[Excerpts from conversations between Rita Warren and “the guys upstairs,” in the years 2001 and 2002, edited from The Sphere and the Hologram.]
Continuity and Variety
R: Is there some continuity in the role in the physical world that Frank, or anyone else, experiences in a series of lifetimes?
TGU: [pause] We know what you’re asking, but we’re thinking about answering something slightly different, because the answer to your question as posed is “yes, but no.” We are going to rephrase the question.
Suppose you had a hundred lifetimes. Say that five had a common thread. There might be another five with a different thread, and another ten with another thread. When you are in a body at any given time, some easy resonances would come through. In his case, the only ones that have come through with details are modern, and either American or Western European – because they are the closest.
On the other hand, the Egyptian [an ancient priest] and the Englishman [a medieval monk] have come through in a different way because their resonance is closest, you see? The externals are very different but the internal dynamics are very close, so they can come in. So if you’re saying “Is Frank always of a monastic or a warrior or a scholastic disposition,” no. But if you were to say “Is there a line of continuity from him back to several of his other lives,” yes.
You wouldn’t gain much if you came into life after life after life always with the same bias. You want – and believe me, when you’re not in, you do want – to be balanced in many ways. You want the spice of life; you want the experience. You wouldn’t want to be a schoolteacher for 33 lifetimes. You wouldn’t want to be a galley slave, or a king, or whatever. No matter what, it would get old, because you couldn’t learn much from it. This particular life is an experiment of sorts, and a difficult one.
R: [pause] Say some more about that?
TGU: Oh, it’s nothing he doesn’t know. It’s a life being led without external props, more or less, and therefore continuously uncharted grounds. In fact, when he was in charted grounds, it didn’t fit, which made it uncharted grounds for him, you see. To spend an entire lifetime not fitting in to things – without being a professional misfit, which would fit into things, you see –
It isn’t a question of playing Hamlet when you’re actually in Macbeth. It’s more like…[pause] playing a role with blinders and earplugs. You are walking into a stage and for all you know they’re playing Hamlet or they might be playing Macbeth or they might be playing anything. And you’re doing what you can do.
This is not an accident; this was designed this way, but – you asked.
R: What could be accomplished in that?
TGU: It is a trying-out of abilities and of patterns that many people will probably have to learn if we’re going to move on to the next thing. To get people relatively quickly out of existing patterns, it’s helpful to give them a pattern of not living in a pattern.
R: We are trying to be developed to move into doing that.
TGU: Don’t misunderstand us, though, to think that it’s necessarily something that Frank’s going to become famous for! It may not be ever known by anybody but himself, but that, still, is in the mind of man, and will put him in the human subconscious. Everything that’s done, however unheralded or alone or totally anonymous, adds to the potential for everyone else, because we are all one, and it can all be drawn on.
R: It becomes part of the human library, so to speak.
TGU: Exactly. Or, better, you might say that each of you is a neuron in the human brain. Another way to look at it, a little more active and interactive analogy.
The Sphere and the Hologram, 15th anniversary edition, published by SNN / TGU Books, is available as print or eBook from Amazon and other booksellers.