1 result for (book:sdpc AND heading:"part two chapter 11" AND all:"all that is")
50/80 (62%)
Cunningham
Miss
starlings
killing
Rah
Displaying only most relevant fragments—original results reproduced too much of the copyrighted work.
To kill for convenience … or for the sake of killing involves rather dire consequences, and the emotional value behind such killing is often as important as what is killed. That is, the lust [for] killing is also a matter that brings dire consequences, regardless of the particular living thing that is killed. [...]
I’m not worried that I’m going to disturb the balance. [...] The fact is that the realization can, and often does, come after the play is well under way, and at this point, the camouflage action is so involved that the realization itself appears in the framework of the camouflage and is often indistinguishable from it. [...]
I’d identified all life with the birds, of course. Miss Cunningham, Rob, me and all the people that we knew were surely getting shot down; falling through time, we were dying in a descent that we couldn’t understand or control. Either that, or Seth and the material — still so strange to me — were giving answers that I refused, so far, to accept in practical terms.
[...] All entities are self-aware portions of the energy of All That Is. [...]
The inner senses operate on all planes and under all circumstances. [...] Their purpose, of course, is to enable the conscious personality to recognize as valid, camouflage patterns that are only valid under certain conditions. …
[...] In the thirty-third session, March 9, Seth told us that April 15 would be a critical date for Miss Cunningham, but that is all he said.
[...] Suppose I stopped having the sessions while I tried to figure things out, then decided that Seth was right on all counts — and found I just couldn’t have sessions again? That, to me, would be the worst possibility of all — that I might close off knowledge out of uncertainity. [...]
The reason is rather apparent: If you know that a situation is ‘imaginary,’ you are not going to come to grips with it. [...] They do not realize that the whole thing is self-created, nor should they in the main, since the urgency to solve problems would dissolve.
[...] And she’d rush ahead of me down the hall, so agitated that she’d shake all over. [...] Oh, where is it? [...]
[...] The point is that once the play begins, the actors are so completely engrossed in their roles that they forget that they themselves wrote the play, constructed the sets or are even acting.