Black on Black

black_on_blackIn this dream, Jeane is in a parking garage in a black car, in the dark. As John explains, the imagery speaks of a container quality – the car is being parked in an enclosed space. And the darkness points to something that is not quite ready to come into the light or, not ready to emerge into life. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I only remember one scene out of one dream and, in this scene, you’re somewhere nearby, but I’m going to go park a car we have in the garage, and it’s a big black car. 

The garage is all dark. It’s like the garage here. In other words, it’s a public garage. The garage is all dark, and the car is dark, and the lights aren’t on. And so I start to pull up to the front of the garage. 

I can kind of just tell the front because it’s a shade of dark that’s different than the dark inside the garage, and then I pause for a second because I suddenly realize there’s a police car parked right beside the garage, and I’m kind of paralyzed for a minute thinking he’s going to pull me over because I don’t have my lights on.

But the police car doesn’t do anything so, after pausing for a minute or so, I go ahead and pull into the garage. And that’s all I remember of that whole dream.

John: Unfortunately, I do know what this one means.

Jeane: Yes, unfortunately.

John: In order to put this into context you have to offset it with my dream, and what you’re dealing with as a blackness that you’re parking and dealing in a black space in a garage, is a type of container quality that ordinarily would make no sense to you, and doesn’t make any sense to life, per se, when you just look at it in an outward generic way.

Because it has to link and come into sync with what fits on the opposite side of its nature, In other words, the black car parked in a garage is a quality of holding on to a particular manner of a kind of unfoldment that you’re able to embody. And that your ability to do this does not get awakened, does not come about.

It’s held in check. There’s like a police state in your being that it doesn’t come through until it’s meant to be applied. The only example I could think of giving of something like this is Helen Keller, who was deaf and dumb, incarnated at a point in time where there was a person that understood Helen Keller and was able to transmit Helen Keller’s brilliance. And, had that person not been there it would not have been able to then been made alive.

She would have been caught in a density of existence in which there would have been no way of comprehending who and what Helen Keller was, in terms of the amazingness of her, even though she was deaf and dumb.

Well, that’s what this energy is like. This energy is meant to correspond, to catch up with, to act as a grounding, as a rootedness, as a means of making sense of something that ordinarily can’t be comprehended in the outer. And, in fact, is Greek to the outer.

And so as a consequence this trait and this quality doesn’t suddenly come into its own until there is a correspondence with what it upholds, and sustains, and maintains. So the image of the police car sitting there is like a stab in the heart. It’s a stab in the heart, a fear or something, a road block, a “not yet” kind of image that doesn’t take place because now it’s meant to unfold.

It’s an unfoldment that permeates outward, as opposed to cycling inward. It’s a type of rising up of the energy, as opposed to a pulling down of the energy. It’s a quality of coming from an ancient rootage at a depth inside of one’s self that has lain dormant and hidden for a long, long time.

And the effect, the vibrational effect if you felt it, is the counterclockwise as you would call it or a sweeping of right to left. The cop car sensation was a sweeping from left to right, but it wasn’t meant to affect the situation.

The going down into a darkness of something only to find something awakened as an extreme aliveness that permeated in a way that was outside of ordinary existence. It could touch things outside of ordinary existence.

That’s all right to left and a rising up, like on an in-breath quality. It’s like a treasure coming into its own. But, what you’re looking at it as a type of container, as a type of ability to hold the essence of that together, not as something that’s active per se. And when it’s not able to hold something together, then it’s policed, or monitored, or the access to that is held in check. 

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Flow and Reaction

Go-with-the-flowIn these two dream images, Jeane is faced with a conundrum: how does one hold on to the Wholeness, and yet be able to deal with the specifics of life? One way to think about that question is to realize that when we react to the flow of life in a personal way, it shuts us off from the Whole. That leaves us only in the specific. It is better to not have a personal reaction, but to see the specific from the viewpoint of the Whole. Of course, that’s easier said than done.

(At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I just pulled out little bits of each dream, but they all seem to refer back to each other. It feels like in the very earliest dream, I work somewhere where whatever they want to have you do, it’s like the highest educated people do something, and it feels like very linear to me like it would fit into a tall rectangle and maybe involve radiation. 

And that’s what they actually choose in terms of resolving the situation. And then the people that are the most educated are the ones who do it. But I’m convinced that actually that approach is wrong, that it’s better to take another approach that’s less drastic, and that it produces better results in the long run. 

Although they usually have the less educated people doing it, I have more faith in it, and so it feels like there’s an argument going on about that.

John: The theme of the dreaming last night had to do with reaction action. In other words, what is typical, what is the response, what is the mannerism that comes up when you’re affected in a particular way.

You’re using something as a dramatic in the outer, in which the outer is affected in some inner way through your image. Now, there’s an accepted way, or common way that sophisticated people are then doing this in their reaction. They have a way of contending with it in which there is a manner that’s defined.

And what you’re doing is you’re seeing, somehow, that there is a more natural way, or that there is something else that is another way upon which the situation can be dealt with. And you’re finding that this is how it is done in the most common way, right?

Now, what’s interesting is I’m not sure how you’re using the word common. In other words, it’s like I think you’re differentiating between specific versus overall. And a specific way would have one take and go and deal with something in a linear capacity, that’s defined, that not everyone has the means upon which to do that.

But that is actually an abstraction from the Whole, and that the Whole has to do with not reacting, and taking everything that happens as having a greater meaningfulness, and being able to accept and absorb that for what it is. And that’s what the average person is actually doing at a greater depth inside themselves, is they’re finding that they are designed to simply let go, to be there.

What’s happening is, you’re taking and you’re throwing yourself into this contrast. The natural way of taking and letting everything go is being suggested. In other words, to go with what is in the flow of evolving as opposed to fighting it, which is what everybody does when they take and they react to outer conditions is that they’re actually fighting a natural overall flow.

You’re being told, in a way, that this is no different. You’re fighting an overall flow by responding. That’s almost baffling. It’s hard to believe.

Jeane: As the dream goes on, you and I have to go somewhere. We have a new car and it’s a black car and it has got kind of that big roof like the old Buicks had. Do you know what I mean? It’s kind of a big old car. 

We haven’t really driven it before, and we’re going out at night and there’s snow on the ground, and there’s also something like I can see almost like a roadblock across the road up ahead, and we have to kind of negotiate in this tricky way on the snow, go through what almost looks like there’s something across the road. 

So there’s only a small section through which you can cross, and our battery must die and our lights go out. Well, I’m trying to do something to fix this, but I keep finding myself in the backseat with the seatbelt on in the dark, not the place from which to steer the car.

So I almost have to make this huge effort to actually get in the front seat. I must figure out something that makes the light come on very briefly, but it’s dimmer than it was before, so we have to get across to this little Chevron station and little shopping center I see across a little river. 

There must be a bridge. Well, you start to drive for a few minutes, but then you take us to an area with a little road that just leads on the snow out to this barge, and then we’d be stuck on the river. So then I have to drive again, and I get us over to the little town. 

I’m pretty sure it’s the battery. I think I want to go in and buy a battery, but the first place I go to with someone, and it doesn’t even seem to be you right now, the store seems to think that I want to use credit to get this battery, and credit doesn’t work anymore – they just laugh at me.

So I leave the store and I do something where I actually come back; I don’t know what it was I did. I must have just gone somewhere else and I figured out how to get what I needed, because I come back and this time I have something I can trade with, or that I can use to get what I need, and then I’m going to go to the little Chevron station.

But I know we still have to make it home in this car we haven’t tried out that well yet, so I don’t know if it’s going to make it or not.

John: It’s a dream where one drifts a lot. You lose your ability to see because you’re letting your energy go down. For whatever particular reason your energy has gone down, and the black car is something that drives in a state of Wholeness, or emptiness, or grace – because it’s white out – but the black car is driving in the snow, or driving in the whiteness.

In other words, it’s the part of one’s self that’s making the journey, that goes out into the Wholeness, or the overallness. But in this particular case, you’re being told that the energetic, the electrical, the part that keeps you fired up, that keeps you quickened in terms of making this journey, is out of energy. It’s shorting out, or the lights are going out.

Because what you’re showing as the solution is you have to adopt, or reach, a particular aspect of your masculine nature, where you take a responsibility for yourself. You can’t stay back in a safe zone. What can be accomplished if the car can’t go, and the lights are out – what good is sitting in the backseat all buckled in?

You realize that you have to move towards the issue. Going along for the ride, that isn’t acceptable. You have to plug yourself in, or be engaged, or come directly to the situation, to confront or deal with the situation, to no longer ignore it.

Sitting in the backseat all buckled in is kind of like ignoring it, assuming that the black vehicle can just kind of keep moving along. But you realize that something needs to be done, because in the Wholeness that it’s in, it’s not holding up. It’s not able to maintain itself as a microcosmic flow. It is losing its juice.

And so maybe the difference is that you’re not direct enough with yourself to what is at hand, so you put yourself into the driver’s seat, which is more masculine now as opposed to subjective and feminine.

And in doing so, of course, this leads to collateral damage, because when you take and you do something like that you actually are taking and doing something that’s coming out of a letting go, and going into a state of compaction. In other words, bringing through and functioning in a very specific way within the Wholeness, and that’s a microcosmic motion in the Wholeness.

Because the second dream is responding to the first dream. In other words, the first dream is proposing a naturalness, that in its simplicity is the better way of going, in a general overall sense.

And then the second dream is like saying, except, but, and points out a scenario where the vehicle, which is driving in the state of grace, is no longer able to maintain itself, its energetic, and is thus impacted.

Sitting in the backseat, in a general overall nature, buckled in and going along for the ride, is the same thing as being able to reach and use what you would consider credit cards, or whatever, that have an unlimited depth to them, that more or less have a quality about them that’s able to take into account what is needed.

You just put it on the card, so to speak, but you’re not allowed to just put it on the card, and you’re required to have to drive the car. What you’re doing is you’re contrasting two states of energy.

You’re contrasting the state of energy that has to do with a natural overallness, in which things are all in their place, so to speak, because what people do to try to establish an edge or an upper hand over things when they react, when there’s a reaction to be had, what they do is not the preferable way of being.

It’s better to be able to sit in this natural overallness. However, there can be a point in time, in which in this natural overallness, the vehicle has some problem in terms of keeping its energy right. It’s shorting out. It’s not able to make the journey like it used to make the journey, and you have to take more responsibility, with a kind of focus, when it’s like that.

But at the same time, you can’t forget the first dream. You can’t forget the first dream where you still have to recognize that there’s a greater natural overallness that’s going on at the same time, – you have to work with both.

And so the second dream is there to kind of tell you that, yes, there is this general way, the superior overall way of being. However, in the microcosm of things, you’re required to also be attentive to what is affecting you in the environment. But your attention has to be such that you deal with it specifically, but still do not lose the overallness that is your greater being.

You have to have both. You have to sustain both. It doesn’t talk about depth or anything. It just talks about flow and reaction to flow. Maybe it doesn’t deal with the depth because it’s the masculine that has to probe itself more deeply to take responsibility for what it brings through, as its ideas and thoughts and whatnot, and the feminine just has to be receptive to it, and know by the feel of it, and the sense of it, what’s meant to be, and what’s not meant to be, in terms of how it fills, or fulfills, something.

You’re faced with a conundrum. You’re working with an inner note inside yourself. You can’t dismiss it. You can’t totally dismiss that note as unimportant, and you can’t be too literal with it either.

In that regard, you’re going to extremes. You’re going to a certain depth or density with what is reactive and throwing you asunder. I don’t know whether you would call that a depth, or spin, and then, on the other hand, you’re having to hold onto a cadence of the overallness for the greater sanity of it all.

I guess that’s probably describing what you’re going through. I keep sitting there looking at it from the standpoint that, is it trying to tell you something? I’m always looking at things as if they are teaching dreams, too. Is it trying to direct you, or guide you, in some particular way?

I guess, with that in mind, what it is doing more than anything else is having you pay attention to both equations simultaneously. It’s unacceptable for you to try to take care of yourself via reaction, when you have this general overallness as a responsibility, and it’s unacceptable for you to stay in the general overallness, as well, when something specific is at hand, so, thus, you have this conundrum.

They kind of run at odds to each other, but do they? One is kind of an inner, and one is kind of an outer. One is kind of at a depth of going up, and the other is kind of at a quality of going down into the depths of one’s self. Do they run counter? Actually they fit together like a pea in the pod, but it takes a bit to recognize that you’re having that kind of expansive depth.

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