As Good As It Gets

As_Above_So_BelowA dream of moving vans and house-hunting, while Jeane and John are planning on moving in real life, seems straightforward enough. Yet these images also point to a much greater idea – that of remembering our in-built connections to God and creation. Being, as we are, in physical bodies, requires us to find our connection to what created us through a groundedness that comes from our inner life – our higher self. That is very different from being grounded in the material aspects of the world, which can often be what disconnects us from our higher purpose. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: The beginning of this dream, there’s something going on that I’m not remembering what it relates to, but it’s like I’ve gone somewhere and there’s a moving truck there, a big long one almost like a double long one, and I’m observing this moving truck and a second moving truck that comes.

It seems to be a place where the trucks pull in and stay, and I know that there’s something about the owner of the moving trucks that I have an uneasiness with, and it does have something to do with the fact that you and I are going to be moving, but I just don’t remember a lot of that part of the dream.

I just saw it as like I’ve gone to this place in the country where moving trucks stay, or where the owner of them is. There are at least two big trucks that pull in and leave, and I know I’m observing it. I know I have some uneasiness about whoever owns the moving trucks, but I just don’t remember enough about the context of that dream before it switches into the rest of the dream.

In the dream, you and I are going to be moving. I’m not even sure that we’re living together, but we will be. And there’s a woman. I don’t know if she’s your mother, or relative of yours, who seems to help us sometimes with looking for where we’re going to move.

Maybe she’s just a real estate agent, but at one point I’ve gone out and I’ve gone to look at this little house in the country and the real estate agent is showing it to me. And apparently it’s a house that you lived near when you were a kid, and what you really like about it is that it has all of these memories.

Now it’s small. It has a couple of levels to it, but it has one outdoor area that’s a covered outdoor area, but it’s almost like a huge room also, and so you’re kind of indoors and outdoors. And I look at this place, and then I leave, and then I come back on my own.

The owner isn’t there and the place isn’t locked, so I go in and I’m walking around. And then suddenly the owner comes and I startle her, but I just explain that we were thinking about buying it and she’s kind of delighted about that, or maybe even her husband comes.

I think there’s a man at some point. What they start showing me is they take me… it’s a small house in some ways, but they take me into this one room and they show me that in the kitchen, which he had actually designed it so you could put this, it almost looks like a long broom handle, through the refrigerator door into the wall and use it to slide the refrigerator over and then you had room to play a piano that was next to it.

And that seems to almost go right into the bedroom too, like all of these rooms kind of flow into each other, and then they took me upstairs and were showing me some neat things about the indoor/outdoor room about how what you can do there and how it’s laid out.

There were just a few unique things they have done so that even though it’s a very small space, there’s something about it that you can tell they’ve really loved it and they’ve done some unusual things to make it work for several different types of functions. And it has all of these kind of memories to it that you have from a childhood.

What I don’t want to tell them, in a way, is that you and I will probably only be there for about two years because we’re moving somewhere further north after that, but I realize at a place like this they even have kids that could rent it, or we have kids that could rent it by that time, some guys, you know, that live there.

I really think in some ways this would work because it would be easy to either rent out or resell, but I’m not saying anything about that to them.

John: What this dream is about, is it’s comparing and it’s looking at the two traits… the words existence and creation don’t actually work anymore, because existence and creation implies just one thing. It doesn’t imply the something that’s the universe, or the Wholeness, which is infinite.

You’re looking at a comparison of something that is rooted in creation, and yet has a sense of movement and flow that comes in some sort of infinite capacity. You have the moving trucks that represent the infinite capacity, and then you have the place in the country, or going into the country, which represents the rootedness and the groundedness in creation.

Then what you point out is that the groundedness as represented by the house, in other words something that’s formulated as an aspect that is in creation, is the means by which something is appreciated, because you can’t appreciate things if they are always in flux, as a moving truck.

You have to appreciate it through a groundedness, through something that’s rooted, and when you root something in creation you stir up the nostalgia of something deeper inside you. You stir up the memory of something more, in terms of who you are.

That’s the importance of being very rooted and very grounded in creation, the little house. However, the little house is quickened by the fact that it also has the macrocosm of what is defined specifically as a house in creation. It has the macrocosm effect.

Because it has this overdrive or this other quality of an effect, it becomes like a refrigerator, the broom represents the ability to traverse the two, to be able to link or connect as the thread between two zones, and the refrigerator is the catalytic, and the piano is the link to the inner harmonies, and you’re able to bring these kinds of traits and qualities into this house.

Now, the important part of the dream is that of the nostalgia, of the value, of the quality that the house resonates, the memories that this house carries, and that’s exactly how it is in terms of God. God cannot be appreciated, and whatever God is cannot be known.

To begin with you have to root and find the memories, the nostalgia, the sight of something in creation that touches, and that’s how you come to know. In the joy of that, in the appreciation of that, in the honoring of that, in the respect of that, in the trust of that, things unfold. And it doesn’t matter, it can be a real small house and they still unfold because you’ve created the link of above and below.

But it’s only in the below, in the microcosm of things, that you’re able to find the appreciation. You can’t aspire to that in a moving truck, or Tower of Babel, or any sort of thing that probes and reaches out, knowing that somehow out there is a greater ideal. Yes, in a roundabout way you can say that that’s your true home: that interval where the in-breath turns to the out-breath, that’s your true home.

But you do not catch up with that except in a very rooted and grounded nature that is in life, and yet allows itself to be touched and moved by a quality of something that is so much greater, but that so much greater has to be fully appreciated.

To fully touch and reach the heart, you have to have a quality of a rootedness in creation. The problem with the rootedness in creation is that it’s very, very hard to keep from being anal retentive and getting caught up in the mishmash of things that tear you up and throw you around and make you feel bad about this, or sorry about that, or however it makes you feel. It’s very, very hard to keep that from happening.

So hopefully, this quality that resonates out of the range of perceptions, something bleeds through that then can be recognized and seen and appreciated back again on the element of creation, in the most subtle heartfelt way, and that is as good as it gets.

And when you experience that, you have a trust in that, you have a faith in that, you have a sight in that, you have a respect of that, you honor that, thus the catalytic, the thread between the catalytic of the refrigerator leads to the harmony and the music of the spheres of the piano.

The theme of the dreaming last night was looking at a groundedness and a rootedness in creation, a groundedness and rootedness that leads to a recognition, and an appreciation, and a trust, and does not get thrown around or caught up or lost in the absurdities and complexities that undermine that distinction, or that way of being.

You undermine it when you aspire to be something other than something just in creation. There is a way of being just in creation so that the nostalgia, the memories, all of that, come through, and touch you, and in feeling that that is like a music inside you, like the piano, like a heartfulness that touches the spheres of all there is.

But that only happens through the catalytic refrigerator effect linked with the thread. The thread or the broom that moves things up and down and around, is the breath, and so in a realized soul, sure, the most important part of the breath is the interval where the in-breath turns to the out-breath.

But from the standpoint of a human being, unless they become something other than a human being, you only can catch up with the memories, the vibration, the feeling, the quality, that is carefully instilled into creation, that can have a compactness, and a denseness, but still resonates this other. And it is appreciating that, recognizing that, which enables something more to occur.

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