Patterns can be very helpful to us, or they can be great hindrances. Unconscious patterns will become ruts that let us move about by pure habit. Conscious patterns, ones that we create to allow us to make progress toward a certain intention, can be very productive. Yet within these structures we need to maintain an openness to go with the flow of life, to respond to what is currently possible. Our set patterns can close us off to what is alive in the moment. (At the end of this post there are instructions and a link to download this recording to your computer.)
Jeane: In my dream, I’m visiting a house where Joan Rivers has been staying and, apparently, she’s come and stayed there over the years, and I’m going to be staying there when she leaves. She has a younger boyfriend that lives down the street.
And the main feature of this house is there’s a couple that rents out the space to her, that lives somewhere else in the house, because her’s is like a smaller apartment that’s attached to it, almost like a studio in some ways, and they have a grandson who seems to do things for her.
And the main thing I notice is that she’s always putting up new wallpaper, and the grandson seems to do that for her. I’m studying it now because apparently, when she moves out, I’m going to be moving into this space. And it’s almost like people expect me also to take on her boyfriend when I move in the space.
And so I’m studying this, and I’m looking at the wallpaper that she put up, and I realize that if I were living there I’d probably put up a different colored wallpaper, because she likes distinctive large patterns, and I almost like something where I could see myself, or if you kind of ran the wallpaper really fast kind of like that tiger that turns into butter in the cartoons, then the wallpaper would all blend into a certain color, and that would probably be the color I would like, not the one with distinct forms on it.
And then I’m looking and I’m seeing the past a bit, and I’m seeing that when she first moved in the place looked pretty bad, like cigarette butts on the floor, and maybe the floor was bare, but now it’s been not only nicely fixed up but, you know, she puts different wallpaper on it all the time so it’s always freshened up. But I see that most of the work for that was done by the grandson.
And then I see a scene where she and I… well, where all of us are in a car, except the car almost has three sections, and in the front section is the man who owns the apartment. He’s driving, and his grandson is up there not too far from him, and then he has this big dog, the kind that has really wrinkly skin. And then there’s a little bit of the seat, and then I’m there, and then behind me in the car would be Joan Rivers and her boyfriend.
And I reach up, I kind of grab the dog and give him this really deep rub, kind of into the furrows of this really thick skin he has, that kind of causes these deep crevices. It belonged to the people that owned the place, I think. And it’s the way that I rub it, and grab it, and rub it the dog gets really happy and like rolls over on his back. But I can see that that disturbs the owner a little bit. It’s almost like he doesn’t want to see the dog quite that tranced out. And that was the dream.
John: So this dream is identifying a problem. It’s actually a teaching dream, that’s identifying a problem that currently exists, in that one of the reasons why nothing is working in life, in terms of consciousness evolving like is possible, is because it’s gotten sticky. It has gotten set. It has developed its own patterns, set patterns, and these set patterns have to be let go of. You can’t take and effectuate change with certain set mannerisms, or patterns.
In other words, this is a shocker of a dream, because it does comport with what I’m dreaming, too, in that what is offered as a prescribed, predictable, developed mannerism, that has been honed over millennia, or has been taken on as an understanding, or school, of belief, something has to lighten up about it, because you can’t have this on one side, and that on the other, just like we can’t have the angelic on one side, and the pragmatic, we’ll call it, on the other. The two don’t talk to each other.
So what has happened is the mire of things has gotten to such a degree that you just have these patterns, and one of the things that’s interesting about breaking up patterns is, first of all, you have to expose them – and that’s what Joan Rivers is all about. It was not an easy life for her to live, but, at her best, she made a mockery of everything. She had a way of looking at the simplest things in life and pooh-poohing it. She would go into areas that would be considered off limits and almost sacred, that you don’t go making Tom Foolery out of in these areas, that these are value oriented areas or something.
And she’d go into those areas, it was her comedic nature, and she would be able to put a flip on them that was kind of humorous. It’s almost as if there is a need for a letting go that has to do with reincorporating everything that is in life again, all back into life, good, bad, and otherwise, almost kind of like the way things are kind of thing, letting go, back into the whole overall now. Because tangents about how and how things need to be, in terms of a context, and you have all of these contexts, all of these different Tariqas, and traditions, and religions, and on and on and on, all of them seem to have developed a mannerism by which a person can take and go off to one side, and seemingly have experiences – but that’s not doing much for the fact that you have all these patterns in life that still predominate, these other patterns in life.
And that Joan Rivers, in a sense, was able to take all of these and flip them around, as her sense of humor. And, in doing so, her contribution to life was to try to give life an idea that nothing was that serious, that you don’t need to get all contangled with any given thing, good, bad, or otherwise, whatever your belief system.
Now somehow you’re looking at all of this. You realize that you’re going to have to take into account all of this, including everything that she’s about, and you realize that there is a higher octave to it. And the higher octave is: all of this needs to be spun together, brought into something, instead of big patterns, brought into something that’s, like you said, the tiger’s going around and around until you make butter.
And so instead of taking and picking something this way, or that way, you realize that you need to take everything that there is and run it together, and, in running it together, homogenized the whole thing. It’s like a letting go homogenization in which everything is taken into account, as opposed to being in a condition in which what is affecting you everything is set patterns. And you’re never quite free from getting from one pattern to the next with any dexterity.
You’re either too angelic, or too pragmatic, or too this, or too that. And so what you realize is that there is a bigger picture to it all, because things that are like this on one hand, and like that on the other hand, whether they’re angelic on one hand or not, however they are, is not making any headway.
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