by Jon Rappoport
November 22, 2011
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Richard Jenkins, the extraordinary healer I wrote about in The Secret Behind Secret Societies, was walking down 6th Avenue with me on a bracing fall day, in 1962…
He said, “Remember, thoughts are taffy. Cheap taffy and expensive taffy. You can do anything you want to with a thought. Bend it, turn it inside out, extract the energy and use it to make something else. It’s a lark. Dark thoughts, light thoughts, thoughts in color, doesn’t matter.”
He talked about the geography of thoughts, whether they spring from feelings, from sensations, or vice versa. Wherever they come from, he said, might interest scientists or philosophers, but it makes no difference. If you’re creating, he said, if you’re inventing, if you’re an artist, thoughts are fluid. Do anything you want with them.
Otherwise, he said, the thoughts will define space and set up boundaries and manufacture the delusion that you’re operating according to their dictates.
He told me if he could choose to be any one of the ancient Greek gods, he’d take Hermes, the trickster, because Hermes poked holes in the spaces set up by thoughts.
You can take a vacation from being an artist, he said, but then you’ll come back to it and clear out all those thoughts that have piled up in the interim. You’ll use their energy and create something completely different. Like making a spacecraft from the parts of an old clock. A thought has no inherent power. If a thought had any integrity or pride, he said, it would go away and start its own art. He liked that joke.
By thought, he meant the automatic generation of meaning that isn’t art, isn’t useful, isn’t productive, is just a sort of shrinking and defining of the potential space of the individual.
Richard said many things about his healing. One of them was: he introduced the empty space to his patients. He projected empty space, and the patient, on some level, remembered what that was. A place with no particular need for thought, for opinion, for self-recrimination. Just a space. That sort of space, he said, was healing in and of itself.
That day, we walked through the Metropolitan Museum. When we came back out on to the street, he said, “There are maybe a thousand different universes in there. If people realized that, they’d stop paying so much attention to their own thoughts. They’d just create worlds and universes.”
Maybe that sounds too inflated. Maybe we’re supposed to want artists who are just cranking out pedestrian material. Maybe we’re supposed to believe there is just one universe, the one we walk around in.
Maybe we’re taught to want less instead of more—when actually, artists do create universes all the time, and we’re too blind to recognize it.
And maybe we’re all artists, hiding, bobbing and weaving under layers and layers of absolutely pretended ignorance.
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Jon Rappoport
The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.