The book you want to write

by Jon Rappoport

December 18, 2015

(To read about Jon’s mega-collection, Power Outside The Matrix, click here.)

I’ve had several clients who are writers. They decided they had a book in them.

This is a momentous event. I don’t mean realizing there is a book. I mean tapping the keys for the first few sentences of chapter one. That’s when you know it’s happening. You’re doing it. You’re pushing the boat out from the shore.

As your imagination swings into gear, you become aware of the space that sits out there, the space you’re going to fill and shape.

The world has existed for a long time, but the book is a unique event. It’s the world plus one.

Of course, some people will never finish their book. They’ll bog down in details and plans and structure. They’ll convince themselves there is one prescribed way to do the job, and they’ll decide they just can’t produce that pattern.

Through direct instruction or the “shared wisdom” of writing teachers, they’ve bought a straitjacket. It fits, but it doesn’t fit the writer in them. That’s the sad joke. The straitjacket is for a person who isn’t a writer.

I’ve seen this over and over again. Clients tell me everything they’ve learned about writing, and I wonder how they can still possess a drop of inspiration. Saddled with their ideas, I’d give up and go to work sweeping floors.

Of course, I’m not talking about spelling, grammar, or syntax. Kids are supposed to master those basics in junior high and high school. And if they read, they already know something about great writing.

I’m talking about what YOU would do if you were going to write YOUR book. How you would launch yourself.

It’s often said the best advice for a student is, “Write about what you know.” Ah yes. The pearl. Well, that certainly works if a person, in fact, wants to write about what he knows. But many other people really want to write about what they don’t know—or more precisely, what they haven’t imagined yet.

And even if you want to write about your life and past, you’re going to find out imagination is a major part of the process, because words and sentences and paragraphs don’t fit reality like a glove. Good writers can make you believe their words are exact replications of events, but that’s an illusion. That’s their brand of magic.

Even the old hard-boiled curmudgeon, Hemingway, was inventing something that looked like realism. He was hammering out sentences that conspired to produce that flat laconic effect. He had his own magic wand.

How do you convince readers they’re bumping up against actual events? Do you, as the writer, look to the events for help?

Maybe. But WHAT you’ve experienced doesn’t teach you how to dance as well as HOW you’ve experienced it.

And books will help, too. Not manuals. Novels.

The more you read, the more you discover how it can be done.

The art of it.

The ways imagination can operate.

And hopefully, you’ll come to understand that your imagination can move in unique currents.

Then you’ll have the engine and the fuel to start and finish a book.

You’ll have the persistence to work out the details.

It’s not a walk in the park; if that’s what you want, just take a walk in a park. Writing a book is the kind of commitment that expands your understanding of what a commitment is. It changes your life.

Fortunately, I had only one writing teacher during my 16 years as a student. He was a well-known poet and translator. We had several confrontations. One of them was particularly nasty. We ended up cursing at each other. Loudly. However, one afternoon in class, while reviewing an assignment, he took out a poem of mine and read a few words and said, in his dry fashion, “That’s a line of poetry.” I didn’t take a great deal of pleasure from his admission, mainly because I already knew it was a good line. He was a fairly decent teacher; he didn’t hand out much advice. He just let us work. I don’t recall him ever saying, “Write what you know.”

Good lines of writing stimulate adrenaline in the reader. They bypass the usual filters of perception. They awaken the reader to some X quality he didn’t know he had.

At that moment, he isn’t holding a book in his hands. He’s in an unforeseen space that blots out all other spaces.

Most beginning writers want to communicate big ideas. They conceive of these ideas as generalities. Then they spend page after page piling up more generalities like gooey layers of an ungainly cake. Looking at it sitting on the dinner table, no one is happy. Put off? Yes. Repelled? Yes.

The solution to this problem isn’t merely substituting details, because details can also make an unfriendly tower.

A book isn’t a mechanical proposition. It’s a work of imagination. And that means: no formula.

Ah. Who wants to tackle that?

The answer is: anyone who wants to be a writer.

And on the day he sees how to do it, he understands he’s in the most abundant territory in any universe, and he feels alive in a way he’s never felt before.

He isn’t chipping away at a canyon wall with a hammer and chisel, to find a sentence that has light in it. He’s swimming in the great ocean, where rhythm and velocity are endless metaphysical fountains.

When I was 11 years old, in 1949, I read a children’s book that took me away. It said, under the surface, “Do you want to be this?” Six years later, when I realized I would never pitch for the New York Yankees, I said, “Yes.” Recently, I went back and read that book. I had to laugh, because I saw how much I had supplied to the author, how much I’d given him. I had been writing most of his work in my own mind. But that was all right. He brought me the first wave.

Do you want to write a book?

Don’t make the details the big worry. Don’t build a machine out of a thousand facts. You’ll find ways of folding in details in the caverns of your chapters. You will. And yes, you have to, but it doesn’t have to be a burden.

You don’t really have a book in you. You have the capacity to invent a book.

If the prospect of inventing one doesn’t move you, either go on to another line of work or figure out how to find your imagination. You left it somewhere.

Which is like forgetting you’re going to get married. When you walk down the aisle, you’re still catching your breath from the trip you just made to to buy the bunting and the trimming and the serving dish and the big pickles and the carving knife and the ribbon for the box and the shoe brush and the balloons. Finally, you were just picking things off shelves at random. You can’t remember why you decided the marriage was a good idea. Hopefully, you’ll wake up when you say I DO.

One of my jobs is imagination specialist. What a horrible title. It’s a joke because it’s a contradiction. Actually, I play the role of Hermes. I catch people in mid-stride going to a place they’ve somehow lost interest in, and I put things in their way. Strange things. Absurd things. They stop. Then I say, go here, go there, make up this, pretend that, let’s say the world is completely different, and you’re an ant clinging to the edge of a frozen cliff, and here comes a phantom carrying the sun in his hand and he’s going to melt the tundra and you have to give a speech that will save your life. What are you going to say? GO.

Because if a person recovers his imagination, he can write a book. He can do lots of things. He can do anything.

Through a process no one will ever be able to fathom, he can use any event from his past, he can enact fragments of his past that never existed, he can work his way up the side of a wave while standing on the top, he can do all this and more. He can lug up and down the wave suitcases of details and sprinkle them where he wants to.

And he’ll write a book you’ll want to read.

And you can write such a book, too.

Not overnight, but you can do it, if you really want to, if it’s important enough.

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 29^th 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.

by Jon Rappoport

November 22, 2011

(To join our email list, click here.)

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.

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)

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 29^th 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.

TRAGEDY OR COMEDY?

SEPTEMBER 28, 2011. These are the last three days of the nomorefakenews September fund drive. If you find benefit in this work, see the end of this article on how to make a donation.

In the theatrical presentation called Life on Planet Earth, there is only one question you really need to answer.

Will you live through and by imagination, or will you find a closed system that translates into the character you will then embody?

There is no middle ground, and there certainly isn’t an answer to be found by appealing to authority.

You can wiggle around the question and find reasons to delay an answer, you can cook up all manner of postponements, you can put your trust in some entity or force that will present you with a solution, you can try to maintain a status quo, you can blame infamous men behind the curtain who are pulling strings, you can settle on the strategy of trying to preserve what you have, you can induce amnesia, you can wait for a revolution that will obviate the need for answering the question.

But all of these fall short and dissolve in the wind.

I agree with those who say we are reaching the end of an era. But what that statement actually and specifically implies is another issue altogether.

No matter what door the human race walks through, the same question will remain for each individual.

Societies inevitably set up structures that depend on finding lowest common denominators, which can be appealed to and tapped, in order to stimulate superficial desires.

The easy way is to discover your place in that system and work your corner to maximize your gains.

There are prophets everywhere. They always follow the same plan. They talk about Future and what it holds. They know their audience is looking for an out. So they imbue Future with the capacity to descend like an irresistible and transformative bolt of lightning.

But the future is created. By individuals.

The Collective is the illusion of little pieces coming home to a Whole.

For the past several years, I have been writing articles about what the life of imagination is. These descriptions and depictions are efforts to stimulate the imaginations of readers.

Not because there is some formula one can then follow, but because imagination is the basis of existence itself.

Earth culture has no truck with such a notion. It prefers endless struggle focused around the clandestine purpose of making everyone unfit to live, except through dependence on those who pull the political and economic strings.

In the Collective, no one is free, except for the choice to give away everything he has and is and could be to a “higher good.”

This is the ultimate product for sale on Earth. It costs nothing to get in. It costs all you have to stay in.

Even the most optimistic solutions on the horizon are not the specie of answer I’m talking about in this article. If somehow a new form of energy is put into effect on a very broad basis, and every human on the planet can walk around with his own energy pack…this doesn’t solve the deep and essential human dilemma. Neither does a friendly space ship landing on the lawn of the White House.

How to live?

Through and by unlimited imagination, or as a character embodying a closed system?

Which do you choose and which do you walk away from?

The most effective propaganda steering us toward closed systems is that which merely presents life-as-group. If this principle can be established in the mind, with all that it suggests, and under a variety of guises, those who bite will immediately find themselves right in the middle of society-as-we-know-it, with all its sentimental exaggerations and cartoons that deify forms of the Collective.

Freedom from group has no role in propaganda.

We are told that the group stands for reaching up, when it actually involves reaching down.

What is laughingly called “the collective unconscious” is not, as advertised, a source of eternal wisdom. It in fact signifies the largest group on Earth, a subconscious melding dedicated to Staying The Same. Most people don’t discover this—because they don’t want to.

When I was a child, I often heard the phrase “will power.” It simply meant you exerted the force of will to achieve something you desired, and in the process you overcame obstacles. Well, that phrase gradually fell out of favor. It was considered foolish. Instead, we had to understand the mass of humanity had to be freed from its chains through social and political movements.

Eventually, something was proved. Breaking chains was no guarantee. In fact, the agenda was really about reducing everyone to an unfit status—and if we look, we can see that playing out now.

More and more, people with so-called privileged backgrounds are searching for something that will grant them victim status, from which perch they can imitate people who really have been oppressed by criminals. This is a proper example of a closed system.

On the other hand, living through and by imagination is a fierce joy that waits for anyone who finally decides to choose that path.

Having made the choice, the wait is over. Now there are new struggles, but the rewards are far greater.

There are many people who would rather wrestle with a problem than find a solution. And there are a few people who realize that the whole endless pattern of discovering problems and solving them is a cover, below which lies a different kind of power altogether. That power is invention, creation, imagination, improvisation, innovation.

That’s the new world. That’s the world that is born in an individual. By his own choice.

Jon Rappoport

www.nomorefakenews.com

To donate to the nomorefakenews September fund drive and support this work, go to Paypal.com, click on the send money button, enter qjrconsulting@gmail.com and make a contribution. You don’t need your own PayPal account to do this. Many thanks.

BOOKMARKS OF EXISTENCE

SEPTEMBER 10, 2011. The fund drive for no more fake news continues. See bottom of this article on making a contribution, and thanks to those who have already helped out. Your generosity and interest is most inspiring.

Okay, here we go.

No one is absolutely sure of everything all the time…

Except a robot.

And this is the premise of much science fiction, in which android races and molds and fungus and giant worms and other psychopaths try to take over a galaxy because, well, that’s what they do, that’s all they do, and what else is there for them to think about except The Mission and the Program? They’re quite sure about their entire existence.

On the other hand, when you live through and by imagination, the whole question about absolute surety becomes moot and quite irrelevant, because you’re creating what hasn’t happened yet, you’re not repeating patterns, so how in the world could you be absolutely sure about exactly what’s going to happen? Moreover, why should you care?

There is something to learn here.

When a person tells me, “I’m not sure, I don’t know, I’m the dark,” I say, “That’s terrific, that’s absolutely right—IF YOU WOULD ONLY TAKE THAT TO THE LEVEL OF CREATING SOMETHING AND THEN CREATING SOMETHING ELSE…BUT IF YOU DON’T, YOU JUST STEW IN YOUR JUICES.”

And this, in various ways, is what I’ve been trying to point out for a long time—the difference between what a person thinks and feels when he is NOT creating, and when he IS…because exactly the same set of premises and thoughts and feelings yields completely different results, depending on where a person is operating.

Who cares what you think when you are just thinking it and going around and around in circles with it? Only you care about it, and you would love not to care about it.

But with those same thoughts and ignorances, when you step up to the level of creating, inventing something, like an adventurous future or an adventurous painting or an adventurous piece of music or an adventurous play or an adventurous who knows what…when you do that, the lack of knowing is PERFECT FOR THE JOB, because you’re starting out from a blank slate, which is exactly where you want to be.

Suddenly, what seemed like a deficit becomes a major advantage.

I know, it sounds ridiculous, but there it is. And it’s one of those secrets of the ages that nobody talks about.

But I’m talking about it.

Okay. So are you exploring the unknown by inventing and creating and creating again, or are you thinking about what you don’t know as if it were a sign of negative significance?

We tend to assume that when a very, very talented person invents something unprecedented, he “knew it all along.” He always knew it. He was in perfect command. He was quite, quite sure. He was on top of everything.

But you see, he could have been a compete idiot. Which would have been his strength. He knew he didn’t know. And he didn’t care. He didn’t care SO MUCH that he was willing and eager to jump off into the unknown and create there.

Yes, this seems backwards.

But it isn’t.

Someone tells me, “I couldn’t possibly paint a picture. I don’t know anything about painting. I’ve never taken a class. I have no talent. I wouldn’t know where to start.”

Believe me, don’t believe me, these are wonderful qualities, these are qualities that can make you into a painter. IF YOU WOULD JUST PAINT.

How much effort do people put into becoming quite sure about a subject, so they can work for the rest of their lives going over and over it, so they can settle into years upon years of boredom? Those people are Quite Sure—and they’re paying the price for it.

And there you are talking to them, and you’re thinking, “Wow, these people are really smart.” Yeah, they are, and what a tragedy. For them.

Quite possibly you have no idea how much sensational and inventive stuff has been created by people who were looking to avoid being bored out of their minds. That’s all it took. The boredom was so thick and so pervasive, the person said, “The hell with this, let me start from zero and CREATE. Because if I don’t, I’m going to curl up and become a drone…”

A man sits in a room and thinks, “I’m bored……suppose there is a substance that is obsessively desired by many people on many planets, and they believe they just can’t live without it, and they have to have it, and it’s the biggest commodity anyone’s ever seen, and it’s a…spice.”

And then he writes Dune.

Sure, he wasn’t a chimpanzee, he had facility with the English language, and so on, but lots of people know the language very well, and they spend their days cooking up ads for bras and panties.

This man, Frank Herbert, decided he could be a riverboat gambler and shove in all his chips on a wild idea out of nowhere.

And yes, he worked very hard to write Dune, but he was galvanized by the whole creation he was going to flesh out in empty space, where nothing had been before.

He wasn’t going to believe everything good that happens in this world is accomplished through slow accretion, like rain wearing away stone.

Deciding to create isn’t really harder than thinking you’re average.

There is an accepted role called Average & Normal, which, when played out, forces you to imagine you’re in a muddle and your life is a bust and you need what can’t have have and you’ll never keep your head above water. Is that a good reason to demean your sense of adventure?

A person says to me, “I’m asleep. All the time. And in my sleep I think all sorts of thoughts about how miserable I am, and this is probably a state of hypnosis I’m in. Day after day, year after year…”

And I say: “Great. Splendid. So what I’m doing now is putting a brush in your hands and before you leaning against against the wall is a 20-foot blank canvas, and on the floor are cans of paint. So I want you to dip the brush in a can and put some paint on the canvas. There are a whole bunch of brushes there with the cans. Just keep going. Put paint on the canvas. And more paint. And as you’re sleepwalking through this whole process, with complete ignorance about what you’re doing, once in a while, no strain, just glance at the canvas. Just glance at it now and then. And you know what’ll happen? Occasionally, you’ll get a glimpse of something out of the corner of your eye. You’ll glimpse something that makes you feel…different. Your adrenaline will flow a little. And that’ll make the dreams you have while you continue to sleep a bit more interesting. That’s all. Just do it.”

And as long as I don’t tell this guy I’m trying to wake him up, which would stir all sorts of resistance, he’ll follow my advice.

And one day, out there on the horizon, he’ll say to himself. “I’m a painter.”

And then everything will change.

And when necessary, when he wants to, he’ll still be able to do a very good impression of amnesia and narcosis and fit right in at the dinner table with a bunch of smart folks who are trying hard not to bored out of their minds.

Okay. There is a part two to all this. And it starts with me saying: of course I know I was exaggerating in part one. I was exaggerating in the sense that you can’t take a completely dense person who wants to be a zero and make him into a star. That doesn’t happen.

And one does have to have some ability to move forward. It’s not completely random and completely creative based on absolutely nothing.

But…what I was saying in part one is a lot closer to the truth than most people think. It’s a lot closer because, if you can grasp the sensation of creative adventure, it can take you a long, long, long way. It can help you break through the repetition and routine of ordinary life, and then all bets are off.

And because I’ve been painting for 60 years now, I know something about the magic of that activity and the extraordinary things that happen when a person is really engaged in it, and is willing to understand that spontaneous actions can deliver astonishing outcomes.

The truth is, people have more straightforward capacities than they realize or think are important. They have a certain amount of facility with words or numbers. They can speak, they can assume various roles and personae. They can act. They can fix things and they can love and they can be generous. And so on and so forth.

And if they would take these capacities to a level on which they are imagining and inventing and creating, they could achieve more than they usually dream about. Much, much more.

And that state of not-being-sure, if they divorce it from worry and instead see it as pure unformed possibility, can operate as a launching pad from which they move out beyond the Ordinary. Not with stifling moment-by-moment calculation, but with what has been referred to as life-force.

This IS all about magic. It’s there. It takes a devil-may-care attitude to see it that way, to peek around a corner of the future and know that, if you are only sure about one thing—creating—the walls can come down.

This is alchemy.

I have been asked, “Are you saying everybody has to an artist, a writer, a musician, a painter?”

I’m saying the arenas in which one can create and imagine are unlimited. There are arenas no one has even thought of before.

In the Magic Theater, a person plays roles he never considered playing. And when he does that, he gains a new understanding of who and what can be creative. He begins to see creation is coming from all sorts of unlikely places. It’s abundant, not scarce.

And since this is so, what’s all this business about life being uncreative? Where the hell did THAT come from? How did THAT become the norm?

Good questions.

It takes a certain amount of energy to believe all the creation that exists is coming from places other than yourself. It’s a strange notion. When you think about it, such a belief feels like a rigged game. Suppose you have billions of people who have this belief? They all believe creation is coming from somewhere else. What a joke. What a crazy situation. And the result of all these billions of people believing this is…what we call normal reality. That’s the outcome. And these billions of people pounce on the outcome—ordinary reality—and they say, “Yes. This is life. This is important. We have to learn about this reality. We have to learn so much about it that we’re very, very sure about it. We need to become quite, quite sure about it, and then we’ll be all set.”

All set for what?

Joining the Church of the Melted Down Glob?

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com

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THE GRAND CREATION SEE-SAW

SEPTEMBER 8, 2011. The nomorefakenews fund drive continues. Those who wish to, go to PayPal, click the “send money” button, enter the email address, qjrconsulting@gmail.com, and contribute to this ongoing work. Many thanks.

How much creative force does it take to overcome the stultification of a life lived with an energy deficit along a half-desired path?

It takes just enough. That’s how much.

It takes enough to swing the see-saw in your direction.

Somebody could probably come up with a fancy formula for it, but it would be useless.

The universe doesn’t have this problem. It goes its merry way, with space storms, blowing up stars, black holes sucking down matter into its maw, dissipating and adding energies, planets circling around suns. It has no problem because its paths are fixed and it has no imagination. The universe is a beautiful dumb blond.

But you are something else again. You can try on various android roles and good citizen roles and normal roles and average roles and dumb roles, but you’ll never be happy with them, because you are blessed or cursed (depending on your point of view) with imagination.

You can complain until the cows comes home that you don’t understand how imagination works, but it’s all in vain. Because you invented imagination, as strange as it may seem. It’s your baby. You are the owner of a trillion to the trillionth power creative-capacity, and you can try to park it in a dirty garage on the wrong side of town if you want to, but it’ll find its way home.

And then you’ll have to go through the tedious process of finding another hiding place for it, a place you can forget exists, but it’ll laugh at you, because it knows you invented it in the first place.

Our whole civilization may be arranged to diminish the knowledge of creative force, but it’s a losing proposition. People remember, despite their own best efforts.

They remember the joy of creating. It comes back to them in flashes. The human race can grind this planet down to dust and it won’t change the cardinal facts. People can scream from rooftoops, I DON’T KNOW WHAT TO DO, I HAVE TOO MANY PROBLEMS, and that won’t change the cardinal facts, either.

A person says: I CAN’T, BECAUSE…

I CAN’T, BECAUSE…

He keeps on saying it for maybe forty years or forty lifetimes or forty centuries or forty epochs…

And somewhere along the line he changes course in a split second and re-imagines imagination and launches himself into the stratosphere.

THAT’S the underlying story of history, the story that lives far beyond any zero-paralysis.

It’s our inheritance, legacy, core, forever.

Elites come and go, secret societies rise and fall, civilizations are built and then decay, big lies are floated and disintegrate, religions come into their own and then are abandoned, monuments are stood up and then collapse, and the core story lives on: we imagine, we create.

And since that is the case, why wait?

The universe, despite its ceaseless action, is really a place of stasis. That means forces are counter-balanced, there is stability, sameness, a kind of mutual canceling out. Societies are arranged in a similar way. Stasis is achieved and maintained because every thing and person appears to be defined, appears to be what it or he/she is and nothing else, appears to be a persistent role. A role in a giant stage play.

A tree is a tree. A rock is a rock. John Jones is John Jones. A star is a star. A galaxy is a galaxy.

As long as we have the perception that these roles are stable, are what they are, are nothing else, we continue to have the stasis. We continue to believe in the structure. We continue to be defined. We continue to find patterns and sub-patterns within the overall stasis.

To question this seems quite absurd. How could things be any different?

But two breakthroughs change the perception of stasis. One, a person projects energy across space. This gives rise to the notion that new energy can be created, and can be used, at any given moment. This doesn’t fit into the time-worn stage play. It introduces a new element, a wild card. Every person becomes a potential source of energy. Magic.

And two, a person can inhabit, play, and speak from an infinite number of roles. Suddenly, the stasis is cracked. Every person is himself, but he can also become Other. This flexibility, exercised through imagination and creative power, introduces the principle of dynamism.

We are no longer looking at universe as “what it is.” Universe becomes Theater. Although every element and person was playing a more or less defined role, this was nothing more than a starting point.

When a person embodies a new role and speaks from it, stagnant energies are liberated and new energies are created. The directions in which those energies now travel are reversed, re-directed, and their power is multiplied.

The stasis recedes into the background. Dynamism replaces it. Everything outside ourselves, everything we thought was completely external and encased and separate and unknowable and unattainable becomes inhabitable.

All our efforts to shore up our defined roles and make them stronger and maintain them—in other words, the business of living—is now seen as prelude to The Magic Theater, which is a wider and deeper conception. A wider and deeper action. Yes, we never cease being ourselves, but this is augmented by our capacity to embody any thing, personage, process, idea, and quality and speak from it, as it.

This is new. This is like finding out the Earth is not the center of the universe forever, but is revolving around the sun.

But it is more, because you can be the Earth, the sun, stars, galaxies. Not just in thought, but as actor. You can give voice to them. In dialogue, in The Magic Theater.

At its core, stasis stood for fixed arrangements and quantities and vectors of energy. The eternal formula. But no longer. Now energy is liberated to an extraordinary degree, and with it, the capacity to create and make magic.

This has never been done before—not on the scale I’m describing.

Jon Rappoport

www.nomorefakenews.com

qjrconsulting@gmail.com