1 result for (book:tps5 AND heading:"delet session septemb 6 1978" AND stemmed:was)
[... 1 paragraph ...]
(No session was held Monday evening. Instead we worked on the table of contents for Volume 2 of “Unknown” Reality.
(Last night, Jane spent an exhausting couple of hours trying to get through to a young man, Stuart, who called on us unannounced at about 9 PM. He suffered from the attacks of “magicians” who were stealing his energy: “Plates” of energy were being stripped away from his chest in layers, until he feared his inner self would be exposed. He was also stalked by people in vans with antennae—they wanted to clone him.
(Stuart was 23 years old—half-inarticulate, dirty, downcast—seemingly a pathetic case. Like some others we’ve seen, he was so locked into his reality that he was really quite unreachable. He lived off a government social-security supplemental program for those who can’t fend for themselves—pretty shrewd, I thought. He’d read hardly anything Jane had written, and I wondered why he’d sought her out. I never heard Jane give better advice, though I doubted if an interview was going to do much about changing what seemed to be a lifetime’s habits.
(The episode upset Jane considerably—more so than she realized it did, at first. Not only because of the lost time and probably vain effort involved, but because as she talked, she knew she was saying things that applied to her as well. “You’ve got to turn your world upside down,” she told Stuart. “If you don’t like the reality you’ve created, change your focus. Give yourself a chance to use your own creative energy....” After Stuart finally left, to stay at the YMCA, she walked in the kitchen, better than I’d seen her do in some time. She slept fitfully, thinking of him often when she woke up. She talked about him today. We wondered what he was doing today. He’d talked about going north, or heading back to San Francisco, where he’d seen helicopters changing their courses in the sky to fly directly at him.
(At 8:30 this evening we got our answer. Stuart was back at our front door. I refused to let him in. He’d washed his face and looked fresher. He told me that within the last five hours something had happened that he’d feared all his life: he’d lost the last of his energy. His inner self was exposed and vulnerable. Yet he’d walked the two miles and more to our house from the YMCA, I thought ironically. His tale showed that Jane’s efforts of the night before had largely been futile. I told him she couldn’t help him, that we didn’t have the time. He accepted docilely, and gave me his address in San Francisco. He left, and Jane still had the impulse to have me call him back in another effort to help him. I said no in any event. Stuart didn’t know when he’d leave town, so I said he should return to his friends in California. He said he probably would.
(Today we received a very disturbing letter from Miss Bowman. She’s selling her home and leaving the valley; she has a painting I gave her years ago that she wants me to have back, so Jane and I will probably make the trip to Athens, PA this Sunday. Miss Bowman was my art teacher in high school. She lent me the money to go to art school in New York City. I paid her back out of my wages in the Air Transport Command when I was drafted to serve in the military in World War II.
[... 14 paragraphs ...]
He must protect himself from threats from without. The threats convince him, again, that he must be important and valuable. Beneath this is the feeling that his life is of no value, that he is in fact worthless, weaker than his peers, and he detests himself enough so that he might take his own life. The threats then convince him of his value. To give them up would be to face his feelings of worthlessness. The situation also allows him to use his creative abilities in terms of fantasy and imagination. He was taught not to express himself, so he only uses those abilities to protect his life, which justifies them. His dilemma makes him important.
[... 2 paragraphs ...]
When the entire affair really frightens him, he will look for another solution, and it is too bad your institutions of therapy do not help. Guided imagery could help him, for example, but he would need supervision. Ruburt was quite right in the method he used in speaking to him, and my presence would not have served. He would only have used it, as Ruburt said he would. The creative challenge is there for him, and it is one he chose himself.
[... 4 paragraphs ...]
Your young man gave you an excellent instance—a “case” that the most noteworthy psychologists or psychiatrists, if they had time, would find fascinating. You were able to gain insights that you simply would not have if you were not presented with exaggerated realities. Your young psychologist was a case in point, with his “crazies,” your Andrija Puharich, your young people with the child, about Christmas time.
[... 3 paragraphs ...]
(10:30.) You always help those you see—and they present themselves to you not only for themselves, but for others. You are examining the human condition, but seeking answers from the highest reaches of its capabilities. These are goals you set yourselves. If you set out to discover what was right with the world, you would be on a different path. There is much right with the world.
Give us a moment.... Be sure you do not close your eyes to the miracles of the world. Your point was a good one—the young man walked a good way—the energy was there to sustain him even over his delusions. Beliefs show themselves, however, far more clearly, and can be examined better, through the type of experience those people bring.
Always remember the vitality that sustains them, and that supports them. It is not withdrawn, even though the constructions they form may seem to be extremely faulty. There is much left unsaid, simply because some information available to me cannot be translated properly in ways that will make sense to you. There are explorations of emotional content, for example, very difficult to explain, in which intensities of emotion are explored for their own sake, as one might experiment with the values of red or black—not caring what the form of the painting was.
[... 5 paragraphs ...]