MELORA through Joanna Neff


We are Melora, and we wish to continue this discussion of bringing you into more of a comfort level of beginning to do this business of what you're terming soul retrieval. We think it is a fairly vague term, but you have all experienced this work with us, as we recall, in some form. Now we would suggest that as long as you are not interested in proving that your information is correct about the other person, as long as you are totally interested in moving your friend or the other person--whoever. It may belong in their own process of releasing karmic ties that are no longer useful or beneficial, as long as you're interested in the other person's . . . primarily interested in the other person's reconnecting with fragmented parts of that other person, which we would wager you all really are, you wouldn't be concerned with your own performance in doing this, and you couldn't do any harm.

We are suggesting that you can use some of these techniques just in conversation, just out of your own intuitive information--perhaps not at the same depth as a soul retrieval session as we have come to use it, or conduct it but beneficial, nevertheless, because at whatever level you're working, even the mindless or most basic as you might term it. You are helping the person change his or her resonance so that the other fragments become attracted to come back. So the initial work that you do, however innocuous it may seem, actually is very critical because it gets the momentum going so that that person can start to call back those other fragments still missing, by the very changing in their resonance. Do you see?

So, if we were to work with K.,for example, and K., if you would, state an issue if it's not too personal; everyone in this group is going to work with you now and give you impressions. And we're going to sort of start the ball rolling here. So if you can think of an area that you feel stuck in in your life, that seems to thwart you in major ways in your life, what might that be?

K: Oh, it'd probably be, ultimately a fear of really expressing freely who I am.

Okay. We would like to work with you one at a time, and we would like to start with J., just because you are used to channelling and so forth. You may channel from your Higher Self, or your Guide. We're going to keep this to two or three minutes. And based on that issue, just close your eyes, maybe J., just as you right now, maybe not even as your Guide, and see if pictures come in. See whether you just intuitively know something--or what feelings or whatever--and based on whatever form that information is coming in, work with what K. just said for two or three minutes. Or even just say to her what impressions you're getting, if that is less formidable.

J: What immediately comes up for me, is I see a small child, this little girl, standing, you know, happy and just playful, and then I see some kind of . . . some, some presence kind of coming over. And it makes her . . . and I see her looking up and for the first time experiencing fear (unintelligible). And curious as to what that new emotion is.

Good. All right. Now someone else, if you would, just kind of pipe in, and what you're going to do now is, you're going to, out of the vastness of your own experience and out of your own childhood, imagine what would have helped you, what sort of situation you might re-create with her, and you can take her there and work with that and help resolve that. And you just try it out, and if the person is not really relating to it, then you just be quiet for a moment and then you try something else. And you may have to try several different approaches.

So if someone would just volunteer, what psychodrama, if you will, could you help create with her, take her to that place and time and space, and change her situation there. Change her reaction to that, do you see what I'm saying? You are creating a scenario that you are going to talk her through out of your own experience, that you believe will help her, see if anything comes up (unintelligible). And the first step is the step that J. has taken, where she identifies a moment in time when this changed, something changed her happy-go-lucky experience of her reality, do you see? And that is the most powerful moment, right at that moment as things are about to shift. And that's where you go to repair what happened. And so you imagine a scenario that empowers her, that comes to her rescue, do you see?

T: I'll take a stab. So there's this wonderful little fountain that's right next to you, and out of this fountain comes this beautiful, beautiful crystalline bubble. It grows bigger and bigger and it grows between you and this thing that's leaning over you. And so it's like a protective bubble and so you're within this bubble and no matter what is said or felt, it doesn't come through this bubble because this bubble is complete unconditional love and protects you.

Okay. So for you, T., and this is for everyone actually, remember what we said about taking it one step at a time? You did all the steps for her.

T: Oh. Okay.

You want her to . . . at each step you want to make sure she's with you, and you give her a chance to imagine for herself first. You can give her a little guidance, and then you're also staying open to receiving impressions of where she is, and what she's seeing, so that you can turn corners here, instead of laying out the whole plan for her.

T: Okay. I see.

Excellent. All right. So, let us take her, let us suggest to her, we'll say, T., just some--and K., we thank you for being the guinea pig here (laughter)--K., I would like you to imagine standing next to a beautiful fountain. Go ahead, T.. . You would say "I"; we say "we."

T: Okay. All right. K., I would like you to see yourself standing next to a beautiful fountain.

And then you pause, until energetically you are actually able to feel that she's "there." This is very important because in doing this, energetically she is there. If you just tell her everything, all she's doing is seeing pictures. But you want her to be energetically there.

So you pause, and you can actually feel when that shift takes place. All right, so we're feeling that K's still valiantly holding the image of the fountain (laughter). And so suggest to her that she's going to use all her senses, so you're going to ask her questions now, because you're involving her in the process. So you say, can you hear the fountain?

T: Can you hear the fountain?

K: Mm-hm.

And is there a lot of water, or is it a little fountain? (See? You're letting her create, all right?)

T: Okay. Is there a lot of water, or is it just a trickle?

K: Oh, it's big and grand. And it's round and it's marble

So she's really there.

K: The water's pouring.

Okay. You want her to become part of this because you want this to be even more and more energetically real. And so you might suggest that she stick her toe in there, or put her hand in there, so you're going to explore with her and wait, and see if the water's warm, ask her questions: is the water warm or is it cold . . .

T: Is it warm or is it cold . . . ?

K: Oh, it's perfect. I already went in

T: You're already there!

In the process of asking questions, if you wait and you become receptive, you will receive that she's probably already jumped in--or you'll see it. And then you'll be able to reaffirm for her that you are with her, that it's real.

T: It's wonderful.

And you see? What happened is that her experience of the fountain already is very different than what you described because you let her get into the energy of it. All right. Very good. Let's have D. in the same vein continue with this fountain image and see what comes to you about . . . we understand that T's trying to have an intervening pleasant experience or maybe even an energy power or a being of some sort, but K's just enjoying being in the fountain right now, and we don't want to deprive her of that (laughter).

But we want to keep remembering the issue. We want to keep remembering what J. brought up, or what we received is the problem. And that is that some dark force or event or person changed this happy-go-lucky situation, probably to the level of trauma or fragmentation. And so at the same time we're having K. be in a space of comfort, we're trying to get to the bottom of what this is. And so we don't want to remove the problem instantly and say, "That's okay. Put a band-aid on it you don't have to worry about it."

We have to deal with whatever this is at some point. And so the suggestion of the fountain should be in alignment with that goal of resolving whatever this is. You have to keep reminding yourself of the fact that you're working with this issue, do you see?

D: K., can you touch the bottom of the fountain?

K: Mm-hm.

D: Can you walk from one end to the other?

K: Mm-hm.

Ask her what she's feeling. Get her sensations, her input.

D: What are the sensations about the water itself?

K: Well, actually, I've been . . . first I ran in circles around and around the fountain and then I jumped in and now I'm swimming around and around the fountain. I've actually sort of turned into a fish. I am having a ball. And I mean I look like a fish and I'm just swimming like crazy and having a great time and I've forgotten about the dark figure.

D: What about your clothing? Does your fish have clothing on?

K: Uh-uh.

And so, D., at this point it's like, "Well, what do you think this symbolizes? Freedom? Joy?" And you're now going to start making suggestions about the emotions and the state of being, you know? Are you just feeling tremendously happy, or, ask her! "Just what are you feeling?"

D: But it could stop all this (laughs).

Well, no. You don't want to go quite that far (laughter). Okay. But see now--you don't want her to go into denial. You don't want her just to go into sheer escapism here, which is what's happening. Because, again, we have to remember we're working with the initial image of a shadow that stopped this. And so this is going to call upon you now to call on your intuition and see if you can get any images or any notions of what might have happened. So, again, you're going to ask her a series of questions. You're going to try to pinpoint what this might be and ask her questions to bring her to consciousness about that.

D. (to K.): Are you the only fish in this fountain?

K: uh-huh.

D: There are no other fishes around.

K: Uh-uh.

D: Would you like other fishes around?

K: Uh-huh.

D: Well, if you could imagine another fish,

K: It'd be a goldfish. It'd have really, really, shiny, fabulous scales. And it would be bigger than me.

Okay. So we haven't gotten to the issue yet. We don't want to get too far upstream, as it were (laughter).

D: Who would feed this fish? Someone's coming to feed the fish now. Who would that be?

K: A dark, grim figure. Ok, so here's the deal (laughter). I'm in the fountain, I'm swimming around, I'm having a ball. The fountain is really, really tall and at the same time as I'm in the fountain swimming around like the fish I'm also standing outside of it, watching myself swim around. And I'm aware that I'm keeping between myself and a dark shadowy figure on the other side of the fountain, the center part of the fountain. And I'm swimming around. You know the fish doesn't really see it because it's swimming around and it has the outside of the fountain like the wall.

Okay. Now K's at the point where we can say, "Turn around and look and tell us what you see." Again, we're not telling her what she's experiencing. We're saying, "Turn around and tell us what you see."


Throat chakra just . . .

K: I just had a little heart palpitation and it worked its way out.

Can't speak . . . blockage in the throat chakra. What do you see?

K: Oh, it's kind of a Darth Vader-esque sort of (laughs) looking thing. A caped, hooded, no distinguishable features, just darkness.

All right. So because she's changed this into a character, she's separating herself from it again. We need her to confront it. So we're going to R, perhaps. We're going to try to figure out what in K's reality this might be. And so we're going to let our intuition come into this. We're going to find out if she's still where we were trying to have her be, which is as a child, even though she turned herself into a fish. She's in two places at one time. Part of her is in denial, which is normal, and the other part is trying to protect herself from seeing who this really is.

And so we still have the protection devices going on: the Darth Vader wears a mask you can't see behind. So it is critical that we help her become comfortable, that we move her (now this is a critical point) where she's facing whatever this is. We mustn't let her slip out of this moment. So, let's go into her feelings, because the first thing you go out of is your feelings. That's what K's trying not to feel. Since it's Darth Vader and it's a mask and it's in a costume now, we need to go to the feelings.

R (to K): The person that's standing outside of the fountain--how does this little girl feel around Darth Vader? Do you get a sense of how she feels?

Like in the body is especially important.

R (to Melora): In her body?

K: Well, first of all, yeah. I'm absolutely feeling fear. But the person who's standing outside the fountain and was previously using the fountain to block the image feels like me at my own age. The fish feels like the child. So I've split into those two parts . . . anyway, I'm just trying to clarify. I think it's the adult that's . . . and what I'm feeling is: I'm not gonna be able to keep the figure from totally spoiling the fish's fun.

Okay, so wouldn't this be a perfect time to say, "What do you mean by 'spoiling the fish's fun'?" What would spoil? Do you see? We're trying to get at what happened or what core issue requires you to ask questions to help her uncover this blockage.

R: So how would this Darth Vader figure spoil the fish's fun?

K: Well, I'm just gonna, 'cause I'm assuming that if I were somebody's patient I could just say all this, so I'm going to just cut to the chase and say, well, it's my mom, and
(laughs) um . . .

No. You've gone mental. Ok, so you need to recognize when the person is mentalizing. You want to keep her in her child. We want to come back to the fish from the fish's point of view, not her adult thinking mental point of view.

K: All right, then.

And so it's . . .

K: The fish is still swimming. Ya-hoo!

No, the fish is you, the fish is you. So you need to keep reminding her that it's "you" that's in the fountain, not a third person--not she but you.

K: So I'm in my head outside of the fountain and I've got to get back in the fountain--

Back into the fountain as you, as the fish (laughs).

K: As me . . .

. . . and from there you want her to answer what this Darth Vader character will do to spoil her fun. What shape, what form does that take--what action? And you want her to be in her child feelings. Okay. good. Let's give it another stab there, Theresa.

T: (laughs) Oh, you let her off the hook!

Come on, T. Come on! (laughter) (To K): We want you to close your eyes and get back into the fish's point of view right now. That will help T. because if you come back into your mental thing you're not going to be giving her the intuitive information she needs to proceed with this. So we have to keep her back, make sure she's in that child point of view.

T: And so . . . as you're swimming around in this beautiful water as the fish, how are you feeling about this darkness outside of the fountain?

K: Well, now I remember that it's there, and so I've slowed way down and am no longer zipping around in circles, having a big old time. I'm still swimming in circles and I'm trying to go ahead and have fun and pretend that nothing's happening, but I can . . . You know, it's like a shadow passing across the sun. I can feel it coming and it's just . . . it feels like it's just a matter of time before I have to deal with it.

Now, T. What is coming? What is K. afraid is coming?

T: What are you afraid is coming that will spoil your fun?

K: That I'll . . . Well, I'll be told to knock it off and stop acting like a baby and get out and dry off and put my clothes on and be neat and tidy and quiet.

Do you think that that really is the whole truth, T? Because we're getting that that's a pat answer.

T: Yeah. That's a surface . . .

Very good. So how do you get deeper than that? Because you know that she's reluctant to talk about this. So, bring her back into the fountain again (laughs), as a fish.

T (to K): You're back in the fountain, and you're moving slowly as the fish . . .

What she's afraid of is what you're trying to get at. What is this shadowy figure, really?

T: What does this shadowy figure represent?

Wwell, no. You don't want to use those psycho terms.


Back in the fountain! Take her back in the fountain, and now from the point of view of the fish, look at the shadow and now describe what you're fearing is about to happen. Do you see?

T: Okay.

So go ahead and ask. (to K.): And you be the fish, now! Don't go out of your fish body. Here. Come back into the fountain.

T: Okay. And now you're the fish in the fountain, moving very slowly. And what is it that you're afraid is going to happen?

K: Well, immediately what comes to my mind is that I think I'm going to be killed.

There! You got it. Bingo! All right. Now that you've gotten to the bottom of this, all right, we want you now to move her out of her association with the fish. Come out of the fountain and be the real child that she was. Because this is the necessaryjust as an examplenecessary link to the reality of her experience, her fears and so on. Otherwise it remains like Walt Disney or something, do you see?

Let's bring her back into the reality of that experience. Now, before we go on, do you understand how much you need to tiptoe, how many times you need to change direction, how alert you need to be to the slightest avoidance, and how to bring the person back? The first avoidance is making that third person "her"; you say, you. Her. All right. She was willing to jump out of there and put her clothes on and leave because she didn't want to deal with it, and yet in order to have this work done you need to have them face whatever it was. So your instincts are there, your intuition's, your mind, yes your mind because you're helping createre-createbacktrack, move forward, go sideways and so forth. Most interesting, most interesting exercise. All right, let us not leave her hanging (laughter).
Dolores, if you would please, just close your eyes and go into a meditative state, and where we are in this process now, you are afraid he is going to kill you . . . and we're not going to cue you on this, because we would like you to try to figure out what this might have been. We are going to try to leave her there, wherever that seems to be. And if that doesn't resonate, you're going to try something else, and then something else.

D: So you're afraid he's going to try to kill somebody.


D: You.

So we have a sense that this might have been a real person? Do you, D? And then you're going to ask her.

D: All right, and I'm supposed to ask her who this might be?

No. We're saying to you first, D., as you, do you sense this might have been a real person?

D: Oh, you're asking me. I . . . I . . . no. I sense that it's a part of her that she's missing at this point, because here's a baby that has no possible foundation of fear.

All right. So, what about making "Darth Vader" be less of a hidden entity? Maybe removing the mask and costume, do you see, because you're trying to get to who this really represents. And you shouldn't be saying, "What does this symbolize to you, because you are dealing with a child, right? Remember the child-self? And so for a child, it is or it isn't. So symbolism is not really (laughs) the way children experience their reality. It is. It just is, right? Or it isn't. And so you're going to try to nudge her perhaps--to unmask Darth Vader and see who's inside--as a suggestion.

D (to K): As you see this person, can you take off the mask, and take a look?

Are you able?

D: Are you able to?

You want to give her a choice.

K: Mm-hm.

What do you see?

D: What do you see?

Go right to what she sees, because that's good to identify.

K: A knight. K-N-I-G-H-T (laughs)

Mmm-hm. No. She's jumped out of it again. She doesn't want to see the person, and she's going to need to see it as a real person, do you see? She's just switched costumes on us. (laughter)

K: Clever. (laughter)

Good. We're peeling those layers off. Okay. Now, because she's jumped somewhere else,we're going to have to take her back to the point where the truth can be revealed. Again, we return her to the moment where she's facing whoever this is. We keep bringing her back there.

K: So we're back at Darth Vader?

You bet! (laughter)

D: We're at the knight's cue. We're back at the knight.

No, we're back at Darth Vader. The knight was just a red herring.

R:(whispers) We're at Darth Vader.

K: Good grief.

And this is where you say: "Can you, or are you able . . .? and then if they're not able, you want to bring in help. And at that point, it would be appropriate to bring her in now, as she is an adult, to come and help her child-self. Do you see?

D: Could you bring an angel in?

You could bring an angel in. You could bring in armies if you want. But you're going to help her. So you realize at this point that she is unable to do this as her child-self. And so you're going to . . .

T: Can you ask her who she'd like to bring in?

Absolutely. You'll just say, "Do you feel like you need some help here? You can't do this by yourself?" You keep asking her questions so that she can tell you instead of programming her, do you see?

T: All right.

Okay. Good. "If you'd like . . ."

K: Yeah.


D: See, I'm tempted to say: "Let's bring in the troops." But how do I go about offering help?

You want to say, "Whom do you most trust in all the world?" or "Do you have an angel that you'd like to bring in?" You ask them what they want to do because, otherwise, if you suggest something, it may not be real because it's not somebody they trust or even know or care about. So again, turn it back to her and say, "Is there someone you feel could come and help you with this?"

D (to K): Is there someone you feel could come and help you with this? Or something?

K: Mm-hm.

D: And that would be . . . ?

K: St. Francis. And Holy Lady Ammal.

D: And how does that feel?

K: Good, but I also want the angelic group that I know as Angeluz.

D: Absolutely.

K: And now I feel . . . backed up.

Okay. So now if she hadn't said this it would be good to say, "Are they all there? Do you see them? Do you feel their presence? Do you feel their strength?" because you're layering and bolstering that confidence and that strength. Have her describe them.

D (to K): I'd like to hear you describe St. Francis.

K: Well, St. Francis is at my left shoulder. He's wearing a brown robe, and I talk to St. Francis every day.

Didn't he do a lot with birds?

T: Yeah.

. . . talked about the birds, remember?

K: He did do a lot with birds. And he's dressed like you would think a monk would, in brown with sort of a rope-like thing at his waist. And he smiles the most beautiful beatific smiles and he's smiling at me. He's very reassuring.

How tall is he? (You see, you really want her to get into the energy of his presence.)

K: Not very.

Does he have hair? Or is he bald on top?

K: He's bald on top.

Okay. (to K.) Look at his hands. Are they small?

K: No. They're big.

Big hands? All right. But he is small.

K: No, but he's holding his hand out, like a gesture of support.

Okay. Let her take his hand, or suggest: "Will he allow you to take his hand?" Do you see? You want her to connect now with this source of protection--all this, using body feelings and connections just as she would in real life--to connect with her or touch her to make it real.

D (to K.): Would you like to take his hand?

Katie: (crying). Mm-hm.

D: And how about your other hand? On your other side? Feels so good, feels so wonderful. A longtime friend.

All right. Now we want to keep moving with this, and so the others gather.

K: (crying) Yeah.

Let's stay for a moment with St. Francis, with this connection with him. pause) (to K.) Can you have him tell you who is behind the mask?

K: He said he can tell me.

(to K.)Do you permit him to tell you? Do you want to know?

K: Yeah. I really do.

All right. Have him whisper it in your ear as he holds your hand.

K: I'm trying to think, I'm trying to . . .

(To K.) Take your time. Come back to your child-self, standing, holding St. Francis' hand, back into your child body. He's kneeling down, isn't he?

K: (crying) He's bending over.

Mmm-hm. As he kneels down in front of you, feel the texture of his robes in the warm sunlight. The folds of his robes on the sleeves feel very comforting and protective, don't they? Can you wipe your tears from your face with his hand? As a child now, ask him to tell you who is behind the mask. (pause)

Is anything happening?

K: Yeah! I'm . . . not getting anybody I ever thought I'd get.

Was a name spoken?

K: Walter.

Do you know a Walter?

K: Yeah.

Given the spirit of St. Francis, what you know of him and his heart and what he is capable of, with his great heart, make a request to him to say something to Walter, to do something with Walter to make Walter disappear from your life forever. Whatever feels appropriate. And if you would, please indicate to us what that is. Ask St. Francis to do this for you, whatever it is. It's more than just protection, isn't it?

K: Mm-hm.

And is it within his power to answer your request?

K: He said to me, "I will make Walter go away forever."

Wonderful! So, now, watch him as he does this; watch him as he performs this. And if you would describe what happens. (pause) Isn't there something that Walter needs to give you before St. Francis sends him away? Something to give back to you? Reluctantly? (pause) Do you see it now?

K: I feel it.

What do you feel?

K: It's the . . . it's the appropriateness and my right to feel as much joy as I ever want to feel.

Melora: Yes! Take it back now. Don't hesitate.

K: I've got it.

Right into your heart, breathe it in--big, deep breath. Say, "Thank you, Walter."

K: (whispers) Thank you, Walter.

Thank you, St. Francis.

K: (whispers) Thank you, St. Francis.

. . . and welcome home.

K: (whispers) Welcome home. that part of you that just came back. Breathe deeply. All right. Now St. Francis is going to complete the request. And if you would describe the manner in which he does this, please, so we can experience his style. Does he have words for Walter first, perhaps? Is he saying something to him, in your behalf?

K: Thank you for the teaching.

Where do you suppose is he sending Walter?

K: I have an image of a boat that is going a very long way . . . on an ocean or a huge body of water.

See it leave the shore, drift out. It's getting smaller and smaller still. And smaller and smaller. 'til you can barely see it because it's so small. And finally it is so far away that you can't see it anymore. Please indicate when it disappears from your view. Release it now. Wish him well on his journey. And, now, say goodbye to St. Francis in whatever words (privately) you wish to say to him, and please indicate when you're finished.

K: Okay.

All right. Come back into your body, here in the room. And we say, "Welcome home."

K: Thank you.

. . . and we thank you so much for letting us do this work with you. (to the group) Do you see how we wanted to make sure that all the loose ends were tied up? We didn't want to hurry through this. We didn't want to just say, "Okay. We took care of it. Now come back to your body." If you were she, you would want to say good-bye to St. Francis, would you not? And we're also bringing her back through the layers that we went through, going the other direction, to the fish and all those other distractions from the real issue. We bring her back slowly and comfortably, as you would in real life.

You saw how moved she was by her contact and communion with St. Francis, which is why we suggested that we just wait and let her feel that, feel that communion with him, because it was so important for her. That's what we meant by staying in the moment and not going mental and thinking, "Well, I should do this and I should say that" but being really where she is in each moment. And in your loving focus and attention to what she's experiencing, keep asking the sort of questions that enable her to feel, to smell, to hear, to taste, so that it's absolutely real.

The more real it is, the better it works. The more real it is, the more able the person is to go on the journey with you as you keep adapting to the twists and turns that the journey takes. So the primary things to keep in mind are what issue she first started talking about or that you first intuitively tuned into. And as the person tries to go away from that, you try to keep bringing the person back. How many times did we need to bring her back to the fountain as the fish? And then at some point--and this is something that you'll intuitively know--at some point again, when she's facing "Darth Vader" you know that is when you must unmask him in some way. And if she can't do it we bring in help. Let her tell you the form and shape and personage of that help. Just keep asking questions that will enable her to create that for herself. Do you see?

Of course this is something that takes practice, and we will do this again this weekend. We will work with you again this weekend because it is our intention that in understanding these processes you can do this in a conscious state, without even channelling, in talking with someone who's troubled--in talking with someone who's at their wit's end or is blocked, or whatever. And you might say something like, "This is going to sound really silly, but I have an idea. Why don't you close your eyes. I just want to do a little guided meditation here," or whatever.

And you can use these techniques very beneficially. Closing the eyes automatically shuts off a primary focus of attention for most people, which is their visual perception. And there are people who have come to our Jyoti for Reiki treatments and they're staring at the ceiling and their eyes are moving around all the time, and how can they relax? So you say, "Please close your eyes." Then they're not accessing mentally, visually, and so forth. And that's the first step we have suggested. In whatever manner you can weasel your way into having them close their eyes, that would be great. "Just lie down and relax, here. I'd just like to talk to you for awhile," and say what you see. And then, later, you may actually be doing soul retrieval, because this is not something that we wish for only a few special people to be able to do.

This is very critical work for Ascension. It is necessary--totally necessary--for Ascension that this soul retrieval work be done. In understanding these techniques you can look at your own lives and your own patterns. You can say, "I just did the Darth Vader-to-knight trick," do you see? "With myself, as I'm trying to resolve this, all I did was replace one masquerade with another. I go back, I go back to the moment where I'm open, back to the moment where I'm facing this, and I start there again, as many times as I need to." Do you see? And so we feel that this has been very intense, and that we should close this now and ask for questions. And we're going to close down the exercise part of this and then invite your questions about these processes that we've just been practicing.

R: I have a question. So J. intuited this picture of herself as a young child with this looming force. If we didn't intuit something, how could we get them to that place--or to that first contact point?

That is a good question. She is selecting the moment that she wishes to deal with, whether she realizes this consciously or not. And there's more than one possible moment. J. picked up on the Darth Vader character right away, but you might have picked up on just a feeling of discomfort. And you could explore that. You might not see it as an image; you might not see it clairvoyantly.

Our Jyoti did not receive clairvoyant impressions for several years. She made a very intense request over and over again to have the clairvoyant abilities come back. But she gave some restrictions too: She didn't want to see any dark, ugly things popping out of people and stuff. She said, "I want to see only the stuff that's helpful for this work. I don't want clairvoyantly to see--you know, slimey things hanging off people and stuff." So we honored that.

According to your request, your clear goal-setting, in your spiritual work and in this very situation, you can intend to, you can ask to have that opened up for you in this work. "I want to see more! I want to see these things that J. saw or that Jyoti saw." You can intend that. And what will happen is that as this opens up, because you're finally stating a clear intention, a clear goal, you'll do a double-take maybe a day later or an hour later and you'll realize that you saw something clairvoyantly and you weren't aware of it in that moment.

That's usually when it begins and then that opens up more clairvoyance. But understand that the mechanism for making this happen is your going into a meditative state and not trying to guess with your mental mind what you should or shouldn't be seeing or what they should or shouldn't be doing. You're going into a meditative state and allowing that information to come in. You're in the NOW every moment, allowing changes, allowing turning those corners and so forth.

And so we're sensing with you that you might pick up on discomfort somewhere, and you may pick up on age. Jyoti sees "7", "5", "13", and she knows that that's a person's age at a time of trauma. And that's the most direct way that we can transmit certain information. You may just sense early childhood. You may sense adolescence as a general feeling of whatever adolescence feels like. You'll be able to know from that. You will feel that. Do you see? You can feel that shadow. You can feel that claustrophobic feeling of something blocking or of something oppressing. Other questions?

T: The fountain was created, but would another way of doing it, then, be that they would come up with an image that would best suit them?

That can be--

T: . . . or is it a tool?

It's a tool, so your notion of the fountain was correct, and this was validated later by the fish thing that she chose, herself, to explore. But you (to T.)jumped way ahead and went really artistic on this (T. laughs) and created the help to come in and take care of the problem in one fell swoop. But you left her totally out of the process! (hearty laughter), so it was not something that could have created any change in her. It was just a lovely vision that would not have taken her to Darth Vader, which she needed to get to, do you see?

T: Right. And so energetically--

. . . You jumped ahead. You didn't stay in the NOW.

T: Right. Exactly.

You didn't wait. To help her--

T: Yeah. This is definitely a first time for me, and--

Of course!

T: . . . and I'm sensing, you know, just. It's not fear; it's just wonder at this whole process, Melora, and what I sense is that the more energetically that we can both be involved in it, the greater the amount of healing that can occur.

Yes. But the focus must be NOW. So don't jump ahead. Keep bringing yourself back to, "Where is s/he?

T: Mm-hm. Mm-hm.

"Oh, she jumped over here. We need to bring her back here." Remember to go where she is really experiencing it energetically--where her senses are really involved, because it is happening now. And she hasn't budged again. Bring her back to where we know, where we've experienced that she's definitely "there." And we bring her back to that point. We keep leading the person back to whatever point they got stuck and where the person dodged, went somewhere else. And we would wager that all of you at the moment when she faced this knew that that was the moment of truth--right there, right? You go, "Ah! There it is," remember? There was a kind of a gasp in the room. There! You have it. And you'll know that every time.

And so the other things that we've been teacing here are: what are the techniques or what are the elements that are going to help her complete this process, bring it to completion, have the guides bring the part back. First there is finding out what this is. Then the next step is having whatever this person or entity is give her back that part that she needs--the part of her that it's been holding and that she hasn't been able to have access to.

And she'll know if there's more than one. Although you may see them, you may also sense them. You may get a number "5", or you may just know five, or however many. And so you need to stay with the process--these crucial elements of that process. Okay? It's like staying with a chronology, staying with the issue, bringing the person back when they go out of their body, when they become someone else or they go into another time zone or whatever they might do to escape the moment of truth.

When you have that, when you're facing it, that is the point of power. That's where you need to be to have this work be completed. And so you help them. You try to suggest things as we did with K. You can't do it yourself, okay? So who would you like to bring in to help you? Who is the person you most trust? Then to make that real. Take your time and help them experience that connection as real. Feeling the robes. "Is he tall; is he short? Is he bald? What are his hands like? As you said, D, "Is he holding anything in his hands?"--anything, so that you come into the total connection and the reality of that experience, as you said, T., energetically. That's correct: both being in the same place and not jumping ahead. Good.

T: And if you know . . . back to this part about "if you know that there are five parts that are missing that need. . . and if the person has worked on the two parts . . . How do you go about getting those other parts back without pushing them too hard?


T: . . . because you knew exactly when the time was to be confrontive and say, "Okay. This is what you're dealing with now." You know? But I'm curious about that.

All right. Again, ask questions. You see, there's something about channeling that people fear in doing this work. In the old days, channels were considered psychics, and so "psychically" they were expected to know the answer to anything if they were good psychics, right? So there's performance anxiety here. If I ask a client questions, it means I don't know what I'm talking about or I'm not a very good channel, which is not true at all. We tell people, "We are not a fortune-teller. We do not access the astral plane, which we consider a lower plane. We access only the Akashic records--not for fortune-telling but for tapping into past lives, for getting that information."

And so if you take away the necessity of being right in a psychic way or a fortune-telling way, then that removes a lot of anxiety. You realize that you're asking questions as a way of helping move people forward in this process, not that you don't know what you're talking about. You're asking questions that are appropriate to each moment, and people may need you somewhere else, and so you need to ask a question appropriate to that moment or you go on. And again, you lead them back, should they stray away from confronting a real issue that is really going to help them.

If people weren't reluctant to face this, they wouldn't be having this problem and this blockage to begin with. It's something that seems like the worst thing in the world for them to face, and so you try to find(as you would with anyone you love in your life) what the most loving way is. You try to find some options, alternatives or questions that you can ask that will make it easier for this person to face this. And so we bring in help, and that sort of thing. We go step-by-step, going back, going over, staying with them, using our love energy to help lead them back. And with the fragments, for example, we would suggest that you tell them that if they're seeing a specific number of soul fragments they should tell you out loud.

If they work with two fragments and the others are unclear, and the other person who originally stole the fragments is holding out his hand and there are five pieces and only two of them have any shape or form, that's fine. You can say, "Do the other fragments have any shape or form, or texture or color?" You can just go for a color, even if there's not a shape. You can just keep asking questions, again, to try to make it as real as possible.

A lot of people just see light. They'll see a sparkly light and they'll say, "Oh, that's beautiful." You then say, "Bring it back. That's a beautiful part of you. Bring it into your heart. See its light spread. You don't just say, "Oh, that's great. Bring it back. Next!" The whole idea is to bring it back home, to "see that light fill you; can you feel that?" Again, coming back in the same way. Don't rush ahead. Again, this is their experience and the more real it is the more effective it is. If there are other fragments, and they're really nebulous, that's fine. Just say, "Bring them back with both hands. Bring them into your body." They don't have to be any particular shape.

With one client with which our Jyoti and we were working, the person just saw a group, and our Jyoti got the impulse in our work with her to just say, "Have 'em all join hands in a circle, and bring 'em all back in!" (laughs). . . instead of in some linear fashion. And you can be imaginative and creative, as long as you're staying with them exactly wherever they are. No two sessions should ever be the same because, in the NOW, they can never be the same. So we really "frown" upon using the same meditation for every single person. You know: Turn on the tape . . . It's not going to work for everybody because it's not in the NOW-- every moment. Any other questions?

R: I have one, Melora. So we brought in the fountain, was that a . . . for a sense of safety or something? What would that aspect do?

Well, we were continuing with where T. started, so we could show you (lots of laughter and chattering) that her initial impulse was right on. She just needed to wait to see what the client was going to do with it.

D: She put her right in the fountain!

And K. jumped in and she was the fish, and that shows that she was really into it, that that was appropriate.If she had just been silent or said, "I don't see the fountain," that's your clue that you need to encourage the client to create a scene for herself. At that point she probably would've picked an ocean or a lake or something, because she wanted to be that fish swimming around in it! If it hadn't been this huge fountain, she would probably have created another body of water. So we wish to acknowledge that T. got the correct image, intuitively, about where the client needed to be.

D: How do you get the client to that age that J. was? "Would you please go back to a younger age?" or something on that order?

Not if that's intuitively what you are understanding. What you're getting intuitively is the next step in the NOW.

T: So is the question, then, when you start, maybe in something that J. was experiencing: Where do we begin with this person?

D: Yeah. Where do we begin? How do you approach that?

T: . . . and then see about your guidance is from there?

Right. And for you, in starting out, it's really going to be just in paying attention to recurring issues--or issue--so that you start to see a pattern about what keeps blocking the person. Or you encourage the person to talk about it. Again, you want to avoid worrying about whether the person will think you're just fishing for information, which is everybody's skepticism about psychics: "Oh, she's just fishing. She asked me all these questions so she didn't really psychically get it." You know--if you're worried about that performance aspect, then that's not going to work. But if you're really focused on your goal as being zeroing in on the fragments or past-life expressions, then you stay in the NOW. Your work is truly effective.

. . . until you feel confident that that's really what they need to work on. Now sometimes people will give you red herrings, and they'll say this that and the other. But you'll keep trying to bring them back to, "What is this main thing that is troubling you and that you're stuck in?" And soul retrieval work usually is required because of being stuck-- not being able to move forward, not being all there, not having all the resources at your disposal. Which is why you get stuck! Okay. Any more questions?

R: Yes. When will the week-long training in soul retrieval be? (laughter)

Wwe would hesitate to influence our Jyoti in one way or the other (more laughter), lest we be accused of . . .

R: I was just kidding, Melora, so-only half kidding . . .

We would suggest you ask her.

R: I think I will! (laughter)

Take the risk of asking her, at this point (laughter). She, uh, tried to give a soul retrieval workshop some years ago and again, nobody came, nobody responded. So . . . she has no confidence whatsoever that it would be worth the effort on her part. So we'll see. And, yes, it has been our intention in Sedona; as it turned out the group composite made it impossible to do this work but this is initially the way the workshop was structured. I suggested, I asked, to teach people how to do soul retrieval. And as you have just experienced, it is no easy, simple process. All right. J.?

J: I have a question about K. We sort of left her hanging there in a very uncomfortable place. And then I thought, Well, remember? She had all these escape mechanisms (Melora chuckles) so she was able to keep herself feeling comfortable. But the point is, when you're working with somebody you would never leave them--

That's correct.

J: . . . hanging like that while you're, you know, discussing general agreement). And the other thing is, you know, this whole process is just like the process of channelling, and all it is, is an exercise in trusting that your Higher Self is in communication with her higher self, and just trust what you get, and take what you get.


J: And so that's what she did, and that's what I did. So we were asking a question about, you know, how do you start? How do you even get her to her childhood? You just have to trust that you've already made this agreement, at some higher level, that you would be here today, we would be here together, we would be in a safe space, we would create this safe space, and it would be safe for her to heal on this issue that maybe has been going on for lifetimes that she's been trying to, you know, resolve. So it's just an exercise in trust, trusting your Higher Self.

Yes. And, indeed, this is part of what our Jyoti brought with her to work from--her notes on when she was doing the channelling workshops and so forth, and you are exactly right, J. This is about releasing to, trusting in, a
higher source of information that is also you. And in some sense you could think of the Higher Self as a future you, just in the way you could think of your present life as a future version of your other lifetimes, do you see?

And so it is through the Higher Self that these communications between lifetimes and between aspects of you--some lost, some not--take place. It is through the Higher Self. So yes. As Joan said, it is a coming into communication directly with the higher aspect of you, the exalted aspect of you that you term as your Higher self. This, indeed, is what channelling is.

This is why, for example, Dr. Joshua David Stone has written that channeling is one of the greatest accelerators of Ascension that there is--ascension of consciousness. Because the processes that you go through (as J. so perfectly pointed out) are the processes of connecting directly to your Higher Self. And as you connect more and more with the members of your soul group, with your Higher Self, with your Overbeing, that is what Ascension is: You become conscious of more and more aspects of you that were unavailable to you in consciousness communication before. That is what Ascension is. And that is what coming into Oneness-consciousness is. That is what enlightenment is. That is what self-realization is.

The moment I become conscious that I am one with God, I am self-realized. Capital S. I realize that I am God. This goes in stages, and so for the sake of explanation, description, we create hierarchies and names and levels, and compartments and so forth. You begin to realize that you are bringing together, as we say, aspects of yourself and consciously: "I now consciously connect with this soul fragment, bring it back and incorporate it consciously, and it's no longer separate from me." This is what the experience of oneness is: perceiving no separation, no judgment, no difference.

Judgment says, "You are separate from me; you are different than I am." That separates. And so as you come more and more into your consciousness and union with your higher aspects, and your other expressions of your other lifetimes, as you put it, so then does your consciousness expand and ascend because it is like the petals of The Flower of Life as we have been discussing. This network keeps increasing and increasing. You become conjoined with more and more of these aspects of you and aspects of others that are also you . . . ultimately in one. All right, thank you, J. More questions, before we close?

We thank you most heartily for your courage, for listening to our guidance with trust, and especially K., for this process. We hope you feel richly rewarded for allowing the group to work with you as we all learn together these very important techniques and processes. We thank you K. (group agreement).

K: Oh, thank you all, very much.

Thank all of you for being willing to experiment for a great cause of all your ascension together. And until we speak with you again tomorrow, we wish you great happiness and joy in your communion together, as you go about your evening events with those you love. And we are Melora.


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