scribe] would say, is that we can travel consciously and as a
group.
67. Q ([Albion] asks for [Scribe]): Don, today at the shore I felt that it would be fun to
have our session at the seashore. Now—if we do travel—it will be possible
actually to do something of the sort?
A: INDEED [THE] CHOOSING WILL VARY —
SOMETIMES YOU MAY ASK
SOMETIMES WE WILL SHOW YOU —
IT WILL [NO]T ALL BE FUN I’M AFRAID
The quality of reception here with Don’s answers reached a new high. I
actually felt physical pleasure from the mechanical process. I felt like I was
dancing. At the time I thought it important to document what seemed to be the ideal
position for reception, much as Segovia prescribed proper positioning for the guitar.
[Albion] is best at transmitting when feet are positioned forward (which is
not entirely natural), head is down all the way (to the chest, even though I could
choose to look up), and our kite and its tail meet to [Albion]’s left after
circumscribing our table.
[Now take that starting position and add motion centered in my lower back,
much as Orthodox Jews appear to rock (’n’ roll) when praying before the Wailing
Wall, lets’ say—except that I’m seated. The energy comes from the spine in a
general way, but all the specifics come from the arms & hands & the delicate touch
of fingers on the planchette, often just two or three per hand, but always two hands
for me and Scribe’s left hand. Thus the planchette ideally makes smooth circles &
ellipses with the smallest changes in sweep & swivels, all controlled at the fingertip
level. I’ll add also—if I haven’t mentioned elsewhere—that even if I chose to watch
the process, which I tried here & there uncomfortably, I would see different letters
from Scribe. The planchette window is perhaps an inch high off the table surface,
so that Scribe & I looking down from different positions actually see different,
neighboring letters.]
68. Q: Does anyone have something to say?
A: DON STILL
GO AHEAD PLEASE WITH WHAT YOU PLANNED
WE HAVE TALKED ENOUGH OF TRAVEL FOR NOW—
OH ONE THING
69. Q: Yes? (laughing)
A: ALIAH MEANS IN A SENSE [THE] POWER TO TRAVEL—
BETWEEN PERSONS PLACES OR TIMES—IT IS ALL ONE
70. Q: Can Aliah itself be turned into an idol?
A: IT IS A PROCESS OF TURNING WITHOUT OR FINDING OUT
71. Q: You mean Aliah is such a process?
A: [YES] IT IS A WAY OF LISTENING
IF IT BECAME AN OBJECT OF IDOLATRY IT COULD NO LONGER
BE ALIAH
DO YOU SEE?
Incrementally, we’re getting closer to understanding the dangers of idolatry.
Perhaps we are also learning why the early Hebrews considered it so heinous.
After reconsidering aliah as “a way of listening,” [Scribe] & I recalled how
we were greeted the previous year (cf. 93: 13.2-9).
A Progress Report
72. Q: [Guide], we think we see your initial admonition of last year in a new light.
May we have a progress report (for the last year)?
A: JOSEF SPEAKS
73. Q: Please go on, Josef.
A: YOU ARE GOOD STUDENTS IN OUR SUBJECTS —
I MUST STILL SAY SOMETHING HARD
Uh-oh. We were waiting for the axe to fall; yet I, for one, preferred the axe
to not knowing.
74. Q: We’re listening.
A: YOU ARE CHILDREN STILL—NOT EVEN ABLE TO DO A SMALL
PART OF WHAT I EXPECT
YOU LACK PATIENCE…
75. …& DISCIPLINE STILL
I MEAN YOU TO FOLLOW MORE CLOSELY IN [THE] WAY
OF ALIAH
That wasn’t so bad.
2:00 AM
76. Q: Josef, we would rather hear that we have far to go than that we can go no
farther.
A: GOOD BUT CONSIDER THAT CHILDREN ARE PRONE TO MANY
DANGERS THAT A GROWN PERSON AVOIDS
INSTINCTIVELY
Yes, how true. And while I tend to be far less cautious than [Scribe], perhaps
even reckless—wanting to be blown away, I also have the (healed) scars of my
Germany experience and may know more about the risks. Being a good person is
no defense against infinity.
We next turned to the last questions on my list, concerning morality.
Moral Questions
77. Q: Josef, in your eyes what qualifies as sinful?
A: I HAVE NO NEW TEACHING HERE —
PRIDE ABUSE WASTE
78. Q: Is there a necessary link between suffering and redemption?
A: I DO [NO]T BELIEVE IN PUNISHMENT
I BELIEVE IN TAKING [THE] NEXT STEP ON [THE] WAY
THIS MAY BE PAINFUL OR [NO]T
79. Q: Is violence in self-defense wrong?
A: ALL CREATION IS VIOLENT—IT ALWAYS WAS SO
Finally, after seven full nights we had exhausted a year’s worth of queries.
Just some odds & ends left over, among them a few questions from friends.
Three Questions from Friends
80. Q ([Albion]): Josef, a question from my father: Does it behoove one—on one’s
current plane of existence—to do good deeds & act with compassion?
A: IT IS ALL WE ARE EVER MEANT FOR
81. Q ([Scribe]): Josef, on a much smaller scale. A friend (P.M.) asks: In responding
to other people, I can’t seem to get beyond the effort to reflect or fulfill their
expectations. Advice?
A: YOU FASHION THE OTHER PERSON INTO AN IDOL
THEN FASHION YOURSELF AFTER [THE] IDOL
FOLLOW AN IDEAL INSTEAD
82. Q ([Albion]): Another friend (M.R.) asks: Was the ring purposely lost?
A: DON HERE —
LET US SAY [YES]
PEOPLE ENJOY HEARING THAT THEY’VE ACTED DELIBERATELY
[I never learned more about this ring.]
One remaining topic, too large to explore in detail, was the one which had
opened the door to our karass in the first place.
83. Q: Could you tell us more about the aspects of ourselves that exist outside of
time?
A: I HAVE A STORY ON THIS CALLD [xxxxx]
IT MIGHT GIVE SOME NOTION
84. Q: May we have a comment beforehand?
A: [YES] IT IS RATHER DREARY TO MEET ONESELF UNLESS
85. Q: Unless what?
A: ONE HAS BECOME SOMETHING UNRECOGNIZABLE —
ILLUSTRATION?
Q#84 appears to be incomplete, broken off. This is just Don’s humor again.
At this point the signal was remarkably clear—the best ever—and the planchette
slid off the board in a clear end-of-message signal.
86. Q: Please, Don.
A: WOULD THOSE POOR KNOTS IN [THE] TAIL OF YOUR KITE
EVER BELIEVE THEY ARE [THE] SAME THING AS [THE]
SPECTRAL PROGRESSION OF IRIS’S COLOURS OR [THE]
VERY SUN & MOON THEMSELVES?
Iris is the rainbow goddess, and, again, my kite’s tail is a kind of spectrum.
Beyond this, though, the face of the kite shows a rainbow over the sun, while the
first panel of the tail includes the moon.
87. Q: How would the knots feel if they learned this was so?
A: AS YOU MIGHT FEEL IF YOU LEARNED YOU WERE
A LUNAR ECLIPSE
A MAYAN PYRAMID
THE INDIAN OCEAN
AND AN IDEAL SPHERE
Quite possibly my favorite response ever.
[Even better, each of these four fascinating images became the guiding
metaphor in key lessons over the next couple of years. Don was presenting part of
our future syllabus.]
“The Sea Itself” (Poem)
88. Q: Will someone please compose a poem? (“The Sea Itself”)
A:
THE OCEAN TURNS & SIGHS
IT IS DREAMING OF ISLANDS OR SHIPS
OR A FAR & LONE LIGHT
IT SLEEPS BADLY & IN FITS —
IT DOES NOT KNOW THAT IT IS YOU
OR—IT MAY BE—ME
89. Q: Whose poem was it?
A: JANE HELPT BY DON
Now, the end. We decided to extend our “parting words” so that we could
say good-bye to each member of our circle. Because we’d most recently been
speaking with Don, we decided to begin with him and follow the constellation of
our mandala clockwise around the board (see diagram). It was important to us to
end with our oldest friend [our Guide].
Many Partings
90. Q: Any parting words, Don?
A: I HAVE ENJOYED OUR TABLE BY [THE] SEA —
I HAVE TO REMIND MYSELF THAT WE ARE ABOARD A VESSEL
AT ANCHOR IN [THE] BAY
91. Q: And from you, Josef?
A: I NEVER PART FROM MY CIRCLE DEAR CHILDREN
LOOK FOR MY DREAMS WITH CARE
92. Q: What have you to say to us, Vilansit?
A: I’LL TELL YOU A SECRET YOU’LL THINK AN OLD WIVES’ TALE
93. Q: Please do.
A: [THE] MAGIC CIRCLE ALSO ENHANCES LABOR IN SOLITUDE
& CAN BE MADE OF ALMOST ANYTHING —
SURROUND YOURSELF & LEAVE A DOOR —
DO YOU THINK THIS IDLE?
94. Q: Not if you say so, Vilansit.
A: FAREWELL — A VAST OCEAN IS BOUNDED BY OUR CIRCLE
OF SILK
95. Q: And you, Anand?
A: REMEMBER TO PICTURE THE DESERT ALBION —
I WILL HELP YOU TO IMMERSE YOURSELF SCRIBE
96. Q: Jane, good-bye. What have you to tell us?
A: [THE] KITE STRING IS WOUND TIGHTLY IN YOUR HAND [Albion]
THANK YOU FOR A SEA BREEZE [Scribe]
GOOD BY
97. Q: And lastly, good-bye and thank you to our butterfly, [our Guide].
A: I FEEL LIGHTER NOW
A BUTTERFLY HOVERING OVER THE RUINS OF A MYTH —
& NOW—YOUR MIGRATION?
GOOD NIGHT FRIENDS
[Guide]
3:30 AM
[1] Don lost his eyesight in midlife.
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