Kris Chronicles .:. The Story of Your Life___6646
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------------------------------------------------------------------------------------------ The Story of Your Life November 2, 2008 Channeled by Serge J. Grandbois and transcribed by Ellen Gilbert (Kwaa'Ji)
Recorded in Toronto, Canada on Sunday, November 2, 2008 Roll Call: Serge (Joseph), Mark (Philip), John (Sohars), Theresa
(Ramanuja), Lisa (Lauramar), Ellen (Kwaa'Ji), Brian (El-Don), Tom
(Desiré), Anya (Greensleeves), and Alan (Regoronn) (7:43 PM) KRIS: Now we trust that you are comfortable and we thank you for your
consideration. MARK: Thank you. KRIS: Do you like the story of your life so far? BRIAN: Yes! ELLEN: Better and better! TOM: Yes. LISA: Yes! MARK: It's a best seller! ELLEN: It's a heartbreaking work of staggering genius! (Snickering. I
had made the same remark earlier as we were awaiting all participants
to assemble for the session, using the phrase to describe Kris' new
book "Discourses on Dreams," then joking that the title is already
taken: "A Heartbreaking Work of Staggering Genius" is a memoir written
by Dave Eggers.) TOM: It's my favorite story. KRIS: Indeed, and when you come across different parts or sections of
the story that do not bring you the results that you desire, the
outcomes that you aim for, what do you as author of the story, do? TOM: Edit? KRIS: Indeed and what else? MARK: Re-write. BRIAN: I don't know, Kris, you know what? I can look at some parts
that didn't go as planned, but still would not change one thing about
it because of where I've arrived here. It's through experience that
you arrive at this point in this now. KRIS: On the one hand, that is an interesting observation and on the
other hand you must also recognize that there are many different
aspects of your particular story that you have re-written so that you
get an outcome that pleases you. Correct? BRIAN: True. Quite correct. KRIS: So both observations have their place. Like any good author, any
of you have a storyline and you develop that storyline as you go
along, as you also invent other characters, other sets, other scenes
and situations, setting the mood as it were, and so on. Setting the
stage, creating a unique tone or flavor. And as you do all of these
things and weigh them together, you may notice obviously that certain
traits and characteristics of your characters, or even the main
character, overall have a satisfactory presentation. And at the same
time [you] may use certain additions, certain enhancements, so that
the character in your story, the main character or any character in
your story develops a personality, adds spice to the story, fills out
their role. Does that make sense to you? BRIAN: Oh, absolutely. KRIS: Thus any of you can then exercise that right, correct? ALL: Yes. KRIS: And in some respects, is that not what you already do with these
types of these discussions, with the many different books and
materials that you read, in the way you reflect upon your storyline
through the auspices of the other characters in your story, in your
environment. Does that make sense to you? LISA: Yes. KRIS: And do you recognize just how potent that innate ability to
enhance the traits and characteristics of the characters, including
the main character in your storyline, just how potent this is? BRIAN: First hand! KRIS: And there are many different kinds of tools and resources of
course that you have and that you have been developing over the years
and over the course of the storyline of your life to do just that
specifically. And as you grow in wisdom and awareness, you recognize
more and more that it is not others who bring change to your storyline
inasmuch as it is you as the author of that story of your life. It has
that ability, correct? BRIAN: Correct! KRIS: Now where does the writing of this story take place? ELLEN: Within your experiences. KRIS: In part. BRIAN: Within the neo-conscious? KRIS: In part. ELLEN: Well, it's the substance of your life. It's written in time and
space. KRIS: It is not overly metaphysical an answer. ELLEN: No, definitely not! (Chuckling) KRIS: When you close your eyes and you examine the contents of your
mind, what do you call that? ELLEN: Your imagination. KRIS: Indeed, the NATION of the IMAGES of yourselves. What would that
lead you to observe then? MARK: We have much more creative control over our story than we give
ourselves credit for. KRIS: That is correct. TOM: That our story is actually taking place in Framework 2, the
psychological framework? KRIS: That is part of the process, but that is not where you LIVE that
story. You live it in real time and space. In so many words, whether
you refer to it as Framework 2 or your imagination, you become
conscious of the storyline within your physical framework. You become
conscious of that story in the context of your body and your
identifications with it and all of what encompasses that physical
body. Though you put together the elements of that story at another
layer of reality, the place where you display that story is in
physical time/space. Does that make some sense to you? In other words,
it is in physical time/space that you become conscious of that story
of your life. This is simply another approach that can give you a tremendous deal of
empowerment in realizing how it is that you come to fulfill,
consciously fulfill, the storyline within real time/space. That also
brings about another observation: If the storyline itself is put
together outside of physical time/space, but enacted within physical
time/space, then you have a tremendous ability to go back to that very
same place the storyline is being put together when there are those
opportunities and occasions when you deem it necessary to make changes
to the storyline, correct? ELLEN: Yes. KRIS: As such then, you have a tremendous opportunity. It means that
you are not stuck with the writings of someone else, because they are
your writings. The story is not someone else's. It is yours, correct? ELLEN: Yes. KRIS: Then what kind of tools and resources do you utilize as authors
to put your story together? Do you understand what we mean? ELLEN: Nope. TOM: I think I do. Meditations, visualizations and our actions in our
daily life? BRIAN: Emotions, intuitions, intellect. MARK: Belief structures. KRIS: All of these are items you use to take the raw elements to give
them a definition that you then enact or live out in real time/space.
(Pause) First and foremost there is the desire to be. Does that make
sense? And what else would you add in there? ELLEN: Desire and . Intention you mean? KRIS: Indeed. And remember, you are putting together more than the
ingredients for a chocolate cake! ELLEN: Love and will. KRIS: All of your answers so far are quite acceptable. First and
foremost is that desire to be. The desire to experience, which is then
BEING and from that particular place, you put together, you assemble,
all of those ingredients in such a way that you are uniquely
yourselves but still part of the human species. And that very same
energy provides all of the ingredients at that level of reality
experience for you to accomplish what you set out to experience. But again, the greatest of all recognitions, possibly the deep
awareness is that you have this ability, that you are not trapped in
your story, that the story itself may even include a twist and a plot
here and there where you may momentarily believe yourself to be
trapped, from which you then discover that you are not. And some of
you may even create turbulence and other dramatizations of life such
that when you recognize your story, you can draw rich experience from
it and know and recognize how you can make any future scenes richer
for the experience without having to go through any other traumas of
any kind. Does that make some sense to you? BRIAN: Absolutely! It's what I went through with (name removed) to get
here! ELLEN: (Chuckling) Yes. BRIAN: It's true! I mean I wouldn't be here without that, and that was
my creation. KRIS: And at the same time you may recognize that in order to get
somewhere else in what you call the future, you do not have to
re-invent the wheel as it were. Do you follow? BRIAN: Oh yes. Absolutely. KRIS: What else may be interesting about this power that all of you
have in writing the story of your life? ANYA: I think what's interesting is the realization that I'm not the
story. As you were speaking on the subject, I kept thinking sometimes
that I get so much identified with the story that I forget to step
out. And if I step out and something is not changing immediately
there's something wrong or I'm not doing it right, and that's not
helping either. KRIS: Indeed. Now this next inquiry is not to you specifically, but to
all of you. When you read a good book, where the author captivates
your imagination, where the characters are rich and rounded out
personalities, where their traits and characteristics seem to resonate
with you and your imagination then brings that story to life in your
imagination and you derive benefits and satisfaction; what is it about
that story that intrigues you, that seems to fascinate you so much? THERESA: You get to have experiences that maybe you haven't had in
your waking life. You get to have them vicariously through the
characters in the novel. KRIS: That is very good. BRIAN: You can see your own potential through the character, a heroic
self, or something that you would like to do. KRIS: Indeed, and what do you do when you come across stories that
enrich you in that way? BRIAN: Imagine. KRIS: Indeed! And what do you imagine? BRIAN: That you could be that character or you could live that storyline. KRIS: In other words, you derive some form of benefits that influences
YOUR story, correct? BRIAN: Correct. KRIS: And does it not, in light of our discussion moments ago, does it
not and would that not invite you to recognize how much richer and
fulfilling you can make your own story? BRIAN: Oh yes! THERESA: So are you suggesting that we should read lots of novels?
(Laughing) BRIAN: Yes, "Discourses on Dreams." You must go get it. (Group chuckling) KRIS: Of course, Harlequin romances would be out of the picture. THERESA: Aw! KRIS: Now all kidding aside, we invite you then to follow along on a
little journey. Sitting there where you are right now, wherever it is
that you are, at your computer desk, somewhere in your home,
recognizing the rhythm of your breathing, the inhalations and
exhalations, breathing in and breathing out, noticing as you are
sitting there in your chair or desk chair, perhaps there is something
that you are looking at, the monitor or the wall, paying attention to
the sound of our voice as well as noticing what you are looking at and
perhaps right through what you are looking at. Perhaps even noticing that your eyelids are blinking. both eyelids
blinking together, inviting deeper and deeper relaxation to also
become part of your experience in this moment.. even your breathing
becoming more and more relaxed.. All tensions and stresses in the body
gradually fading away.. Even your thoughts of stresses and tensions
and even thoughts of your body momentarily fading away as if you are
unconcerned by all these things. Focusing on the sound of our voice
and the relaxation. And as you continue breathing in this way and your eyes blinking,
noticing perhaps your eyes becoming heavier, the eyelids perhaps even
wanting to close all on their own.. any sounds in your environments
simply adding to your relaxation.. and perhaps even noticing that your
eyes are now closing shut or are already closed shut.. More and more
relaxed. And reaching deep inside now, deep inside for a kind of wisdom, for
that profound wisdom that enables you to write the story of your life,
for you to understand how you write that story, even if your conscious
mind doesn't fully understand all the processes involved, that your
conscious mind can be comforted that the place this story comes from
is a place of deep wisdom, a wisdom that comes from even further back
in time than any histories that your race can remember. It is a deep
place within you where you are safe, where your interests, where your
intentions are all supportive and nurturing. In that place the tools of the imagination are at your disposal,
always available to you as you tap into it all the time to create that
story that then becomes your life, that you always have the ability to
write more potentials and more choices in that story of your life. The
best interest of the main character and all other characters is
uppermost in your wisdom and that the stories at times can appear
filled with dramas that have a purpose, that have an intention, that
intention being the development and awareness of the main character,
even if at times it is expressed through the other characters that are
part of the story so that as the main character, whether it is
directly or indirectly expressed, you always gain in awareness and in
wisdom. And like any good author, you always make it so that the main
character always has an advantage, always has an entrance and exit
strategy, even several such strategies, so that the way the main
character evolves is enriching the main storyline and that place of
deep inner wisdom in its own ways understands the words that you also
hear and that it seeks to always establish a good communication with
whatever character you create for yourself. And that regardless of the appearance of a situation, regardless of
the appearance of the storyline in that place of deep wisdom, ideas
and concepts always flow easily and naturally to fulfill the context
of the story of the character and everything within the drama, and
that you may at times look about you in that physical real time life
story, and though you may at times think that your story is boxed in,
you can always return to that place of deep wisdom inside, just as you
are now, and in that atmosphere within you of deep wisdom you can make
enhancements and adjustments to the story so that always the main
character is sustained, that you always are supported. Note, take note now, notice the feelings, even the vague images of the
story as it is presently unfolding, that you have written as part of
your storyline right now, another individual speaking about the story
that you are composing, putting together, as a means to assist you in
realizing that you always have choices, opportunities and advantages,
always a means to grow, always pointing in the direction of the
awakenings and the enrichment that is yours and how that becomes part
of the imagery. So when you take that part of the story into the rest, you know for
certain that the tone of your story is one of depth and richness. It
is full of joy and life, livelihood, joy, and all the descriptions
that complete the story in a very rich way. There is more abundance of
everything in your life in every way you can conceive it. And there
may be dozens and even hundreds of images of all kinds that may come
to your mind. The story of your life unfolds in the best way that you
could possibly imagine on all counts, everything unfolding in the best
way possible for you. And once again, as you listen to the sound of our voice, become aware
of your breathing.. and in a moment we will count from three to one
and at one you will open your eyes, be fully aware and awake,
conscious in your environment and knowing that in the depth of your
being you may have had a very nice experience that you can return to
when you need to. Take a deep breath now to revitalize your body.
Three, two and one. Open your eyes, move your hands and toes, fingers,
continue breathing nicely, being fully awake, returning to your normal
awareness.. (Pause) . How do you feel now? BRIAN: Very relaxed. It was a nice little journey. I feel real good, Kris! KRIS: Indeed. And others? BRIAN: I think they fell asleep! LISA: I feel excited for something, but I don't know what it is. KRIS: May we suggest you keep up the excitement. LISA: Okay! KRIS: Any others? ANYA: I was noticing that, what Lisa was referring to, the excitement,
this opportunity to see everything in the best case scenario kind of
open up a new perspective for myself, so thank you for that. KRIS: Indeed. Any others? TOM: Kris, I came up with. I don't know, I was getting quite a bit of
information about images, about desire and about feeling-tones, and
just kind of formulating things in my mind on how things work, what
triggers our desires and whether images are required when generating,
changing our feeling-tones and stuff like that. KRIS: This is what you were concentrating during that experience? TOM: That's what was coming to me. I was just kind of letting my mind
be there. I was listening to everything you were saying, but another
train of thought was there also. KRIS: Indeed. And what do you think that was about? TOM: Um. that's just how my mind works.. there was a second
conversation going on in Framework 2 maybe? I don't know. KRIS: Now, for yourself in particular, altered states, being able to
dissociate is a rather easy phenomenon. You may not even know that you
are quite proficient at it. Thus, it is quite likely that you were
doubly dissociated in the state, observing part of the process of
putting your story together, the story of your life of whom and what
you are in itself. Does that make sense? Do you follow? TOM: Yes I do. I thought that meditation was helping me quite a bit in
understanding all that. KRIS: Indeed. Now just as somebody putting together or building a
house, they require more than nails, more than wood, they require all
sorts of ingredients, just like a recipe for chocolate cake. You need
more than a bowl and you need more than an egg and milk, correct? TOM: Yes. KRIS: Otherwise all you have is French toast. TOM: (Laughs) Yes. KRIS: So your own awareness requires that you utilize different
ingredients to put together that storyline that is your life and what
we are saying then, is that already in that state, you were doubly
detached so that you can not only listen but at the same time reach
into the state and make an observation concerning images, imagery and
other ingredients you use that you pull together to make the recipe of
your life. Does that make sense? TOM: Yes it does. Exactly, yes. It does. KRIS: So that gives you an incredible opportunity to deeply consider
that on the one hand - and this not only addresses you, but it does
address yourself and everyone else - the ability to recognize that
when you come across limitations, anything in your life that you feel
is limiting you and your potential, that you have the resources to
recognize what it is because you wrote that in some way into the story
of your life, correct? TOM: Yes. KRIS: And if you wrote it in, in some way, shape or form, even if you
do not remember how you did this at some point during the lifetime of
your story, that you have the ability to go into that story and make
any adjustment that you want for an outcome that may at one time have
suited you and no longer does so that now there is an outcome that
suits you in this moment. Does that also make sense? BRIAN: Yes! That does, Kris! TOM: Oh yeah. BRIAN: I was just thinking about that. KRIS: And this is a process that is not utilized only by a few people
here and there, say for instance the ones you admire in life. It
occurs at all levels for all individuals, individually and
collectively. Right now, there is a mass event building up to a
crescendo in but a few days. On Tuesday you have your election, but IS
that election influencing only those individuals within the borders of
the United States of America? Indeed not. That particular election
will send forth waves of influences all over the planet in the same
way that the main character in your story influences in some way,
shape or form, those other characters that are part of the story and
vice versa. At this moment you are conscious AS the main character.
You are not conscious as any other character even though other
characters are part of your story. Does that make sense to you? BRIAN: Mmhm. KRIS: But YOU become conscious of the character you are, by the
influences that are offered by the OTHER characters in your story
through which you are not necessarily conscious. Your consciousness
abilities at this point in time do not include you to be
simultaneously conscious as all the characters in your story. Does
that make sense to you? Do you understand the premise? BRIAN: Intuitively, yes. KRIS: Anyone else care to comment? THERESA: Are you implying that that ability to be consciously aware of
several characters simultaneously is in our potential and perhaps in
our future? KRIS: Indeed. At this point in time/space in your individual and
collective story, you have not written in the potential, at least up
to this point in time/space. But when you give yourselves that ability
to recognize that it is such, then you may be simultaneously conscious
of yourselves as more than one individual in the same point of
time/space. Right now that is strictly at the level of Essence. THERESA: And do we not experience that.? It seems like we experience
that in our dream state. KRIS: In the dream state you can get reflections of this, indeed, but
you are not fully.. how do we say? . Full-fledged conscious in that
area. You experience snippets and the more you awaken to such
potential, the more you build neurological pathways in the brain. Your
brain has potentials far beyond what is used at this moment. You call
that "subconscious" but that conscious part of you, that which you
identify with yourself, has a great deal more potential to be
fulfilled but it is an experimentation in the process of unfolding.
Thus, when you become aware that within your own storyline there are
areas where you encounter what you label as a limitation, that you
have potential to alter that story in such a way that the limitation,
though well intentioned, can actually become an advantage. That is
what we have been hinting at with the CMI and the "Change the World"
[online workshops]. Do you follow? THERESA: Are you saying that the limitation can become an advantage
because we recognize it and overcome it and transform it, or because
we live within it and turn it into an advantage and keep it? KRIS: We would say that both apply. THERESA: Ah ha. KRIS: The limitation is only in appearance. Once the limitation
dissolves, simply because it is in its own right an illusion, often
simply because you do not recognize that you do have choices in that
area and once you do, the limitation becomes a great opportunity to
expand in awareness because you can offer yourself more choices then.
At that time, you begin to ponder just how much MORE you are as an
individual. Does that make sense to you? THERESA: Yes, because when you go beyond that limitation you're
experiencing something you hadn't experienced before. You're
experiencing something unknown to you, so you're expanding. KRIS: In many ways, yes, in then you recognize the innate processes of
value fulfillment. It is not that you should now become worshippers of
so-called limitations, but that you simply recognize that when you see
and acknowledge a certain area of your life in that way, that it
presents an opportunity for growth and that growth comes when you move
beyond the label. The simple process of moving from an
over-identification such as from saying that you are always tired to
recognizing that there are times when you FEEL tired can have a
significant impact. And this is perhaps a rather crude example and
perhaps even very minor, but it may very well lead you on to quantum
leaps in acknowledging just how you write that story that is your
life. Does that make some sense to you? THERESA: Yes. KRIS: Any other observations? Anyone else? Thank you.(Pause). Then
may we suggest a small break? That is a very nice part of the story,
is it not? Break time. [Break begins at 8:40 PM] TOM: Theresa, a question for you. THERESA: Yes? TOM: You paraphrased Kris that we have the potential to awaken to
other probable selves and be aware of that at the same time so we can
see our own limitations in a different light.. Was that your
understanding of that conversation? THERESA: Yeah, although in my own mind I didn't label it as other
parallel lifetimes, but when he talked about seeing from the
perspective of more than one conscious mind could be other aspects of
Self or other people.. just like when you experience in the dream
state and you're an observer and you're experiencing the activities
that everybody's participating in, in the dream? You've probably had
that if you stop and think about it, and it's like you're living
through multiple characters at the same time within the dream. TOM: Mmhm. THERESA: That's how I understood what he was implying because he kept
saying that that's something that we can't do yet. TOM: Okay. BRIAN: Isn't Ellen doing that with Charlie? TOM: That's another focus as opposed to another probable self. BRIAN: Right. ALAN: You know, I think I've got an example of this that just
happened: I've been working with integrating an aspect or two that I
had kind of shut out in childhood and starting to experience different
points of view that they have that have not been a part of my
awareness. And one of the things I just stumbled into last night is a
recognition of a negative belief that I've held for a long time and it
was from that other aspect. And it was like, when I was thinking as
this other aspect, all of a sudden this negative belief popped out
crystal clear to me and it was just so obvious it was overwhelming,
but [in] my regular focus I wasn't getting to that belief.. And it
just hit me, when you guys were talking, that that might be an example
of exactly what Kris is talking about. TOM: Yeah, when I think of the probable selves, I.. you know, I've had
dreams, and I've known myself as somebody that's living in Buffalo and
I imagine also from my dreams that I know myself as somebody that has
a life in California.. I think that one's doing a lot of drugs these
days.. (Laughter) ALAN: (Humorously) Any good stuff? TOM: But they're all me, you know? They're not focuses of mine living
in other times. It's all just something along this linear line that's
split off at some point in time to explore some other aspects that I
wasn't going to explore in my life. And when it was implied that we
might be having an actual awareness as we walk down the street of
"Well, I feel THIS way, but my California focus probability feels THAT
way, and my New York probability is worried about THAT.." that just
amazes me. That seems so much more do-able than a thousand other
focuses out there. ALAN: Well, see I think the idea of just the aspects within you
presently.. that's kind of where I'm headed off to. is even more
immediate and do-able. I don't even think in terms of counterparts or
other focuses or anything like that, I'm thinking strictly in terms of
these sub-personalities that aspects represent and maybe that's the
first kind of little proving ground where we start to become aware of
these other personalities or points of view yet within the structure
that we think is our own personality. ELLEN: I don't even think you have to separate them out. I think
probable selves, past selves, future selves, aspect selves, Totem
animal energies; all of them ARE important to us in that way. They ARE
all aspects of ourselves. Whether we personify them or
anthropomorphize them, whatever, they all have impacts upon us. We
take from them and they take from us what is availed to us at any time
when it becomes . when it's NEEDED. Back in New Jersey in the hotel room Kris mentioned something about
another aspect of mine hanging around in the background and I knew who
he was talking about because I had begun to encounter him in my
explorations. and he's not a very savory character! ALAN: (Chuckling) ELLEN: He was a gangster hit man, a hired killer; and he killed a lot
of people. And he was very, very good at what he did. MARK: (Humorously cutting in) Can I borrow him? ELLEN: And. You want to borrow him? Okay. (Laughs and the group
laughs) And he was able to.. he had the ability to remain focused in
the moment, to insulate his emotions down into a finely honed blade of
awareness where he could shut out all the turmoil and the fear. And I
recognize in myself that I have this ability when I'm in times of
crisis. Even when inside I'm full of panic and fear, I can hold that
intensity and stay in the moment and stay clearly focused, and it has
been a quality that has carried me through many crisis points in my
life. And recently I was wondering to myself: you know, this is great,
to recognize this about yourself, that you have a skill, ability or
talent, [but] what's the point in knowing where it came from, that
it's this other aspect self that's giving it to you, especially when.
you know, it comes from this unsavory character! (Laughs) ALAN: (Chuckling) ELLEN: But as I was sort of questioning my inner Self about it, I kept
getting the words "High Art". Those words kept coming to me [that]
your own life is a High Art and if you appreciate the skills and the
talents you have, that's a very good thing, but by delving down into
it and discovering these aspects that had their own full, rich lives
and the knowledge and the wisdom that they can impart to you, and that
you can impart back to them, it's very. it benefits both you and your
aspect. There's more to it, but. [I hear Kris returning with his signature initial deep breaths and
Mark quickly says the time, ending break with a chuckle.] MARK: 8:49. KRIS: (Dryly) May we add at least one point five cents of comment? ELLEN: (Jokingly) No! BRIAN: (Laughs) ELLEN: (Chuckling) Yes, please do. KRIS: Now, what you are describing is very appropriate. Whether you
refer to these as aspects, parallel selves, past lives, future lives,
probable selves, present selves - REGARDLESS - they are traits and
characteristics and behaviors of the self, but that is not all that
you are in exactly the same way that you are not the story of the life
that you write and display. You are always MORE THAN that, in exactly
the same way as the Shakespearian actor is not the character that he
plays. He is more. He needs to be more than the character. The
character is simply a behavior that he takes on for a period of time.
Do you follow? ELLEN: Yeah, and this is also something that came to me a couple of
days ago: a slightly different analogy was that appreciating your own
abilities and talents is a good thing, but it's like looking at a
masterpiece of art and trying to understand it just by examining the
brush strokes. KRIS: That is correct. Or even the painting itself. The great artists
are not their works of art. These are some of their expressions of
their inner life, correct? ELLEN: Yeah. KRIS: And your own personal lives - all of you - you are not limited
to those lives. You are "more than." Your lives are expressions of who
and what you are. They are behaviors. The fireman, the policeman, the
lawyer, the grocery clerk, the president, any human life, any
individual, is NOT that. That is the behavior. You are always more
than that life that you are living at that point in time, but you
have, therefore, a particular advantage. You can write NEW scenarios,
NEW dramas, NEW opportunities in that life that you are living,
because you are, fortunately, not that life. Do you follow that? ELLEN: I believe so. THERESA: And not only can we script in new scenes, but we can even
change our character; we can change our personality traits. KRIS: Indeed. You are the kind of creatures than can change their
spots and stripes. That is the grace and the beauty of whom and what
you are because you have your main existence outside of the story of
your life. The story of your life is simply a manifestation of, an
expression of. There are other stories that you write that do not fit
into this time/space continuum. You then call them "probable selves,"
"other focuses," "past lives," "future lives," "possible selves" and
so on and so forth. They are all aspects. Do you follow? ALL: Yes. KRIS: So with such an understanding then, you can literally perform
incredible feats of wonder because you can change your story, because
the story is not you. It may be about you, but it is not you. That is
what you choose to display to manifest that particular point in
time/space and you have many tools to do that with. If your stories
were truly about everything that you tell yourselves that you cannot
do, there would be very little that you could do, now wouldn't you? ALL: (Chuckling) KRIS: Thus, our question now is: What part of your story would you
make any change to for a better outcome? Think about this for just a
moment. Let your mind open up. Let your imagination have full rein.
What would you have more of, what would you be more like? What else
could you be and do? Look at the images that come up. Examine the
feeling-tones and what do THESE bring up? What kinds of colors and
sounds and scenarios would open up to you right now? What more
excitement would you insert into the story? Where would you add, where
would you change parts of your story? As a brief example, how many
more people would you write into the story that listen to these
discussions and share them with you in this particular way this
evening? One, two, five? MARK: Thousands. ELLEN: (Chuckling) KRIS: Imagine all the possibilities available to you because as the
author, you are not limited. Now, come out of the story you are
imagining now in this moment. How does that feel? BRIAN: It was fun. THERESA: It's very motivating to think in these terms and it makes me
re-define what life is and it can be.. it can have a lot more variety. KRIS: Indeed. THERESA: And a lot more drastic changes than what we typically think
in terms of. KRIS: You are correct. For the most part, the average individual
writes their stories along the lines that they were told to write that
story by others: the authorities in their lives. Their mothers, their
fathers, grandparents, teachers - the authority figures. An example of
that: in your youth when you learned to draw with coloring crayons in
coloring books. You may be told, for instance, "You do not paint or
color people's faces purple! People's faces are always flesh-toned!
And you do not draw outside the lines." Correct? ELLEN: Mmhm. KRIS: Those kinds of directives are well-intentioned. They are meant
to help you toe the line of official consciousness. But what if you
did want to draw someone's face a color other than flesh-toned? Would
that break rules? What kind of rules did you write in your story that
you may find now unable to understand thus feel as a limitation? Perhaps some of you have heard this old story: where the daughter sees
her mother preparing the ham for Thanksgiving and sees the mother
cutting off both ends of the ham even though there is ample space in
the roaster or the pan. And daughter may ask mother "Why do you do
that?" And mother may say, "Well my mother always cut them off." Thus,
daughter goes to grandmother and grandmother says, "Well my mother
always cut them off." Until one day grandmother remembers why her
mother always cut them off: because her mother's pan was too small for
the hams that were bought. Until you ask, you may never know. Do you
follow? ELLEN: Mmhm. We're well conditioned. KRIS: Indeed. Many of your stories are just that. They are conditioned
the way they are and until you inquire and you push the boundaries
further back, well then, you may always think "Well, that is the way
it is supposed to be!" ELLEN: We're not encouraged to embolden ourselves to be experimental
and inventive. KRIS: Indeed! And in terms of authors, what makes a great and
fascinating author? One who breaks the old boundaries. One who is able
to fire up your imagination and that author does not draw within the
lines. BRIAN: And her name is Jane Roberts! KRIS: There are many great authors. Thus, as authors of your lives,
why do you do the things that you do? Think about it. You do not have
to answer in any way, shape or form, but it may give you indications
of where you might like to then go in and make changes to the story.
Does that make sense to you? ELLEN: Yes, it does. KRIS: Indeed. And with that, we will leave you to ponder the kinds of
stories that you can create for yourselves that take you to new
heights, that make your heart resound with excitement, that make your
blood course with anticipation of what kind of great stories you can
live. And we thank you for your consideration. ALL: Thank you, Kris. [Session ends at 9:05]
http://krischronicles.com/?p=1378
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