Sunday, July 19, 2015

Tapping into the FP, the field of potential,” with our Thoughts.

I am rather enjoying Pam Grout’s book, “E Squared:  Nine Do-It-Yourself Energy Experiments That Prove Your Thoughts Create Your Reality.”  She makes it clear that there is an invisible energy field that flows through the universe, influencing the physical realm.  She calls it the FP, the field of potential.  She makes it clear that we can tap into the FP and transform this energy by using our thoughts. Every thought we have is an energy wave that affects everything else in the universe.  

And from her book:

Dr. Fred Alan Wolf says it boils down to this:  The universe doesn’t exist without a perceiver of that universe.  A Couse in Miracles is a self-study program in spiritual psychology that I’ve been practicing and teaching for 25 year; it, has always advocated the idea that consciousness creates the material world. It says we humans decide in advance how we’re going to experience life, that we choose beforehand what we want to see.

Pam Grout continues:

 The Dude Abides Principle:  There is an invisible energy force or field of infinite possibilities.

Every thought we have impacts the field of potentiality.  In fact, what we see is nothing but waves of possibility that we observed into form.  This principle states that you impact the field and draw from it according to your beliefs and expectations.

She tells the story that convinced her of this truth—the “nail miracle:”

For years, I placed a calendar beside my bed, plucking it down from time to time to jot down important events.  One night, I grabbed the calendar a bit too eagerly and pulled out the small nail that secured it to the wall.  I looked all over for it to no avail. I gave up and decided I would just send out an intention for it to show up.  The next morning when I woke up, the nail was in my hand nestled between my thumb and forefinger.

Most people associate the word abacadbra with magicians pulling rabbits out of hats.  It’s actually an Aramaic term that translates into English as, “I will create as I speak.”

She employs the scientific method to demonstrate this, encouraging us to do experiments.

So, I decided to try Experiment 1:  This is what I want to pull out of the field in the next 48 hours: 

 I want to see orange cars.

Well, Christine and I were driving to Michigan when I began seeing them everywhere—obviously, on the highway, in mall parking lots, in driveways, on the street, parked, and what really knocked me out was, after being gone for over three weeks, we drove into our driveway, and I looked across the street,  and our neighbor had acquired in our absence, a new , shiny ORAANGE car.

And here is the incident that inspires me the most.

While we were in Michigan, I went into my hometown of Three Rivers, particularly, to go to a store on Main Street that featured only sunglasses.  Actually, I had gone to that store several times, and each time it was closed.  I tried it once again, it was closed, and I turned away, muttering to myself, “Damn it,” and just then I looked across the street and saw a new, beautiful ORANGE car.  I actually walked across the street and patted it on the fender.  Then, I looked at its license plate, and it said:  URTOWN.
Now, that meant two things to me:  

1) I was experiencing the results of my projection, “Damn it,” making up my world, “my” town, and 2) it was, indeed, the town I grew up in.

Pam Grout:

To change the world is a simple matter of changing our thoughts.  To bring something into the physical world requires focusing not on what we see, but on what we want to see.

Doreen Virtue says in her book, “Healing with the Angels:  How the Angels can Assist you in Every Aspect of your Life:”

Angels sometimes communicate with us by using license plates.  In this way, the angels will actually give us detailed messages.

*     *     *

Yesterday afternoon, I was sitting on our Patio, enjoying the warm, sunny July day, and a  little bunny rabbit came to eat the black sunflower seeds on the ground underneath the bird feeder about 8 feet away from where I was sitting.  Uncharacteristically, I looked at him full on, and because of macular degeneration, he completely disappeared.  Usually, I l look at an object at 3 o’clock, or 9 o’clock, and my peripheral vision brings it into focus.
For a moment, I had this fear thought, “What will it be like in 10 years?”  At that very moment, the little bunny rabbit hopped over and sat right in front of me, twitching its nose, and looking at me. I kept saying, softly, “Hi, little bunny rabbit.”  After a couple of minutes, he turned and hopped back to his seeds.
 I felt comforted and safe, realizing that the FP, the field of potential,” was manifesting, willing to enter in at any moment, attracted by my thoughts, winking at me, saying, “You’re going to  be just fine.”

Friday, July 17, 2015

Prose and Poetry in A Course in Miracles

Since James Twyman is reading the Lesson of the day in his mellifluous voice, emphasizing the rhythm of the iambic pentameter, I want to bring to your attention the extent of the iambic pentameter in the Course.

In Lesson 97, I am Spirit, the first three paragraphs are the last prose in the Lessons.  

Today's idea identifies you with your one Self. It accepts no split identity, nor tries to weave opposing factors into unity. It simply states the truth. Practice this truth today as often as you can, for it will bring your mind from conflict to the quiet fields of peace. No chill of fear can enter, for your mind has been absolved from madness, letting go illusions of a split identity.

We state again the truth about your Self, the holy Son of God Who rests in you; Whose mind has been restored to sanity. You are the spirit lovingly endowed with all your Father's Love and peace and joy. You are the spirit which completes Himself, and shares His function as
Creator. He is with you always, as you are with Him.

Today we try to bring reality still closer to your mind. Each time you practice, awareness is brought a little nearer at least; sometimes a thousand years or more are saved. The minutes which you give are multiplied over and over, for the miracle makes use of time, but is not
ruled by it. Salvation is a miracle, the first and last; the first that is the last, for it is one.

The next stanza begins the iambic pentameter for the rest of the Lessons.

You ARE/ the SPIR/ it IN/ whose MIND/ a BIDES/
the miracle in which all time stands still;
the miracle in which a minute spent
in using these ideas becomes a time
that has no limit and that has no end.
Give, then, these minutes willingly, and count
on Him Who promised to lay timelessness
beside them. He will offer all His strength
to every little effort that you make.
Give Him the minutes which He needs today,
to help you understand with Him you are
the spirit that abides in Him, and that
calls through His Voice to every living thing;
offers His sight to everyone who asks;
replaces error with the simple truth.

In the Text, in Chapter 26, TheTransition, is primarily in iambic pentameter, but the last two prose paragraphs in the Text occur in Chapter 27, The Healing of the Dream, in the Section, Beyond all Symbols:

Power cannot oppose. For opposition would weaken it, and weakened power is a contradiction in ideas. Weak strength is meaningless, and power used to weaken is employed to limit. And therefore it must be limited and weak, because that is its purpose. Power is unopposed, to be itself. No weakness can intrude on it without changing it into something it is not. To weaken is to limit, and impose an opposite that contradicts the concept that it attacks. And by this does it join to the idea a something it is not, and make it unintelligible. Who can understand a double concept, such as "weakened-power" or "hateful-love"?

You have decided that your brother is a symbol for a "hateful-love," a "weakened-power," and above all, a "living-death." And so he has no meaning to you, for he stands for what is meaningless. He represents a double thought, where half is cancelled out by the remaining
half. Yet even this is quickly contradicted by the half it cancelled out, and so they both are gone. And now he stands for nothing. Symbols which but represent ideas that cannot be must stand for empty space and nothingness. Yet nothingness and empty space can not be interference. What can interfere with the awareness of reality is the belief that there is something there.

Here is the poetic stanza that begins the rest of the Text in iambic pentameter.

The PIC/ ture OF/ your BROTH/ her THAT/ you SEE/
or to deny; to love or hate, or to
kndow with power or to see as weak.
The picture has been wholly cancelled out,
because it symbolized a contradiction
that cancelled out the thought it represents.
And thus the picture has no cause at all.
Who can perceive effect without a cause?
What can the causeless be but nothingness?
The picture of your brother that you see
is wholly absent and has never been.
Let, then, the empty space it occupies
be recognized as vacant, and the time
devoted to its seeing be perceived
as idly spent, a time unoccupied.

Michael Russell was the first to bring this to the attention of the world in his magnificent book, “Rhythm and Reason:  Prose and Poetry in A Course in Miracles.”

Sunday, June 07, 2015

Becoming Aware of God’ PLAN

I just came across a remarkable book by Tom Sullivan, “As I See It:  My View from the Inside Out.”

Born prematurely in 1947, Tom was given too much oxygen while in an incubator.  Though it saved his life, it cost him his eyesight.

I was particularly struck by his experience at the Sistine Chapel.  He was frustrated to be there, unable to see Michelangelo’s masterpieces, and then his daughter, Blythe, approached a curator who had a loving heart, and opened it up to Tom to feel the sculptures.

Here is Tom’s loving account:

There are ultimate moments in a person’s life, experiences that transcend all others.  For me, this moment—this singular hour on the clock of life—changed my life forever.

I was taken behind the ropes and allowed to touch the works of the artist.  Under my hands—the hands that had been my eyes on the world—the masterpieces came alive, and in a moment of beautiful clarity I realized that I understood every nuance Michelangelo had hammered and chiseled into the Carrara marble.

I touched Moses, feeling the fullness of his beard, the tablets of the Commandments under his arm, the set of his chin, as if he were saying, “I will bring the people of Israel out of bondage.”  There was the high forehead, the angle of his shoulders preparing to move, to reach freedom.

I was crying now, uncontrollably, the tears pouring down my face because for the first time I grasped, in this place—incredibly etched in my memory forever—that I was no longer really blind because I was seeing Michelangelo[s work inside out, as he had seen it in its creation.

From that day to this and on through the rest of my time on earth, I realize that my way of looking at the world will remain unique and, yes, unusual.  I’m sure that in God’s essential PLAN I was chosen to be blind, and after many years of struggle I’ve come to terms with that remarkable truth.  I now celebrate my own uniqueness with closed eyes and a completely open soul.

And this is beautifully echoed in these passages from A Course in Miracles:

A healed mind does not plan. It carries out
the PLAN  that it receives through listening
to Wisdom that is not its own. It waits
until it has been taught what should be done,
and then proceeds to do it. It does not
depend upon itself for anything
except its adequacy to fulfill
the PLANS assigned to it. It is secure
in certainty that obstacles can not
impede its progress to accomplishment
of any goal that serves the greater PLAN
established for the good of everyone.
(Lesson 135.11)

Time is a trick, a sleight of hand, a vast
illusion in which figures come and go
as if by magic. Yet there is a PLAN
behind appearances that does not change.
The script is written. When experience
will come to end your doubting has been set.
 (Lesson 158.4)

Thursday, May 21, 2015

Saying “WOW.” A shift from in-time to out-of-time

I often find myself saying, “WOW.”  For example, I just walked into our living room, and I was stopped because I saw a bright light streaming through the skylights, throwing luminous rectangles of light on the wall, and I found myself exclaiming, “Wow.”

Soon after, I came across this passage in Doreen Virtue’s, “Healing with the Angels:”
The angels also show me that it would be a great idea for you to have pink roses around you.
Belinda, her client:
Oh, WOW!  That opens my heart just thinking about it.
Often, in our Writing Class, a poem is read aloud, and guys say, “WOW.”

Then I thought, hmmm, I wonder if I can make up an acronym for WOW., and I did: 

Without Ordinary Wariness

The word “wary,” comes from the Latin, vereri, meaning “to fear.”

Our ego consciousness is wary of seeing the light, fearful of its own continuing existence.  When this wariness is suspended for a split-second, we can experience the light, Christ vision.

To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And Eternity in an hour.
William Blake

It is a WOW moment when Blake sees haven in a Wild Flower, and renders it into words, and a reader says WOW while reading it, and what is being communicated is seeing with Christ vision, stepping, for a moment, out of time and space and into eternity.

I asked my friend, Judy, to come up with an acronym, and she promptly did:

Work Of Wonder

When I mentioned this to Christine, she quickly said:

Wonder Of Wonders

The word “miracle” comes from the Latin, miraculum, meaning “to wonder.”

Miracle, of course, is defined in the Course as “a shift in perception.”  In a WOW moment we are shifting from ego consciousness to light.

WOW expresses the synchronicity of the crossing of two vectors, out-of-time and in-time.

Expressed in general terms, we have these crossings: 

love’s presence/blocks
“Father, why hast Thou forsaken me?”/
“It is accomplished!”
eternity/time and space.
The single condition that allows a WOW moment to occur is RECEPTIVITY to the out-of-time vector.  As we become increasingly RECEPTIVE and gather together, the more these synchronistic moments occur.

A WOW moment brings to mind the memory of what always is,
using this memory  as a springboard from what never was,
enabling us to dive deeply into what is, LOVE.

Now I’m found/I once was lost

And, of course, it all happens by the grace of God.

Amazing Grace

How sweet the sound

That saved a wretch like me

I once was lost, but now I'm found

Was blind, but now I see

Tuesday, May 12, 2015

Woman in Gold: Down the Rabbit Hole, Arty Senger

On Monday, April 13, 2015, I entered a theatre and unknowingly slid down a rabbit hole into an ever expanding new, yet familiar world.  “Woman in Gold”, the film being shown, depicted the true story of a Jewish refugee’s legal battle with the Austrian government to return a painting that had been confiscated by the Nazis in 1938.  The painting, “Adele Bloch-Bauer”, was a portrait of Maria Altmann’s Aunt, created in 1907 by Austria’s most revered artist, Gustav Klimt.

While viewing the scenes of present day Los Angeles, Washington DC, and Vienna morph into memories of past unreal scenes, I felt my emotions being plucked like the strings of a harp.  Flashbacks showed the opulent, gay lifestyle of uber rich Viennese Jews in the early twentieth century… and thirty years later, when all their wealth and possessions were stripped away by the Nazis. 

Images of people experiencing the highs and lows of human existence streaked across the screen.  I was plunged into memories of my deceased husband, a German Jew who left with his family in 1936 for asylum in Italy.  Three years later, Mussolini joined Hitler and the only country left open to his family was China.  Paul’s dreams of becoming a physician were shattered and he became, in his own words, “Just a poor cabinet-maker”.

My trip down the rabbit hole continued when I returned home from the movie.  While removing my coat, I heard the telephone ring.  It was Ray Comeau, a former English professor who facilitates my Friday writing class.  He suggested that I see “Woman In Gold” and, from an artist’s point of view, write up my impressions of the painting.  This call was surely serendipitous.  I sensed this assignment came from “out of time”.

How to describe the painting; is it opulent or decadent, superficial or profound, a masterpiece or kitsch?  Seeing it on screen, I saw beauty.  There is a square canvas, 4-1/2 x 4-1/2 feet.  An elegant, black-haired woman adorned in precious jewels, sits with hands clasped. Her ivory face, neck, shoulders and arms emerge from thick gold paint covered with geometric figures: squares, spirals, triangles, ovoids, eyes, ornamental motifs as well as secret, erotic symbols.  She appears ethereal but frozen in metal and jewels. 

I remember first glimpsing a reproduction of this painting seventy years ago when I was an art major at Mills College.  My instructor dismissed it as “kitsch”!  We were then studying “cubism”, which was considered true innovative art.  I shrink now at the judgment involved.

One other impression of the painting came from a friend, Art Director Diane Leary.  In 1968, she traveled from home in New Zealand to Austria and visited the Belvedere Museum.  She experienced room after room filled with dark, heavy classical paintings in the European style.  Then she saw an unmarked green door, open, framing a staircase with sunlight pouring down.  Curiosity propelled her up the stairs where she stopped in amazement; a huge area spread before her filled with Gustav Klimt’s paintings.  Many were from his gold period.  Her mind said they were garish and she shouldn’t like them, but her heart fell in love.

Adele Bloch-Bauer I is a multi-faceted portrait.  Diane Leary’s impression was the same as mine; the painting exposed two facets of Vienna’s Mona Lisa.  To fully appreciate this art we needed to know something of the artist and to know the artist we needed to know something of the space and time that spawned his genius.  Lastly, what do we know of the subject herself, Adele Bloch-Bauer?

My friend Hana ferreted out the perfect gem of a book for me entitled “Gustav Klimt, Art Nouveau Visionary” by Eva di Stefano, Italian Art critic and historian.  Beautifully reproduced photographs of Klimt’s work were interspersed with comprehensive information.  I was thrilled to bring this wonderful book home with me from the Madison bookstore.

Gustav Klimt, like his painting, was multifaceted.  He was born July, 1862 in a suburb of Vienna.  His father was a gold engraver and his mother an unsuccessful opera singer.  They influenced his love of music and use of gold in art.  Following formal training in Arts and Crafts he became a prolific painter of historic murals and landscapes and he finally concentrated on women’s portraits.  His last thirty years coincided with the final years of the Austro-Hungarian Hapsburg Empire.  Writers describe this as “the golden age of bourgeois  security”  that slipped into a “gay apocalypse”.  It was described as the “world of yesterday” – aristocratic, elegant with operatic melodies.  It was the cradle of Zionism, anti-Semitism and Austrian Marxism.  The era’s intellectuals, including Sigmund Freud, were redefining subjectivity.  Erotic hedonism was rampant. 

Gustav Klimt, more than anyone else, was able to give a face to the period’s obsessions: the destructive power of eros, erotic superiority of women, and the idea of an elusive, eternal femme fatale.  These were the central themes of his work.  Aesthetic values were taken to the extreme. He had a personal decorative language where ornament was not empty form but part of the structure. 
Klimt’s golden style spanned the years from 190l to 1909.  He used massive amounts of pure gold leaf and gilded paper.  Gustave not only depicted the “gay apocalypse”, but was part of it.  It is reported that he entertained over one hundred lovers at his studio while he continued to live with his mother and sisters.

Gustav Klimt died in 1918, the same year as the dissolution of the Hapsburg Empire.

Key to the final facet defining this revered portrait was the model herself.  Who was Adele Bloch-Bauer?  As the daughter of a banker, and wife of the owner of central Europe’s largest sugar refinery, she represented Austria’s refined Jewish bourgeoisie.  While almost blending in to Viennese high society, she was hostess to the era’s stars, including Alma Mahler, Richard Strauss, and Sigmund Freud.  Gustav Klimt painted two identified portraits and over one hundred sketches of Adele.  It was known that the artist and this lovely married lady were intimately involved.  Several erotic paintings titled “Judith” were said also to depict his lover.  One face glowed with post-orgasmic fervor above bared breasts. 

Brief affairs were common at the turn of the century among wealthy Viennese.  At the young age of forty-three in the year 1925, lovely, lively Adele Bloch-Bauer died of meningitis.  She was spared from seeing her precious belongings seized by the Nazis!

The last serendipitous message I received came from a book.  I knew it was imperative that I finish my assignment.  “The Hare with Amber Eyes” by Edmund DeWaal was loaned to me by my friend, Nellie.  I finally started reading this book two days after seeing “Woman in Gold”.  Edmund Dewaal inherited 264 Netsukes (Japanese wood and ivory carvings no bigger than a matchbox).  He felt compelled to trace their journey through generations of his family.  The journey took him from Odessa to Paris and from occupied Vienna to Tokyo.  To my total surprise, his wealthy Jewish-Viennese family lived on Ring Strasse, the same street at the same time as Adele Bloch-Bauer lived there. 

DeWaal meticulously researched the milieu and personal lives of his great grandparents.  Viktor, 39 years old married Emma, 18 years old in 1899.  He was in love with Emmy and she was in love with an “an artist and playboy who had no intention of marrying anyone.”  I wondered if it could have been Gustav Klimt?  At that time, sex was inescapable in Vienna.  Sex is argued over by Freud.  In “Sex and Character”, the cult book of 1903, women were said to be amoral by nature and in need of direction.  DeWaal states that Emma’s friendships of 100 years ago are no secret.  All her former lovers are known.

The Old Emperor Frans Josef was trying to keep together a harmonious supranational state.  Regarding anti-Semitism, he is quoted “I will tolerate no “Judenhelze” in my empire”.  The empires dissolved in 1918.

“All that glitters is not gold” was the first thought I had on viewing Adele’s portrait.  It is now my last thought.

Vienna in 1906 was like a city with splendid empty palaces setting on decaying foundations.  Oskar Kokoschka would later write, “People lived in security, nonetheless, they were full of fear.”  Old emperor Franz Josef held the idea of a harmonious supranational state, ignoring the unrest and reawakening of nationalism.  He rejected anti-Semitism but still the prejudices grew stronger.  The palatial homes and large families proclaimed stability while spouses took on multiple lovers.  The Austro-Hungarian empire was in denial.  The ultra-rich Jews on Ring Strasse were also in denial.  Their immense wealth allowed them to purchase anything desired; their art collections rivaled those held by museums.  These Jews also blended into the Christian upper class so well they were almost indistinguishable.

Gustav Klimt’s portraits also represent this era.  In Adele Bloch-Bauer, only a small part of the canvas depicts her ivory skin and black hair.  Ninety percent of the area is covered in thick gold with multiple decorative motifs embedded in it.  This large area has little connection to the model and could be a separate painting.  It is like the glitter of denial that covers Vienna is drowning out the image of Adele Bloch-Bauer.

This assignment enchanted me.  I was immersed in the movie, thrilled by Ray’s request, and excited by my trip to Barnes and Noble and discovery of the Klimpt book.  And my balloon popped!

I received back from Hana the first pages of my paper on “Women in Gold” she typed for me.  Where I had written “morph into memories of past Viennese scenes” she had typed “morphed into memories of past unreal scenes”!  What did she mean?  Of course I know this is a story of human beings told from the point of view of ego, my ego.  Of course I know that God did not create a world of pain, loss and death.  Of course in this past week of pure adrenalin I had bought into this story - hook, line and sinker.  Acknowledging ownership of this tale gradually allowed me a different view of this segment of human history.

I thought of Jesus on the Cross, asking God to forgive the two criminals for “they know not what they do”.  I, too saw that the rich Jews, Viennese Christians, Emperor Franz Josef, the Nazis and Gustav Klimt are projections of my own thoughts.  Forgive me, Father, for I know not what I do!  As I forgive myself, I thank God for this wonderful assignment….for all that glitters is not gold!  Last of all, while writing this paper, I dropped my judgments and now can enjoy the “Woman in Gold” portrait exactly as it is.

Friday, March 06, 2015

Jeremy, The Christ at Buchenwald, and my Commentary Inspired by the Mind Training of A Course in Miracles.

This is a commentary on “Jeremy,” an essay from the book, “Against the Pollution of the I:  Selected Writings of Jacques Lusseyran.”
I was so inspired reading this essay that I recorded passages that came to mind as I read certain sentences and paragraphs.

Sentences and paragraphs from the essay are in bold, and my passages are in a plain font.

I do not know if there is a greater blessing than to encounter a true old person, that is, one who is joyous.
Jeremy was an example: he found joy in the midst of Block 57. He found it during moments of the day where we found only fear. And he found it in such great abundance that when he was present we felt it rise in us. Inexplicable sensation, incredible even, there where we were: joy was going to fill us.

William Blake

He who binds to himself a joy
Does the winged life destroy;
But he who kisses the joy as it flies
Live in eternity’s sunrise.

The one who fills my memory is like this. His name is Jeremy Regard.
It is not I who would give him this name. It was his. How many novelists would like to have invented it?
This is how “regard” is translated into English:
Regardez l’homme.
Look at the man.
Je tiens l’homme en grande estime.
I hold the man in great regard.

Jeremy was looking through.

Lesson 42, God is my strength.  Vision is His gift.
And here and there one could just barely glimpse a second forge standing there, a forge of the spirit.
I heard Jeremy speak of men who did not come to his shop just for their horse and their wagons but for themselves. They came so as to go home all steeled and new, to take home a little of the life they were lacking and which they found overflowing, shining, and gentle at the forge of father Jeremy.

. . .he seemed to be addressing invisible beings. through you.

You felt it as you feel a hand on the shoulder, a hand which summons, which brings you back to yourself when you were about to disappear.
I am God’s Son, complete and healed and whole, shining in the reflection of His Love.   (Who am I?)

Each time he appeared, the air became breathable: I got a breath of life smack in the, face.

The root meaning of “spirit,” is “to breathe.”  We  are breathing ion the Holy Spirit, the breath of God.

 But I also knew many who died very quickly, like flies, because they thought they were in hell.

Lesson 325, All things I think I see reflect ideas.

From judgment comes a world condemned. And from forgiving thoughts a gentle world comes forth…
"For one who knows how to see, things are just as they always are," he said.
Well, without a doubt, there exist in certain beings, as there existed in him, a rightness and wholeness so perfect their way of  seeing communicates itself, is given to-you; for, at least, an instant. And the silence then is truer, more exact, than any word.
But one day it became obvious, palpable to me in the flesh, that Jeremy, the welder, had lent me his eyes.
With those eyes, I saw that Buchenwald was not unique, not even privileged to be one of the places of greatest human suffering. I also saw that our camp was not in Germany as we thought, in the heart of the Thuringee, dominating the plain of Lena, in this precise place and in no other. Jeremy taught me, with his eye, that Buchenwald was in each one of us, baked and re-baked tended incessantly, nurtured in a horrible way. And that consequently we could vanquish it, if we desired to with enough force.

One time n Session, Dear One said, “I will stand here for a moment so that you can catch your true reflection.”
. . .the land of Cockaigne.
In medieval times Cockaigne was a mythical land of plenty.
A man who did not dream: that was more important than anything. The rest of us were dreamers.
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
The Tempest. (4.1. 18-58)
For him, and for us through him, the world was saved in each second. This benediction had no end. And, when it ceased, it was that we had ceased wanting it, that we—and not it—had ceased being joyful.

Lesson 325, All things I think I see reflect ideas.

This is salvation’s keynote.
What was supernatural in him, from all evidence, didn't belong to him; it was meant to be shared. The spectacle, if it existed, was for us to find and to find within ourselves. I have the clearest memory of finding it. I perceived, one day like the others, a little place where I did not shiver, where I had no shame, where the death-dealers were only Text Box: 7phantoms, where life no longer depended on the presence of the camp or on its absence.  I owed it to Jeremy.
This reminds me of making contact with small children.  For example, I am in the checkout lane at Wal-Mart, and a small child is in the cart in front of me makes great eye contact with me, recognizing something in me that his parents do not see.  We just keep it up, smiling, until his parents checkout and leave.
What I call the supernatural in him was the break with habits which he had completely realized. Those habits of judgment which make us call any adversity "unhappiness" or "evil," those of greed which make us hate, desire vengeance, or simply complain—a minor but incontestable form of hatred—those of our dizzying egocentricity which make us think that we are innocent each time we suffer. He had escaped from the network of compulsive reflexes, and it was this necessary movement which neither good health—or even perfect health, if such exists—can explain.
Lesson 61, I am the light of the world.
. . .the ego’s petty views of what you are and what your purpose is.  
If I have used the word "supernatural," it is because the act of Jeremy sums up to me the religious act itself: the discovery that God is there, in each person, to the same degree, completely in each moment, and that a return can be made toward Him.
Who is the light of the world except God's Son? This, then, is merely a statement of the truth about yourself. It is the opposite of a statement of pride, of arrogance, or of self-deception. It does not describe the self-concept you have made. It does not refer to any of the characteristics with which you have endowed your idols. It refers to you as you were created by God. It simply states the truth.
We would all gain a lot by putting memory in quarantine.
The petty memory, at least, the stingy, encumbering memory which makes us believe in this unreality, this myth: the past.
Lesson  7,  I see only the past.
It is memory which suddenly brings back—without a shadow of reason—a person, or the shred of an event which then installs itself in us. The image throws itself on the screen of consciousness; it swells, soon there is nothing else but it. The mind's circulation stops. The present disperses. The moments which follow no longer have the force to carry us. They no longer have any flavor. In short, this memory secretes melancholy, regret, all manner of inner complication.
The miracle does nothing. All it does
is to undo. And thus it cancels out
the interference to what has been done.
It does not add, but merely takes away.
And what it takes away is long since gone,
but being kept in memory appears
to have immediate effects. This world
was over long ago. The thoughts that made
it are no longer in the mind that thought
of them and loved them for a little while.
The miracle but shows the past is gone,
and what has truly gone has no effects.

 Jeremy, when he speaks to me, does not do so from out of my past, but from the depths of my present, there, right in the center. I cannot move him.
There is no link of memory to the past.  (T-28.1)
The good which he enjoyed was not his. Or rather, it was—but by participation. It was just as much ours. This is the mystery and power of those beings who serve something other than their own provisional personalities: one cannot escape them.
Christ is God's Son as He created Him.
He is the Self we share, uniting us
with one another, and with God as well.
(What is the Christ?)