Tag Archives: after-death communication

Encountering Electronic Voice Phenomena in Person, Part II

“Chopin Anew” by Jan Nyka. This image is amusingly appropriate in the context of EVP, don’t you think?

At the beginning of the ASCS conference, Suzanne Giesemann gave a charming, inspiring, but no-nonsense talk about her development as a medium, which included stories about striking synchronicities— and another slew of them for me. Here she outlines her journey from hard-nosed Navy commander to professional mystic: https://www.suzannegiesemann.com/about-suzanne-2/

I want to tell you about an enlightening anecdote from Suzanne. One day, during her meditations, she received a visit from an entity who called himself Odin. Ohhhkkaaayyyy, she thought. She didn’t remember much about Norse mythology, so she went off and read up about him. What she found was a whole package of synchronistic threads that connected with people close to her, having to do with lightning and runes in particular. The next time she encountered Odin, she blurted out, “Are you real?”

“I am as real as you are,” he replied.

“But you’re a myth!” Suzanne insisted.

You’re a myth!” was the answer to that.

 The idea was that all personalities, human and otherwise, bubble up from the substrate of the universal mind, and all are pretty much the same in essence, and all equally real or unreal, depending on how you look at it. That’s about as close as I can get to explaining my experiences with such eminences as Kuan Yin or Medicine Buddha.

And as close as I can get to explaining the following.

As I described last time, I was putting a lot of effort into listening during October, and something began to happen that interfered mightily with that. At first mildly, then catastrophically, I developed a case of constant high-pitched tinnitus. By the last week of the month, it had taken over my life and I could hardly think of anything else.

I suspected that the new problem might have something to do with my trip to the conference, either the work with the spirits, the flight, the drastic changes of altitude and humidity, or all of the above. I’d also had a slight virus sort of thing right after the trip. I started looking for help to sort it out. That’s when things got even weirder.

I began with a remote polarity treatment from the person who had helped me with issues like this before. My therapist encountered a crowd of beings around me who seemed to all be trying to talk to me at once, and she thought that was creating the ringing in my ears. She came up with a strategy for communicating with them one at a time in a controlled way that would limit any trouble. Sigh… I’ve had all too many issues over the years with entities knocking hard on my doors… but I guess it’s an occupational hazard.  And it has led in fruitful directions at times.

For a while after that session, the sound in my ears died down a bit. The theory about these critters being the main cause of the tinnitus doesn’t seem to have panned out in the time since then, but they were most definitely present and they needed to be dealt with. I cautiously set about making their acquaintance, just a few of them. They were very accessible, and seemed enthusiastic and positive about communicating with me. One gave me a warm hug. Another— I’m grateful for this— reached into my head and tweaked my eyes so that colors became dramatically brighter and for quite a while the usual dryness was gone. Perhaps more ominously, another asked why I was bothered by the ringing, since they were “tuning me” and I ought to be happy about it.

I didn’t detect anything untoward, but I wasn’t comfortable with having anyone trying to control me or use me for their own agenda, especially without my conscious understanding and consent. I made an appointment with my psychic mentor, Mendy Lou Blackburn, who is always the person I turn to when matters like this get beyond my abilities. When I went to bed, I asked Fryderyk what he thought was going on, and he had something to say about it, but in the morning I couldn’t remember what it had been.

Mendy Lou and I looked extensively at the whole situation and tried to figure out how these entities fit in. They didn’t seem connected with the Big Circle, the group Vicki and friends work with. Mendy could see them clearly, as a sort of vortex containing multiple small lights. They appeared to her to be a mix of beings of different levels of development. When she used the term elementals, I remembered that Fryderyk had said the same thing the night before.

At one point I looked around for my link to the Big Circle, for comparison, and instantly Braden popped into the room in a burst of light, so Mendy Lou got to meet him and get a sense of his fun-loving personality. It was comforting to have him show up. Fryderyk also made himself known, but he stayed in the background.

So there I was with an unwanted “fan club” and still an intolerable level of constant noise. I went to the office and put my questions aside for the time being. By the next day, with the ringing still driving me nuts, I felt I couldn’t stretch my stressed and irritated self far enough to deal with the mysterious entities anymore. Apologizing, in case they were sincerely there for my good, I wrapped them up in a sort of package and pushed them out of my field. I just didn’t know what else to do at that point. Since then I haven’t heard anything further from them.

I told Vicki about all this, and she confirmed that Braden and company were not involved and didn’t know who these beings were either. The Big Circle folk told her to let me know that I was “climbing Jacob’s ladder” and all was well. All the sources seemed to agree that I was somehow being changed to be able to perceive more, and that I should be patient with the process. I felt a little bit better.

The process of clearing attachments and emotional junk continued with a remote treatment from James Rolwing, and Thought Field Therapy (the original version of tapping on acupressure points) with Diana Ristenpart. After that, the tinnitus changed, in quality though not volume, and became a less obnoxious type of sound so that it was more tolerable. A range of pure sine wave frequencies disappeared and I was left with an array of tiny chimes combined with cicadas. Strange how that is less bothersome!

After a lot of phone calls, I was able to get in with an audiologist and a nurse practitioner at an ENT office, and they found inflammation in my Eustachian tubes— a potential physical cause for the sound. Mercifully, my hearing tested as mostly intact, except for a small deficit at very high frequencies. I’d been terrified of having a significant hearing loss, which is often associated with tinnitus. Since I’ve always hated noise and have carefully protected my ears, this whole thing has seemed awfully unfair!

With the onset of the ringing, everything in my environment became oddly loud, subjectively, and my impression was that the effect was different from the hyperacusis that can occur with hearing loss. Sound is much more three-dimensional and multilayered, richer and more colorful, and I pay attention to it differently. Once Fryderyk told me that music is an environment in which one can move about, and I think I know vividly what he meant now.

So is a process of “tuning” still going on? Am I going to be able to hear more of what nonphysical sources want to tell me? Or am I taking a long time to get over a viral infection and a great deal of stress? All of these? I don’t know if I’ve had enough brain-space lately to be able to tell. No dramatic new openings appear to have occurred in my psychic development to match my increased awareness of physical sound. Meanwhile, treating for inflammation and taking Chinese herbs for the pattern I’m showing has helped, as far as I can tell.

I did have an unusually extensive conversation with my composer friend, though, and I’d like to think that I was showing a little more ability to hear what he wanted me to know. This happened on 11/17:
Fryderyk showed up when I was about to go to sleep, as he so often does. I reported that my tinnitus had lessened, and told him that I hoped to be able to hear him better through whatever process was going on with the changes in my ears.

I asked about his efforts to speak through direct voice, wondering why it seemed worthwhile to take so much trouble to make physical sounds rather than just talk to someone inside their head or through channeling. He replied that it is important for him to speak in actual words, not just thoughts, because words have a physical effect on the material world.

“In the beginning was the word?” I asked. His answer was something to the effect that in the beginning was a thought, then a word that shaped reality.

“How does music compare to words?” Up to that point he had been more or less directly dropping concepts into my head, despite the subject being the primacy of words, but this came out as a clear verbal message: “Music is a scaffolding on which we can build reality.” That was a striking idea that I wanted to be sure not to forget, so although I wanted to get to sleep, I dutifully grabbed my notebook and pen. Which, as it has done many times, broke the connection.

After settling back down, I was able to get back in touch with him, and we continued along the same lines. A direct-voice medium is like a radio, he told me; you tune the medium, tune yourself in, your own station. There were images of communicating with me, in contrast, being something like wandering through a cave with twists and obstructions.

I asked if things might be easier if I were a trance medium. He doesn’t like to work with them, he replied, because they can’t really give consent. Even though they’ve consented to the overall procedure, they can’t filter or respond to any of the communication. He prefers the relationship, the dialogue involved in working with someone who is aware of what’s going on.

(Regarding “Music is a scaffolding on which we can build reality,” a musician friend expressed something strikingly similar to this just a couple of days ago, even saying, “In the beginning was the word.”  She said she is trying to affect the world from the inside through music and meditation lately, rather than continuing to work with political organizing and that kind of thing, as she used to.  I expect that other musicians have expressed similar thoughts.)

Vicki mentioned that Braden had warned her against thinking she is communicating with any Famous Dead People, because they are likely to be impostors– although he himself had brought Fryderyk to meet his mother.  For example, he said, if someone shows up who purports to be Elvis, you should run. I mentioned this to Mendy Lou, who recounted the time she not only met Elvis, but had a lengthy conversation with him, many years ago when she was working in Las Vegas. I also mentioned it to a patient who has a strong interest in these matters, and she replied that I shouldn’t be surprised if I did run into Elvis sometime, because he’s her cousin, albeit a distant one. Six degrees of separation and all that.

So when I showed up at Vicki’s presentation, and she saw a momentary flash of her friend “Fred,” she pushed the thought aside.  Why in the world would someone associated with him walk into her workshop?  Her boggle threshold had to be raised a bit, along with mine.  The pattern that began with meeting my Famous Dead Person so many years ago seems to be building up more coherence over time, but I’m still not always certain what is being asked of me.  Now I’ve been brought into the Big Circle project in some way, and telling you about it must be part of that.  Otherwise, I’m awaiting further developments.


Mendy Lou Blackburn:  http://mendylou.com/
James Rolwing:  https://www.facebook.com/pg/PatternReleaseEnergetics/about/?ref=page_internal
Lunasol Polarity Therapy:  https://daynaurora.wixsite.com/lunasol-polarity?fbclid=IwAR06LGeVHFtlqrv8ALvx0qJevC3_DcmpCGHqOxl9wVyndUDZ64cFtBcf2bU



Filed under channeling, health and healing, music, mythology and metaphor, spirit communication

Encountering Electronic Voice Phenomena in Person, Part I

In the past couple of months, my boggle threshold* has been raised a few more notches. I’m getting more and more “whatever” as time goes on.

The annual conference of the Academy for Spiritual and Consciousness Studies was held October 4-7 in Raleigh, NC. I had belonged to the organization for about a decade, but had never been to any of their events. This time I felt that I needed to be there, and the second day in, the reason became clear.

While waiting to register at the beginning of the conference, I found myself sitting next to and chatting with Terri Segal, who told me she was there to present about Electronic Voice Phenomena. This was the first synchronicity of a series. The next afternoon, I went to see what she and her cohort Vicki Talbott had going on. It turned out that they were giving not just a talk but a workshop in which we were able to actually try out the process.  Here’s a description of the session: http://ascsiconference.com/team/vicki-talbott-and-terri-segal/

Electronic Voice Phenomena are a subset of Instrumental TransCommunication, a range of methods of recording images or sounds produced by discarnate beings by means of electronic devices. For those who hadn’t heard of EVP, it might be helpful to stop here and read these:

The conference had two tracks of presentations at the same time throughout, so it was sometimes hard to choose between them. Only a very few people attended the EVP session, which surprised me as well as the presenters, because this is usually such a popular subject. (Later, a number of people said they hadn’t been aware it was happening, although it was clearly indicated in the program— I had the feeling they might have been steered away!) I was fairly familiar with the idea of recording discarnate voices, but hadn’t heard many examples, and didn’t know a lot of details or much about the technology involved.

As we started the workshop, I became aware of Fryderyk being vividly present at my side.  He seemed to be practically jumping up and down with excitement. It was the only time he was around during the conference, in fact the only time he had contacted me during a period of a few weeks. I had no way of knowing that he had already made the acquaintance of this group!  We got brief recordings of him during the workshop, but there isn’t anything earthshaking– except, of course, the existence of the recordings in themselves.

The recording process went like this: Vicki had each of the attendees in turn ask a question of one of the discarnates, then let the recorder run for ten seconds so that they had time to answer. The equipment used was very simple, a small, rather old-fashioned hand-held Panasonic recorder. At the time, nothing at all out of the ordinary appeared to be happening. We spoke our questions, and then there was no sound but the slight whir of the instrument.

The fun began when the recording was played back, and voices that had not been present before showed up. I witnessed this in real time.  Even though I was already familiar with the concept, actually experiencing it was positively freaky.  I’m including links to a couple of clips so that you can share my freaked-outedness.

My question for Fryderyk was quite simple. I told the group that I was in touch with someone who very much wanted to speak, someone who I knew had a lot of experience with direct voice and other methods of spirit communication. “I know you’ve been wanting to say something. What would you like to say?” His reply is unclear, to my ears; the only part I can pick up for sure is “it’s helpful” at the end of the message, but that part is definite. The fact that there was any audible reply at all was enough to leave me pretty stunned. https://app.box.com/s/t9j5uactcum3evvcvdzf368gqj1ms7ho

In addition to Fryderyk, we called upon Vicki’s son, Braden, and someone close to one of the attendees, unknown to the rest of us, who was not named. All three replied immediately. I didn’t get to really hear what was said by that third person, only that a voice had come through, and since it was none of my business, I didn’t ask further.

I wanted to ask Braden something, and as I did so, I got to wondering if I could perceive him somewhere in the room.  I looked around, and my eyes stuck to a patch of air near the ceiling, about two feet wide, that looked somehow different from the rest.  As I was realizing that the odd patch was Braden, he suddenly reached out toward me with a considerable amount of energy, so that the effect was that he bopped me between the eyes!  It didn’t hurt, but I was knocked back a little in my chair, and everyone saw that.  I explained to the group what had happened.

Later, Vicki found that the discarnates were talking about Braden bopping me, just before I told her about it.  You can hear “he’s tapped her” near the beginning of the clip, and “I’m quite amused”; the rest is fuzzy to me.  https://app.box.com/s/0w9achce66o378g022t6x998mojh4xq6

Although Vicki is addressing Braden in this clip, I am reasonably certain that the voice saying “Very good. It’s me here” belongs to Fryderyk. That message is 100% audible and definite. https://app.box.com/s/seb9mfix0585y4zq1dvbultwey80r37f

Let’s stop a minute and contemplate this. After 25 1/2 years of contact with Fryderyk, struggling to get verbal messages, his voice, physical vibrations of sound, captured in a form that I can not only store and listen to myself, but can send to you. His voice, so similar to the one I had heard in the Leslie Flint recordings, where I had never been absolutely, entirely sure it was him.

When I was next in touch with him after the workshop, the first thing he conveyed to me was immense relief at the ease of communicating directly instead of through layers of cumbersome instrumentation. It struck me, though, that the brief messages that come through by EVP are not so different from the almost aphoristic verbal messages I receive from him, when I can get any definite words at all. It seems to me that when he is able to convey words directly to me, he’s put thought into boiling the concept down into a short, pithy phrase. It must take a lot of energy to get even such small transmissions through my thick skull.

There is a significant difference, though, between getting advice from him inside my head, especially controversial advice— say, being told that it’s fine to experiment with styles of trills and have fun with them— and hearing it objectively in an .mp3 file. The physical recordings have a unique value.

You will notice, if you listen to even a few examples of EVP, that sometimes the voices sound pretty ordinary, sometimes they sound electronic or robotic, and sometimes there’s a lot of fuzz, rather like a phone call with a really bad connection. Sometimes individuals are easily recognizable, sometimes not. Researchers use a witness panel to rate the clarity of the messages and to make sure there really are words in the first place. Some “scientific” folk say that there is only noise and listeners convince themselves that they’re hearing words because they want to so much, but I think you can already tell, if you’ve listened to even the few clips I’ve linked here, that this is simply not the case. The phenomenon is quite real, and one must deal with it. Nonphysical beings can manipulate physical sounds to create verbal messages. We are way past arguing whether this is actually happening. Now we need to understand how it can be possible, what the physics of it is.

You’d think I would be over the moon with joy at receiving even a few electronic words from my old friend. Instead, I found myself near weeping and in a kind of shock. It was strangely hard to deal with this new evidence of his existence. Suddenly, despite all the overwhelmingly intense moments I’d experienced with him over the years, he was somehow more real than I could handle. And although I knew very well that he’d worked closely with other groups and had multiple intellectual and emotional connections, walking into this room and finding him engaged in a major project with people who were complete strangers to me was also a little more than I could take in at first.

(It was not the first time I’d observed Fryderyk messing with electronics; that had occurred back in 2009. You may recall the anomalous behavior of my printer when it spat out three portraits of Chopin, which were not on the document I was attempting to print. https://elenedom.wordpress.com/2010/03/17/fryc-in-print/ That constituted a form of ITC, I would think. The EVP was just another order of magnitude weirder for some reason.)

There is also the frustration of trying to understand the meaning of the messages. Sometimes the words sound perfectly obvious, yet the message is still obscure. One of the later clips of Fryderyk that Vicki sent me sounds to me for all the world like “I’ve made a cologne for her.” Here it is:  https://app.box.com/s/izaal6l0fhwyqqbgo37ixq08gwapn8ob  Can you make any better sense out of it than I can? And if I am hearing it right, exactly how am I supposed to obtain this otherworldly cologne? (I haven’t experienced any anomalous scents lately!) My husband jokingly suggested that he’d made me a clone— that would be great, I could get so much more done!

After the conference, Vicki and I began a correspondence, and I was interested to find that her impressions of Fryderyk, who she knew little about as a historical figure, were identical to mine— including his dry sense of humor. And I was amused at the idea of him joining forces with Braden, who is also a composer, but in what seems like a diametrically opposite genre, hip-hop. So Chopin is collaborating with a rap artist these days….

Like Fryderyk, Braden— as you might have guessed from the bopping incident— is a comedian as well as a musician. I mentioned to Vicki that Chopin used to do a Victor Borge-like act at the piano, something she hadn’t been aware of. She replied, bemusedly, “So that’s why they wanted me to watch that Victor Borge video on YouTube….” (Both of them left the planet before the existence of YouTube, but it seems that is irrelevant.)

*The boggle threshold is the level of weirdness at which one’s brain freezes up and can’t process what it perceives any more. Thanks to Michael Tymn for the concept.



Filed under channeling, spirit communication, Uncategorized

Dead Sexy


I finished this back in 2009, but it never seemed like the right time to publish it.  A couple of days ago, at the Academy for Spiritual and Consciousness Studies “Aspects of Consciousness” conference, I heard Miles Edward Allen give a presentation on sex in the afterlife (to the extent that we know anything about that).  His attitude is that we need to stop stopping ourselves from talking about sex.  I can’t argue with that.  I guess now it’s time.  Everyone quoted or mentioned here gave consent for me to write about them publicly, so I’ll give myself permission too:

“It happened in the late 1970s. At the time I had the flu and was running a fever. I was in bed for about three days. And one night I just woke up realizing that I was orgasming. My boyfriend was asleep next to me and wasn’t touching me, but I felt like a person was on top of me, like I could feel the weight of a person, even though there was no one there. I thought I had been having a dream about making love, but when I woke up it was continuing and it wasn’t a dream.”

Catherine’s story reminds us that contacts with the unseen worlds can take on a vividly, even disconcertingly, physical quality. It’s not particularly unusual for frankly sexual events to occur, and often they are indefinable and unclear in nature. For example, one woman told me about being slowly kissed all the way down her spine, one vertebra at a time, by someone unknown and invisible. We may not know who we are with, or why.

Catherine’s account also illustrates the slippery way that spirit experiences can intertwine with apparent past-life memories, raising questions, or maybe providing answers, about our own identities:
“I had the sense that it was a man, and that I wasn’t exactly myself. I felt that my name was Frieda. I don’t know if the other person or being had a name, I don’t remember. It seemed like we were Nordic somehow; it’s pretty vague. It happened more than once. I thought it was mildly interesting, but I didn’t have any interest in encouraging it. I told my boyfriend about it, and other people that I was living with, but we didn’t really dwell on it.

“We had just moved into a very, very old log cabin out in the country, that had been hand-built a very long time ago. I don’t know if that had anything to do with it.

“I was in a mask-making phase from about 1995 through 1997, and one of the masks I made I named Frieda. I’m only now making the connection—I didn’t think about this at the time. I would make a plaster of Paris mask by having a friend lay the strips of gauze on my face, and then I would go into a meditative space and ‘let the mask paint itself,’ so that I never knew what the finished project would be. Sometimes I would glue things on the mask. Each mask was a healing experience, would heal some part of my life or some episode; sometimes I wasn’t sure just what it was, but it felt healing. One of my favorites, if not my very favorite, was the one I called Frieda. It was a very strong, protective female spirit. I told my husband, ‘This is Frieda. She’s the guardian of children and small animals.’ It just came out of my mouth. Whether I just made that up because it seemed to fit the mask or not, I have no idea.

“I was so moved by the Frieda mask that I made a cast of my torso to go with it, sort of like a shield. I wanted to make it more of a person, sort of fill it in.”


A Reiki student of mine, now someone I respect as a colleague in healing, reported a clear encounter with her deceased boyfriend. She described this to me after a Reiki class with another teacher, who had told her that she had a ghost on her left shoulder. The student, Patrice, took exception to this. She told me that not only did she not believe there was anything around her left shoulder, she was perfectly capable of perceiving such things for herself, and had done so many times before.

“In fact,” she said, in a conspiratorial tone, “I knew when my ex-boyfriend was dead because he showed up in my room and was trying to have sex with me.”

“Well, that’s not necessarily such a bad thing….” I replied, hesitantly.

“But he was DEAD!” she cried, sounding truly horrified. She explained that she had reacted by immediately and firmly telling him to hit the road. She didn’t have any trouble getting rid of him.

Oh, well, he was her ex. She wouldn’t have wanted him around if he had shown up in the flesh, either. But I was amused to hear that the fact that he was dead made such a difference. I guess I’m used to thinking of “dead” as not necessarily one of a person’s more socially important characteristics.


And I have a much more positive feeling about my own deceased ex.

One night in February 1993, as I was lying in bed, ready to go to sleep, I had an impression of a hand stretching toward me out of the darkness, and I reached out to take it. I didn’t know what I was inviting. The experience began with an intense, electric tingling at the base of my spine, and, well, it went on from there. It was as completely pleasurable as anything I’ve done with a physical person, and I welcomed the pleasure at first without reservation. But when I came back to my senses a bit—to find my invisible companion still at work—fear took over. (It didn’t help that my husband was sleeping no more than two inches away.) “Please,” I thought, “I’m not ready for this, please stop!” But it didn’t stop, not for quite a while. Eventually I slept.

I woke up with a case of the willies, thinking about demonic possession, incubi, and so forth. I felt vaguely violated, even though I had, at least at first, invited the experience. I knew that I had been perfectly lucid and had not been dreaming or hallucinating, that in fact I hadn’t even been sleepy when it began. It had been so real. I felt that I had been unfaithful to my husband!

Or had I? I wondered if Bob might have been dreaming about me or something, but he said he didn’t think so. “Well,” I whispered darkly, “something touched me last night.” I decided not to go into any more detail than that! Bob reacted with a total lack of surprise, as if he had known all about it. “You weren’t hurt in any way, so why worry?” was all he said. I felt a little better after mentioning it to him, though it seemed odd that he was so nonchalant.

Still, I was distinctly uneasy. I called my Reiki teacher; I thought she might either have had such an experience or known someone who did. I gave her a short summary of what had been going on with my spirit contacts. I had a lot of trouble getting around to telling Elizabeth about the racier aspects of my experience, but she understood where I was heading and was able to get it out of me. “Well, you know,” she said, “it is creative energy.”

I’ve already told you that soon after Fryderyk first came to me, he began to approach me in a clearly erotic manner. It’s so hard to decide what, how much, I should say about this. I want to tell the truth. I think it’s important to tell this in some detail, because I am trying to get at the clearest possible picture of what spirits (we, I mean) are capable of. However, while prudishness is not a habit of mine, I don’t want to be any more indelicate than absolutely necessary. In saying this, I have in mind my lover’s very private and reticent nature during his Earth life; surely, I think, he would prefer not to have his most intimate secrets and activities broadcast—although, during that life, come to think of it, they were.

I also want to avoid unnecessary disrespect toward my husband, who has already put up with more than I think should be expected of him. No matter how I present it, this puts Bob in an unavoidably awkward position. He knows everything, and he accepts it all. But if I had a “real,” completely physical, male human lover, I expect that he would not show the same degree of tolerance. (And is there really a difference?) Above all, I would never want my husband, that noble being, to be seen as laughable or ridiculous.

On top of all that, I find that I’m rather nervous to write about this because out of all the crazy-sounding things I am describing to you, this may be the craziest. But it’s time to take the bull by the horns, or some other part of its anatomy.

I keep asking why a ghost, or whatever we want to call him, has any interest in sex whatsoever. His interest seems most enthusiastic, and it doesn’t necessarily correspond with the timing of my own. Sometimes he comes to me at the most inconvenient moments imaginable, when I can’t go along with what he suggests. Some other times I long for him but can’t find him no matter how hard I try, or if he is with me, nothing erotic occurs despite my suggestions or even pleadings. I get the impression that it is only at special times that the worlds are aligned in such a way that he can get this kind of connection with me. At some of those times, he seems almost to materialize.

Naturally, a lot is missing from this experience, but the part you are probably thinking of does not seem to be missing. I can’t easily kiss him, hold him in my arms, do anything to any specific area of his (non)body, because I usually can’t see him and don’t quite know where his body is, except in a very general way. But when I feel distinct thrusting, as often happens, I at least know where that one part of him seems to be.

Sometimes I only feel tingling and buzzing around my root chakra; sometimes, very rarely, there is clearly and incontrovertibly a man in my bed, impossible to ignore. There can be any degree of physicality or solidity from a feathery breath to a weight that presses decidedly on my bed and on my flesh, though it is a light weight indeed. On occasion I feel him sit down next to me, seeming to depress the mattress ever so slightly, then stretch out and lie close beside me or just above me. At such a time I’m likely to feel that slight weight settle onto my hips, and I know that he is about to enter my body.

I have proven to myself that I cannot produce these effects on my own, through imagination or any other means. If I could, I surely would, because I enjoy the experience so very much.

But again, why would he want this? Why should someone without a body desire this most physical of acts? It’s clear that libido is extremely variable, that it can change dramatically with shifts in hormone levels and other vagaries of the body. I remember, for example, that for a while during my pregnancy I had no interest at all, and then, when I started lactating, that interest came roaring back despite the fact that I had a huge incision in my belly and a newborn to keep me occupied. None of those changes had anything to do with my relationship with my husband or any other “real” factors in my life; they were no more than shifts in my internal weather, of no ultimate importance. And now, in my journey through perimenopause, I notice wild ups and downs as well. All these things are purely, totally of the body.

I wonder sometimes if he does it only for my sake, because he wants to please me. Or perhaps it’s because this is one of the few ways he can communicate with me. Maybe it’s even just to show that he can. It’s probably quite a technical feat. Some biographers have made snide comments about his ability as a lover—something they could have no real knowledge of—and it may amuse him to prove them wrong. But I think the most likely explanation is that he feels this need because during his Earth life he was largely deprived of sexual expression. At times I have come into contact with aspects of him that feel profoundly painful to me, connected to his sexuality and the frustration and difficulty he experienced.

I don’t know what, if anything, Mme Potocka may have contributed to that frustration. I find it hard to imagine her refusing him, given her own overheated nature. I do know that the first time he came to me in that way, the night I described above, there was an edge of anger, as if he was looking for some sort of revenge. It was a feeling of, “Aha! Now I’ve got you!” I’ve never been sure what to make of it. I was uncomfortable about it for a long time, for years in fact. It’s not that there was any violence or anything remotely like it. He was perfectly, wondrously gentle—but utterly relentless. I didn’t understand what was going on, and I didn’t even know for sure who was with me or why. I was thoroughly enjoying the experience anyway, but after a while I started to get nervous. I asked him to stop, and he wouldn’t stop. In fact, he kept going for so long that I eventually drifted off to sleep for a little while. It’s very odd to remember that now. It seems like I should have been more frightened than I was, if anything. I guess I was pretty sure who he was, and somehow it seemed natural to relate to him that way, though I had no clue why that should be the case. But I still thought that he should stop when I insisted on it. It’s possible that he didn’t understand, but based on the rest of our communications, that seems unlikely.

There have only been two instances when this kind of experience went on for any substantial length of time, and I’ve just described the first. The second time, years later, I lay there on my stomach, utterly blissed out, for so long that I pushed my jaw out of place and needed to see the chiropractor the next day. That is the only harm I have ever suffered, to the best of my knowledge.

Most of the time, in the first few years, the feeling was somewhere between making love and being struck by lightning. There was great intensity, but it was over within a few seconds. (Some of you ladies are no doubt thinking that this sounds like your normal, everyday experience….) It could be tremendously satisfying on every level, or it could leave me high and dry, having just started to get interested. I had no control over any of that.

As I said, the timing was often quite inconvenient, as well. Most often he would come to me when I was settling down to sleep, and that was fine, but he also showed up at random times when I was not at all available. It took me years to realize that I could say no. This is truly strange, because I’m an assertive person, and I don’t take well to being coerced in any way. I suppose I didn’t want to refuse him because these episodes were rare and I didn’t know when there might be another opportunity. And he wasn’t causing me any serious problem, usually quite the contrary. I was a little bugged, though, and I thought that it would be nicer if he could approach me a bit more gradually and slowly and give me some warning. Eventually I got smart enough to simply tell him that. Ever since, he has asked first. There is a sort of little tap on my aura, and I either tell him to go ahead or let him know that I’m in the middle of something and can’t be with him right then.

Months can go by between these escapades, even as much as a year. Then there are stretches of a few days at a time where he approaches me over and over. During March 1998, the month in which he was almost constantly with me, so much as almost to make a pain of himself, I started to get used to the idea of having a second, steady lover. I started to think, why not? He was around so often that I began to rely on him and expect him to please me, which turned out to be a mistake. (I suppose that would also be a mistake with a “real” lover.) I think I gave the poor creature a case of performance anxiety, and I myself started to feel disappointed sometimes instead of elated and full of love. It was not fair or realistic to expect him to fulfill that role for me.

And again, there was the guilt. It has waxed and waned over the years. At the times when he and I have achieved a more nearly physical connection, I have tended to feel worse about it, more like I was truly cheating on my husband. I have often felt more comfortable with receiving only a little tingle or two, just enough that I know he’s there and still interested. I’ve tried to discuss this with him, but I’m not clear about his point of view. More recently I’ve decided that I just don’t care, it’s not worth feeling guilty about this, and I want everything that I can get, or everything he wants to give me.

Although I do worry, my extracurricular activities have had mostly positive effects on my marriage. My body has become more responsive, and my heart infinitely more open. I have become more appreciative of men as a species, and I have come to see my husband, with his solidly molecular but transient, fragile human body, as more and more precious. I take nothing for granted. I understand that we can never be truly lost to each other, but I also see more clearly the vastness in which we travel and can appear to be separated.

Technically, it’s been good for us too. When I observe Fryderyk doing something interesting, I figure I can learn to do it too (well, except for that pianist-composer business). I’ve experimented and tried to understand how he gets the effects that he does, and sometimes I’ve come up with surprising new tricks. When this all started, Bob and I were not new to the idea of relating to each other on a purely energetic basis, but seeing that more was possible, we expanded our perceptions and our skills. Our interactions gained a depth and profundity that we would perhaps not have developed otherwise.

Knowing how I can create a particular effect myself doesn’t mean that I am sure how Fryderyk is doing it, though. When I feel that slight weight against my body, I’m reasonably sure that he is “lying” there with me, but at other times, from his point of view, he might be standing somewhere across the room or not even in the same world with me. I don’t know. Although there have been a few times when I had a vague visual impression of him, and once, just once so far, I saw his face, most of the time I perceive him only as a mass of Qi, an area of warmth, where the air is “thicker.”

Once I asked him how he sees me, that is, does he perceive me as a solid human being, seeing my body more or less as I do, or does he perceive only a mass of energy, more or less as I usually perceive him? He was able to give one of the clearest and cleverest answers I have ever received from him. First he lit up the entire surface of my body—yes, he does see me as a human form. Then he lit up my aura all over, out to a few inches from the surface—yes, he sees me as a glowing energy field too.

There was one time, only once, that he really seemed to pay attention to my body in and of itself, not just my energetic structure. It was late at night. I had just gotten out of the bathtub, and I did something I don’t normally do. I felt too tired even to look for my nightgown, and I flopped down on my back, quite uncovered, on my bed, to rest a little before making that supreme effort. Immediately he was there with me. Most often it happens that when he comes to me in the mood for this sort of thing, it’s bedtime, and I am settled down cozily wrapped in nightgown and blankets, feeling warm and safe. I felt weirdly vulnerable being naked with him—how odd! But perhaps that made things a little easier for him. That one and only time, some pleasant attention was paid to specific spots on my skin.

And once, something incredible happened to my lips. It was like being kissed by an aurora; beautiful lights in blues, purples, and greens, with an electric glow, played about my mouth. The pleasure was exquisite, delicate, and yet so powerful, as is true of so much that he does. This was many years ago, and nothing like it has ever happened again. But kissing has never been the same for me since. My lips seemed to wake up and perceive everything differently, to blossom into intense sensitivity. Another wonderful gift—and one I can share with my husband, too.

I have done my best to find out what Fryderyk gets out of all this, but there is little I can report. During one of the rare moments that I’ve been able to have a verbal exchange with him, I told him that I wanted very much to give him pleasure, but I wasn’t sure how to go about it because, among other things, I couldn’t perceive the structure of his “body.” “It doesn’t matter,” was the reply. “I feel pleasure with my whole being.”

Some of my psychic friends have expressed doubts about whether it is all right for an erotic relationship to go on between the worlds. Early on, they were concerned that Fryderyk was some sort of lower spirit that was taking advantage of me. Like an incubus—whatever that really is. Having gotten to know him well, Mendy Lou has concluded that everything is fine. However, despite her own experiences, the woman I referred to as Catherine still believes that something is terribly wrong, that Fryderyk must be evil or twisted. I think, or at least would like to think, that her discomfort is mainly an expression of our society’s overall attitude toward sexuality. Sex is seen as low and distasteful, whereas spirits are supposed to be more advanced and high-minded, so in that view the two cannot possibly go together. I see lovemaking as one of the highest functions of human beings, so to me there is no such conflict.

Or I am making excuses for my lover and for myself.

This issue comes up in Rosemary Brown’s writings. Liszt expresses the opinion that once the body has fallen away, its physical needs do as well, and that includes sexuality. I can only say that he appears to be incorrect. He must be telling it as it is in his experience, though. Oh, well, Liszt got plenty of lovin’ while he was on the planet, and perhaps it’s just that he himself no longer feels the need for more, not that this is true of everyone. And after all, he did become a priest in the latter part of his life.

Despite my comments about hormones, I myself no longer see sexuality as primarily physical, and haven’t for years. Perhaps as I get older this will be even more the case. And as I get older, if my erotic connection with Fryderyk should persist, I suppose we will look sillier and sillier together—that is, if anyone who can actually see both of us happens to look. He appears to be perennially somewhere in his late twenties, and here I am, already old enough to have a son that age. Despite the fact that we must both be well into our hundreds, or even thousands, this thought gives me a little distress!

And then there is the inescapable thought that perhaps he doesn’t want to be with me at all, he wants to be with Delfina, and I’m no more than the closest available substitute. I’ve tried to remind him that I’m not her, can’t be her, can’t substitute for the one he knew and loved then. This issue comes into the brightest focus when he puts himself in the role of lover. But perhaps the totality of our relationship is far beyond the temporary forms of either Delfina or me—or him—and it’s not even meaningful to worry about this.


In the case of my interactions with Fryderyk, I’m completely certain that there is an independent, actual living being visiting me. However, it’s entirely possible that sometimes we are projecting the apparent entities ourselves, even in frankly sexual situations. Here, Patrick tells of an encounter that is not quite like anything else I’ve heard of. He also offers some potential insights into the reasons why such experiences may occur:
“The first experience happened while I was in college for my second degree, about 11 years ago. At the time I was exploring various forms of inner work. I practiced Daoist yoga techniques of sexual energy transmutation, in effect learning how to take the energy that would go into ejaculation and reverse it, direct it up your spine and disperse it through the energy field. I was also exploring techniques for out-of-body experiences, including how to form a double of yourself out of your own essence. At the same time, I was doing Toltec recapitulation and emotional clearing techniques. So I was doing various things to shake up the status quo of my interior language.

“I had resolved as much as possible not to have intimate relationships during school, because it was such an intense program and there just wasn’t time for that. So I was cultivating this sexual energy practice while not having any intimate relationships, and I thought I should have some kind of context, some way to relate to a female presence. And in one of the books on astral projection it said how you could have an astral relationship with someone else who is also astrally projecting.

“This was the most intense experience. I wasn’t trying to bring it about; it just occurred as a result of doing all these things. I was sitting on my bed one night, I think I was meditating or maybe just sitting quietly, and one by one I was visited by four different female presences. It was interesting, first, because there were four of them—I mean, one’s enough! They were from different cultures, which also was an interesting effect, because if I fantasize it’s generally about white women. [Patrick is white.] So that was something of a confirmation that this at least wasn’t being formulated by my conscious mind. One by one they sat in my lap, and we basically had energetic sex, and I felt like I do when I hold my ejaculation and have an energetic orgasm. I didn’t know them from anywhere. They were just beautiful women. I could see them in a ‘mind’s eye’ kind of way.

“I never had another experience quite like that one, that had that quality of spontaneity and that sort of unfamiliarity with what appeared. I didn’t intentionally try to make anything like that happen again; for one thing, it didn’t have anything to do with intention in the first place.

“It was a very positive experience, a very whole-making experience, rather than, ‘Oh no, I’d better watch out.’ I didn’t have to be on my guard or anything. One way among many of thinking of it is that I was doing so much work—I mean when you’re doing all that sexual energy work without a partner it can get real intense. I wasn’t real good at dispersing the energy so that it didn’t become a source of rage or a headache or something like that. It wasn’t till I started doing Cheyenne’s work [Cheyenne Maloney’s work with the Assemblage Point] that I was able to really disperse sexual energy in a way that was seamless for me. So here’s all this intense sexual energy rising with no female energy to interact with. Perhaps that whole experience was magnetized by the fact that that there was all this polarized male sexual energy without a feminine, balancing aspect.

“I would say that my relationship to my sexuality, shame, and guilt has changed enormously in the last five years. It’s the kind of thing where you think that something is behind you and you’ve had some kind of resolution, but you’ve just taken the lid off of something that has an even deeper layer under it. It’s an ongoing process. About five years ago, I finally realized the energetic experience of what guilt and shame is—I could finally feel the vibration of it and not just the emotional ramifications. Once I was able to feel that vibration, I was able to consciously modify my responses to guilt and shame in sexuality. For example, I would sit down with a pornographic movie and watch that energetic start to occur, the shame of watching pornography, and I would catch it and bring it into my heart, so it wasn’t something separate for me anymore. Which is my perception of what guilt and shame does, that it slices the experience in half, so that I’m over here and the experience is over there and we’re not one. So that I can’t have the experience without having the accompanying ‘I’m a bad person’ thing.

“My perception is that the shadow side of our culture’s sexuality is vast. The way our culture makes a pretense of being open-minded and at the same time clamps down with oppressive beliefs and institutions—that perceived open-mindedness is just a sham. I had to start to see how my own relationship to sexuality was a reflection of my culture as well.

“Recently, there was one thing that was recurrent and very powerful. As I started allowing more fluidity between what I previously thought was spiritual work and what I thought was profane or purely for physical gratification, as I started to allow those to overlap in my meditation, I started having this recurring fantasy of having sex with a Catholic nun. I went to Catholic school from kindergarten through high school, and there was one particular nun who was my music teacher. She was the only nun I can ever remember thinking was an attractive woman. So I would sit down to meditate and without consciously trying to, I would find myself in this fantasy. It literally had a life of its own. It would just surface in the meditation. And once more it became a source of channeling sexual energy during the meditation. So my meditations became, and still pretty much are, about cultivating and dispersing sexual energy through the energy field. But the fact that this fantasy kept recurring was kind of like someone knocking on the door and saying, ‘Will you open the fucking door?’ I knew I had to act this out in my life, and I did (not with a real nun!), and I haven’t had this enter my meditation again.

“At the risk of trying to interpret the experience, I’ll say this: I believe that there are aspects of oneself that are repressed, and when allowed to rise into consciousness, some need to be experienced viscerally, others can be experienced in fantasy or just as a mental concept, intellectualized. This one was not going to leave me alone until I experienced it physically, that was clear.

“It had a fantasy type of context, and yet it felt like it had its own agenda. Again, it felt like an aspect of me doing its darndest to make me recognize it. Once this started to surface in the meditation, I would just go with it, because I felt that not doing that would be just another way of keeping separate. What would be the point of that, especially in meditation? It seemed like another way for the self to become whole, and so I just feel that it was a natural surfacing of material that came out of letting go of shame and guilt. I mean, I probably would have tried mightily to suppress it if I had still been in that state of ‘oh my God this is bad.’ I would have used a great deal of energy to keep it out of the meditation.

“I haven’t had an experience yet that I thought was something other than an aspect of me or the ‘greater me.’ So whether these beings had their own objective existence, I don’t know. That is a total mystery to me, because the more I am, I hope, waking up a little bit, the more I see that we are these incredibly vast presences. And what we can hold and create— I mean, even just the tip of the iceberg is vast.”

But shame and guilt certainly do tend to show up in this context. Here is an anecdote from Rob, a married man who is crazy about his wife: “I was—I believe—astroplaning (which I am not good at and maybe have experienced what I think is less than a handful of times)—and met what I would consider a more feminine spirit. Sex WAS the issue.  I then recall saying to the entity, ‘But I am married.’  The session abruptly ended and I awakened very EXCITED and yet quite upset with myself—since I could have had a ‘good time’ without all the baggage of an affair.  Never had that experience again. Told my wife about the experience— she was smiling.  I told her that I am even faithful in an area where I don’t need to be!”

It’s not necessary to give up your physical body, or your partner’s, to experience an ecstatic energetic blending. We are quite capable of this in our present forms. In fact, I think this is one of the most accessible ways to experience ourselves as the unlimited spiritual beings we truly are. Two people who love each other can merge energetically to any degree they wish, either erotically or not, and I highly recommend it! You are sure to deepen your relationship and appreciate each other all the more.

So many changes, including menopause, have gone through since I wrote that, and my perspective is somewhat different.  But the eternal is still the eternal– and that includes us, no matter how much transformation we experience.


Filed under channeling, past lives, psychology, sexuality, spirit communication, spirituality

When we lose our minds, where do they go?

Thank you to DailyOM for the image. Photographer unknown.


A former patient of mine, an elderly lady with severe dementia, passed on a few weeks ago. She had commented many times that she was ready to go whenever it happened, but that she hadn’t been invited yet. At last she received that invitation.

She had told me some years ago about seeing her husband a number of times after his death (long before she was stricken with dementia), and she kindly gave me a copy of her notes on those events. However, it wasn’t entirely clear that she was describing genuine spirit contacts; some of the instances sounded more like dreams, like the one in which she said her husband was driving, which I don’t really understand. I wasn’t sure what to do with the less-clear notes and I didn’t use them in a post. Now, since I’m thinking of her and since she did take the trouble to write them for me, I’m copying them here. She didn’t want her name used, she said at the time, so I’m respecting her wishes and referring to her as R. I’ve removed the names of her husband and other family members as well.

Numbers refer to addresses, and names are those of the family dogs. R. wrote “he had both legs” because her husband had had a terrible time with diabetes that sadly had included amputations.

Note that the events from 2000 and 2004 in particular do sound very typical of spirit contacts.

No. 1   at 1848— New room— he liked it
No. 2   at 8711
No. 3   with Reggie walking towards me on Stilwell [a street], I had Skipper walking to him (going north) he had both legs, and he looked good.
No. 4   8711— in the shower
No. 5   we were sitting huddled together on the curb— it was very cold.

Jan. 1999
No. 6   He was driving me from Eastdale to 8711 in a snowstorm— we had three dogs.
No. 7   S. came, we were having an estate sale at 8711
No. 8   S. came to take me with him to a gun show, going to England (8711)

May 1999
No. 9   S. came to new shop, he was sitting reading the paper
No. 10   We delivered a cake together from CIMM., we had to get more frosting to finish it

June 1999
No. 11   Saw S. and Zack, just for a minute. Zack was jumping up and down— they were going for a walk

July 1999
No. 12   Saw S., he was waiting for me with his arms open to me— made me very sad.

May 31, 2000
No. 12   Saw S. at Lagniappe (restaurant)— he was coming down the hallway, smiling, looking good.

Nov. 1, 2000, 11 am
No. 14   I did not see him but I felt him there at 8711, I was by B.’s bedroom and there was a distinct loud thump in the closet by his gun room— I opened the door & found N.’s duvet coverlet that we had been searching for. I know S. was there, I could feel him close to me. His love reached out to me.

Oct. 10, 2004
No. 15   I saw S. just for a few minutes, he was very agitated & did not speak to me— it was the day G. (cousin) had a heart attack— he was running back and forth— I had not actually seen him in four years


(R.’s daughter told me that she heard the thump mentioned in No. 14.)

R. was a vibrant and talkative lady, full of stories about her life in three different countries and her experiences of being a child during WWII. (She had been particularly incensed at the Germans for dropping bombs nearby because they scared her dog.) She had been an energetic businesswoman throughout her adulthood and into old age. In the last few years of her life she was severely affected by dementia, and there was a kind of grey curtain covering her face, so that it was difficult to see through it to who she really was.

In Chinese medicine we have the concept of Shen, often translated as “spirit” but not quite synonymous with it. Shen is what you see when you look into someone’s eyes. You know what I mean— the Shen can appear bright, haunted, clouded, darkened, or spaced out and not all there. An animal can project these effects as much as a human can. Facial expression is only part of it. And when it fades, everyone can tell.

When we lose our minds, where do they go? Are they still there the entire time?

Did I ever tell you the story about Adyashanti’s mother and her client? I was reminded of it while thinking about R. Adyashanti is an American spiritual teacher, and in a talk I heard online, he related something his mother had told him about one of her home-health clients. She was working with a lady who was approaching the end of her life, who had such advanced Alzheimer’s that she no longer spoke. The lady suddenly popped up with this statement: “I just want you to know that none of this is really affecting me.” Then the lights went out again and never came back on. You can imagine that the caregiver, as she reported, thought that she must have been hallucinating for a moment. I wish I had more details— I don’t even know the name of Adyashanti’s mom.

Terminal lucidity is well-documented though not well understood. People with dementia also have moments of astonishing clarity. R.’s hospice caregiver reported that R. had at times been with it enough to teach her a few words of French. That’s amazing for a woman who needed explicit step-by-step instructions just to dress herself.

My best understanding comes from Bruce Lipton’s concept that the body and brain are only the receiver, while the mind is a program being broadcast from somewhere else. In dementia, the “TV set” works very poorly, but the program is still going on.

I’d love to see R.’s latest episode.

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Filed under health and healing, spirit communication

Being Dead Is Easy. Getting Dead Is Hard.

mystical-door-shutterstock_184672772-webonlyBeing dead is easy. Getting dead is hard.” — Gerrie Glover

Gerrie is a wise and formidable lady, and truer words were never spoken. I thought of this maxim of hers over and over while my mother, Molly, was going through the process that ended in her death on January 22, 2017.

All this time I’ve been writing about the “dead” and the spirit world from a position of being in touch with that reality, but for the most part I was not down in the trenches with death itself and its gritty and messy biological details. It all became immediate and concrete when my mother had a stroke on January 12. I’m going to write about what I observed in hopes that it is useful to someone.

First, on December 30, 2016, our 20-year-old cat passed. She had done astonishingly well for a long time with her failing kidneys, but her body reached the end of what it could handle. Sheena had been velcroed to my mother constantly for a few years, and her death was a hard thing for my mother to get through. We nursed the old lady through to the last, very hands-on because she would not allow herself to be left alone and cried if we weren’t right with her every moment. We were left with her tiny body between us on the sofa, like a perfect sculpture of a cat down to every hair but somehow no longer a cat. My mother wondered what we should do with the body overnight, since it was late and we weren’t going to bury her till morning. “Well,” I said, “no matter where we put her body, she will probably be in your lap.” And at that moment I felt Sheena crawling into my own lap, a small warm weight that stayed till it was necessary for me to get up.

For a few days it was as if we still had two cats, only one was invisible. After that, it seemed that we only had one cat.

Shepherding Sheena through her journey, being the person who listened to see if her heart had stopped, arranging her little limbs for burial, gave me a kind of dry run or rehearsal to help me deal with what would happen with my mother. In Sheena’s case, there were no wrenching medical decisions to make, no questions about whether she might get better. We had known the end was coming and that there was no treatment possible. Things are more complicated with humans and hospitals.

On January 12 my mother suffered a major stroke, affecting areas on both sides of her brain. I think the emergency room doctor had the right instinct. She told us very gently, based on what she saw, that it was time to think about making end-of-life decisions. But within a few hours my mother was able to move her left side again, and within a couple of days she was speaking somewhat intelligibly and swallowing a bit. It looked like she might recover enough to at least sit up in a chair, communicate and feed herself. We exhorted her to rest so that her brain could heal as much as possible, but for a while she was using a lot of energy to make it clear that she wanted to get the hell out of the hospital and get rid of the IV and the other medical annoyances. Which was certainly understandable.

Two and a half days after the stroke, late on January 14, she was able to explain to my daughter that she was ready to go and had nothing else she needed to do. She had great difficulty speaking but was able to get a whole paragraph out and be completely clear. “I’m ready for the sky,” she said, and Lenore confirmed with her that this was really what she meant to say. We’d pretty much known that she felt that way, as she had been weak and had felt rotten most days for a long time, due to problems with her heart, but it was a great gift to hear it in so many words and be sure of it.

The hours and days had a way of running together, and I’m having trouble remembering exactly when various events occurred. It was probably the 16th when she suddenly pointed straight ahead, no trembling in her arm, and clearly called out, “Ann!” That’s her eldest sister, with whom she had had some previous dreamlike contacts. “Is she here?” I asked. My mother nodded. Since the other contacts had been extremely helpful and positive, I was glad to hear it. I couldn’t detect my aunt myself, but I knew that communication with deceased relatives was common near the end of life, and I took this very seriously. My husband and daughter were familiar with this phenomenon as well, and I think that was when we all knew she was turning the corner toward death.

I will spare you the details of the indignities and unpleasantnesses that my mother had to suffer over the next few days. We were told that most people in this kind of situation “just slip away,” but unfortunately she had to take a harder road. We had assumed that the severe agitation she was displaying so much of the time was an effect of the stroke and would likely improve, but if anything it got worse. By the time the palliative care team came to see her on the 17th, she had been through at least a day of hardly any rest or respite and the nurses and I were getting frantic trying to help her. As soon as the palliative care doctor saw her, he recognized what was going on as “terminal delirium.” I had never heard that term before, but apparently it happens a substantial percentage of the time.

The doctor said that we should stop bothering her right away, pull the IV, the heart monitor, and the other devices that could not possibly do her any good. Thankfully, we were moved to a private room where there was relative quiet. We still had a terrible night because the low doses of medications being given weren’t enough to stop the seizure-like agitation. I couldn’t imagine any of us going on like that. The palliative care people agreed and very quickly and efficiently put through an order to move to the inpatient hospice. Their nurse held me and let me weep all over her.

The Kaseman Presbyterian inpatient hospice was a revelation. Instead of a cramped, chaotic hospital room, we found ourselves in a space big enough to walk around easily, with home-like seating and nearly perfect calm, and an atmosphere that felt like it was filled wall to wall with angels and helpful beings. Soon after my mother was brought in and my daughter and husband and I gathered around her, a priest came in to give her the blessing for the sick. The moment Fr. Charles opened his mouth to pray, it was as if the ceiling opened and a thousand more angels dropped into the room. My mother had been stressed further by the ambulance trip there, and this uplifting interlude was soothing to her as well as to the rest of us. I had only once before had an experience like this with being prayed over. Not everyone has that kind of connection to the heavens, it seems.

We more or less lived at the hospice during the next few days. They had a miraculously comfortable place for a family member to sleep, such a contrast with the hospital, and I took advantage of that. The first night, Wednesday, I felt that I was embraced hour after hour by myriad beings of light, wrapped securely in grace and benediction. In that state it was easy to make a strong heart connection with my mother and feel her embrace as well. I was up often to respond to the nurses and check on things, but when I slept it was a wondrous and restorative sleep, and I dozed off and on far into the day, with the staff encouraging me to rest.

Despite that, Thursday night I felt ill and crashed at home. I intended to go back to the hospice in the middle of the night, but never made it. We all continued to limp along through the process, my mother still sedated most of the time and moving slowly toward the end, not really responsive anymore.

Friday morning there was some drama. Her body became extremely hot, not just to the touch physically, but radiating incredible energy all around. The nurse could also feel the heat and energy— I think anyone would have noticed it— and she and I assumed my mother must have had a raging infection by that time, but since they don’t take temperatures in hospice, we didn’t determine whether she had an actual fever. It was far more than that, though. I had never seen so much energetic activity around a person, and I’ve seen a lot. I wasn’t sure what to make of it, and wondered if it had anything to do with the nonphysical part of her moving away from the physical substrate. I haven’t found any information or opinions about this, but much later I did see a reference to a dying person’s skin becoming very hot at about the same stage.

I will describe my subjective perceptions of the next stages of the process. Friday night, as I was keeping watch from the sofa bed across the room, I saw what looked like a sudden opening in my mother’s chest, like a door or hatch being opened. Something that seemed whitish poured out. (This was a “mind’s-eye” vision— I was not looking directly at her.) This energy appeared to congeal into a mass near her body, with a sort of band still connected rather tenuously. It looked like a vague ribbon or stream to me, not the famous “silver cord,” though it must have been functioning in the same way as that.

Drifting through the hours in the middle-of-the night state of grace (not dreaming, mind you), I lost track of where that main concentration of energy was. Where is my mother? I kept asking myself. She didn’t seem to be close to her body anymore. Fryderyk was accessible, and I asked him what he could see and if there was anything he could explain to me about what was going on. I said something about wanting to be sure to be present when my mother actually passed and not wanting to miss the moment.

“If you wait to see it, you will already have missed it,” he told me in his usual aphoristic and slightly cryptic way. In images, he conveyed the idea that death is not a moment but a series of steps or distinct events.* I was already witnessing it, he said. And as usual, I realized that he was telling me something that should have been obvious to me already.

The next morning, Saturday, I found a distinct change. Her skin was still physically quite hot, but there was almost no feeling of energy near it at all. My mother’s body was still functioning, more or less the same as the night before, but she was somehow much less alive. She had already been mostly unresponsive, but now she seemed not to be “in there” in the same way anymore. I took this as a positive sign. It seemed much better for her not to have to experience too much of her body’s travails.

My understanding was that beneath the painkillers and sedatives, the body was still feeling some distress. I could detect a strong sense of disturbance in her heart, that is, the physical organ, and I felt pain in my palm when I held my hand near that part of her chest. I mentioned to the nurses that I was feeling pain in her chest, and no one seemed to think anything was strange about my statement. Hospice personnel hear and see all manner of things.

We began to feel like midwives, encouraging my mother to make the leap into the next birth. We talked to her and told her it was OK to go, which we figured she knew, but we thought we should say anyway. We started to wonder whether there was some unfinished business we didn’t know about. As I would with a regular patient, I poked around and looked for any emotions or issues that might show up, and worked to clear the minor things I found. (Mostly, she was concerned about leaving the mess of papers and paraphernalia in her bedroom for us to sort out.) We reassured her that we were fine and she didn’t need to worry about us.

I stayed over again Saturday night, afraid to leave, thinking that it would happen anytime. By mid-morning Sunday, I was wanting to get a change of clothes and clean up, and the nurses were gently pushing me to get out of there. (We know that often people wait to pass, not wanting to do it in front of their loved ones.) “Did your mother spend a lot of time alone?” they asked.  (She did.) “Maybe she’d like some alone time now.” So I went home, and Bob went to replace me a little while after. Hardly an hour later, they called for Lenore and me to come back right away.

It was almost comically anticlimactic to rush back to the hospice only to sit there again just as before. But things were beginning to change more noticeably. An elderly friend who hadn’t been able to come sooner arrived with her daughter, and they confirmed, based on their experience, that it wouldn’t be long. Their perspective and wealth of experience were helpful, but a little disturbing and imposing too. When they came to my mother’s bedside, I moved to the foot of the bed so that they had space, and they immediately told me not to stand there. Huh? They explained that in their belief system, the soul exits the body through the feet, and they didn’t want me to block its passage. I was completely nonplussed by this thought— I’d been brought up Catholic too and had never heard such a thing— and taken aback that anyone would try to dictate anything to me at my own mother’s deathbed when she was so near the end. I moved over, though, mumbling something about having seen my mother’s chest open and her soul pour out that way already, which didn’t seem to get through to them.

Every so often the nurses checked on the color of my mother’s extremities and the sound of her breathing. There was nothing to do but wait as the death rattle set in. I sat very close, and the sound was terrible even though I knew it was normal and expected. I was insulated from the distressing events, though. What I mainly experienced was the warm, reassuring sensation of my mother embracing me as if I were a tiny child. It was an incredible gift. I knew that whatever her body was going through, she was fine, and so was I. I wished that my husband and daughter, and the staff too, could feel what I was feeling and know the same peace.

I was the one who probed for a pulse and announced that it was gone. The nurse confirmed the time of death, then left us to say our goodbyes. We weren’t quite sure how to react. I remember blurting out, “I’m so excited for her!” and really meaning it, since so many new possibilities had suddenly opened for my mother. She was vibrantly present in the room, so I kept talking to her. Her mouth was hanging open awkwardly, and I wanted to close it for a more dignified appearance, thinking that she would not appreciate being seen that way. I kept trying to reposition her head to make that possible, and it just didn’t work no matter what I tried. I apologized for my failure, laughing helplessly. The absurdity somehow seemed natural. We found ourselves engaging in some gallows humor, and I wondered how the other families in the facility were dealing with this kind of thing. It was surreal and bizarre as much as it was sad, and at that moment I was feeling relief more than anything.

I wistfully noted that the individual cells of the body, most of which were probably perfectly healthy, were now condemned, along with the billions of commensal organisms that ride along with us and make our human life possible. But that is the way of things.

My mother was around and available a great deal for the next few days, and others besides me experienced and enjoyed her company. I couldn’t really feel grief-stricken, since she wasn’t gone. She didn’t continue to hang around so much of the time, and I expect that she’s been doing more worthwhile things than watching us, but there is contact now and then. I still haven’t found her current will; I’d thought I knew where to look, but her papers were not arranged the way I expected. When I begged her for help in locating it, she pointed me in a definite direction in her bedroom— but what we found there was her will from 1963… this would be a great time for me to be a much better medium than I am… still no current will to be seen, unfortunately.

But that situation can be easily dealt with. I have no major complaints. My mother is dead but not lost, and I’m at peace with her and with the process of her life and death. I’m intensely grateful to have been privileged to observe and perceive so much of what went on. My only discomforts have been a few small lingering questions about the medical decisions we made. I’m comfortable that we did the best we could with the information we had at each moment, though.

I understand far more about death than I did before, but there are myriad questions remaining. For one, I have been wondering, if a person dies suddenly in an accident, by gunshot, etc., do they go through the same stages, only much more quickly? Or is it a very different process? I’m sure there must be some after-death accounts of sudden deaths out there.

Friends and patients have been telling me about their experiences of the deaths of their own parents and others close to them. I would love to hear anything you would care to share, either as a public comment or privately.

*Michael Tymn posted this on his blog at

‘In his 1998 book, Light & Death, Michael Sabom, an Atlanta cardiologist, cites an article by Dr. Linda Emanuel, who comments that life and death are viewed as non-overlapping, dichotomous states, whereas in reality there is no threshold event that defines death. “Several scientific observations support Emanuel’s argument that loss of biologic life, including death of the brain, is a process and does not occur at a single, definite moment,” Sabom writes.’


Filed under channeling, health and healing, spirit communication, spirituality

On the Nature of Persons


Fryderyk hadn’t been around for a couple of weeks, and I was starting to feel lonesome. I “rang his phone” a number of times during the day, and then late in the evening, while I was reading in bed, he visited.

A little while before that I had seen a video about Jay Greenberg, a young composer and pianist with near-miraculous abilities, someone it seemed Fryderyk might be able to relate to, a good topic of conversation. The boy was only 12 at the time the 60 Minutes excerpt I saw was made, but he had already written a huge amount of music, and even as prodigies go, he was positively scary. For example, at the age of 2 he’d started asking for a cello, although his parents were not musicians and he’d never been exposed to such a thing, and he started drawing wobbly staves on paper and putting notes on them. When he was given a cello, at age 3, he could play it right away.

I told Fryderyk what I had seen and asked if he had anything to say about it. Many of us see reincarnation as a likely explanation for such extreme abilities in children, and indeed, in the Leslie Flint tapes, the Chopin entity had talked about his efforts at music in other lives, and being ready to hit the ground running in the 19th century because of that preparation. Michael Tymn* favors another theory, that the spirits of deceased adults who had developed their abilities in the arts during their lives “overshadow” and take control of these children, using them to express their own work. What did Fryderyk think about that?

First, he gave me to know that I was looking at the matter from the wrong angle. This happens rather a lot– at least he no longer insists that I’m not listening to him! The idea of a person having different lives in sequence was incorrect. I don’t think of time as linear, myself, so I was fine with that. This part was fairly incoherent, with a sense of rushing energies and various ideas flying at me at once. I struggled to pin it down. “What are you?” I asked for the zillionth time. As has happened before, I saw a flame– same thing you and I are, of course. When I tried visualizing a child artist, such as himself, and asked about other spirits floating around trying to control it, I got nothing.

I was able to pick out the thought that the rushing lights and colors represented a person and its activities and creations, and that the person was an extensive being that existed in many forms and did many things at once, so to speak. He seemed to be using the term “person” (at least as I was hearing it) to mean a total entity including what we might call the Higher Self and any and all individual, earthly lives or personalities. I would be more likely to use that word to mean one of those individual personalities, myself. So I asked him to elaborate on what a person was, in his view.

This time I got words. “A person is an outpouring from God,” he told me. Along with that, I received feelings and visual flashes of a kind of river of light and fire. I still wanted to know more about how he saw the relationship between the different parts of the larger entity.

He explained, “The person is a force which pushes out in all directions, and those directions look like separate lives.” This sounded a lot like the concept described by the Seth entity years ago, in books like The Nature of Personal Reality. It also sounded so good that I wanted to be sure to remember it. I turned a light on and hunted around for my notebook and pencil, which would normally be right by my bed, but dang, I had cleaned my room and moved them. By the time I’d written the sentence down, the contact was broken. As I had feared. I wanted to ask him something about his own larger being, but there was no more communication to be had.


* Find his blog here, with links to his books: 



Filed under channeling, music, past lives, spirit communication, spirituality

Talking with Chopin About Music and Possibilities

Nokturn by Jerzy Głuszek

For years I have been collecting the helpful, fascinating and sometimes perplexing thoughts on music that I’ve received from my currently solidity-challenged composer friend. Every time I’ve gotten close to putting it all together in a nicely packaged presentation, more has come along, and I’ve delayed trying to finish it. My understanding has also changed over time, so that I’ve had to rewrite some sections. I’m thinking that I’d better start sticking the individual bits into some posts or they will never see the light of day.

A lot of what I’ve learned has been specifically about playing the piano and about performance practice, and unlikely to be of much interest to the non-pianist reader. I’ll put that material in another post. Today’s entries are more generally about music and about how it relates to other aspects of our lives, though there is still some nerd stuff.



[A friend who has since died] indicated, while I was doing acupuncture for her, that something major in her life was “disgusting.” I was getting signals of disagreement from our Sources about that, being told that it was necessary for her to integrate this part of her life and deal with it quite differently. Fryderyk was coming in strongly at my right, and I asked what he wanted to say. I saw a vibrating column of light, and the ideas associated with it were like this:

Everything is a vibration, a frequency. And what is a frequency? It’s a note. There are not good notes or bad notes, there are just notes. It’s a matter of how they’re put together. In your case, he had me tell her, you’re in the middle of playing a piece that’s already been written, maybe even near the end of it, but you can still improvise. And if you don’t like this piece, play something else.


10/26/10, after returning from a trip to Poland and across Europe to France during Chopin’s 200th birthday year:

A while back, I think in early September, I asked Fryderyk about that pesky measure on the second page of the D flat nocturne, Op. 27 No. 2, where suddenly the left hand adds an extra voice. I’m talking about measure 23, where we find an F and an E marked with extra stems with eighth note bars. The “Paderewski” edition notes say that he implied that something similar was going on in the few measures before and after this, but there is no evidence for this that I can see. My understanding from him is that he meant this notation only in this one measure; he was not saying to do the same thing in other parts of this passage. However, I’m still not entirely clear why he brings in that extra voice.

I couldn’t get a very good reading on this matter, but there was something like “adding an extra dimension” or “making it 3D.” He told me that there were other similar instances later in the piece. I was directed to look at the last page. I was in bed at the time, ready to go to sleep, so I didn’t go to check out the page till the next day.

What I noticed then was measures 64 and 68, in which he makes a dotted quarter note out of the first D flat in each arpeggio pattern. This appears superfluous, since the pedal is held and those notes will sound all the way through the pattern anyway. He seems to want extra emphasis on these notes. It’s all the more perplexing because, as Jeff Kallberg [musicologist and expert on Chopin’s work] pointed out, the different manuscripts have the dotted quarter notes or not, or have the dot in measure 64 but not 68.

When I next had the chance to communicate with my disembodied teacher, I dutifully reported that I had looked through the rest of the piece for instances of extra voices coming in temporarily, and that I had found the above. I heard, “If you point out something to someone, they will then start seeing it everywhere,” which was objectively true but didn’t seem very helpful or significant! Attempting to understand the dotted quarters, I held an image of measures 64 and 68 in my mind, and there was an interesting visual effect. The notes became literally 3D; the dotted quarters moved to the front of the image, and others took places in two other layers before my mental eyes. I felt that I did have a certain understanding of what he was after. Sort of. (Later, when I had a chance to experiment at the piano, I found it was pretty easy to bring those bass notes forward or push them a layer or two back, and it does add contrast compared with similar figures in other parts of the piece.)

I apologized for bothering him about such a picky detail. “Since you took the trouble to write it that way, I figure it’s important, and I want to understand it,” I explained.

His reply was something I would like us all to keep in mind, and wish I could convey to the folks who are selling Chopin pencils, Chopin chocolates, tours of his birthplace, etc. etc. Imagine a kind of sigh of resignation along with this statement:

“Not everything I do is important.”

I found this hilarious.

I had another question, having to do with my efforts to memorize some of the pieces of his that I’d been playing for years. To me, a lot of the ornaments and fioriture are surprising, in that one might expect that the ornamental stuff would get more intense and complex as the piece goes on, and it doesn’t necessarily do that. The seemingly random nature of these bits makes memorization more difficult, at least for the likes of me. Which way did he do it this time?? It’s so unpredictable.

The answer to this was so obvious that I should have seen it myself. He didn’t want to be predictable. He wanted to surprise us and keep us guessing, keep our ears and fingers engaged.


I had begun this conversation asking for his advice and assistance in treating a mutual friend. We had had considerable trouble working with her before; although she had gotten considerable improvement in some areas, treatments were strangely hard on her. The last time we had done a session, we had tried something different, and instead of her being ill for a while afterward, I was. I felt we needed a new strategy. Fryderyk told me, “Let go of obstacles.”  I thought that was interesting because we don’t think of obstacles as something we hang on to.  Yet I know I do that. That measure in 27/2 with the 48 notes in the right hand is probably a good example. It’s easy to hang on to the idea of its being difficult, whereas perhaps we could hold the thought of making it easy and fluid instead.

“Let go of wanting to prove yourself” was another thought that came up. Not easy either.
[unknown date]

The 48-note fioritura in 27/2 is a particular bête noire for me and I’m sure for a lot of other players. At one point, terminally frustrated with such things, I asked Fryderyk what made him decide on 48 notes or 17 or 23 or whatever strange number comes up in those passages, which can be so inconvenient to play, since they usually don’t match up mathematically with the other hand’s part.  He showed me a curving ribbon shape that represented the musical line as it existed in time and space. The number of notes given exactly filled up the length of the ribbon. So there were exactly as many notes as were needed, no more and no less. Just enough. Obvious to him!



One of the things I’m enjoying about the lute practice [for my album of Polish Renaissance pieces] is that, even though it’s one of my “Chopin Year” projects, it has nothing to do with him whatsoever, and I can have it all to myself!  I got to wondering, though, whether Fryderyk might be familiar with any of those old Polish tunes.  I was thinking that back then they tended to be involved with mostly the music of their own time or not too long before, and that most people were not even paying attention to Bach or works of his time, let alone anything earlier, so the Renaissance and early Baroque tunes probably weren’t on their radar.  The response I received to my question about this sounded a bit miffed.  After all, he had gone to school, he pointed out.  The Warsaw Conservatory had copies of works like this in its library, and he had been able to explore them that way, and for heaven’s sake, did I think he wasn’t educated?

No, of course I didn’t think that, and the image of him leafing through dusty old copies made a pleasing connection for me.  “Oh, I used to love poking around stuff like that in the libraries at YSU and UNM!” I enthused.

I asked whether one heard folk music much in the city, or if one had to go out to the country to experience it.  I was given to know that this was also a fairly dumb question, because people from the city spent time in the country and vice-versa, like the young country gentlemen who roomed with his family, so the same people might often be found in both places.  I kept my mouth shut about the fact that the downtrodden peasants didn’t get a chance to go much of anywhere.  My question was not really so dumb!

I was trying to ask whether there were written sources of folk music around, or whether he learned that stuff by ear, when I fell asleep.

When I woke up this morning, it occurred to me that young Fryc would have been quite unable to read any lute tablature that might have been lying around at the Conservatory. However, he may well have tried some organ tablature and so become acquainted with composers such as Jan of Lublin.  I’d like more details.



Last night Fryderyk visited when I was about to go to sleep. I told him that I was trying to prepare a mini-recital for a friend and that things hadn’t been going too well that evening. “New things keep going wrong all the time!” I complained. “I can’t take care of my mistakes because they’re so inconsistent and I never know what’s going to happen.”

Well, at least this time he didn’t hand me the usual “You’re looking at this all wrong” or “You’re asking the wrong question.” He began with a clear sentence in his bumpy sort of English, but I can’t recall it– I knew I’d kick myself in the morning if I didn’t get out of bed and write down his exact words, since I was getting a definite verbal message, but I decided to stay where I was. He told me that of course new things keep happening, because a piece of music has so many possibilities within it. He showed me something similar to what he’d conveyed sometime last year, which I described in my post “Wait. Show Up. Enjoy.”   https://elenedom.wordpress.com/2012/02/29/wait-show-up-enjoy/   A piece of music is a kind of three-dimensional environment in which one can live and move about. (Yes, time does add a fourth dimension, but the image is three-dimensional.) I saw myself in the center of this matrix, with threads spreading out in all directions.

He seemed excited about this field of possibilities. Wow, you can do anything you want! I, in contrast, felt rather small in the midst of it all. He spoke encouragingly, something to the effect that I should tug and pull on those threads to shape the music the way I wanted it to be.

He faded out. I went to sleep.

What Fryderyk described was not so much the way I’ve been experiencing music, but definitely similar to the way I’ve been experiencing the ground of reality itself. Which may well have been part of what he was talking about. His messages, even when they sound painfully obvious and simple at first, do tend to generalize to many aspects of my life.

This morning I was looking at an article by Jeff Kallberg in the book Mary-Rose [Douglas] gave me for Christmas. It concerned a newly-discovered copy of the first edition of the Op. 9 nocturnes, which Chopin had annotated for a student, adding dramatically different ornamentation to 9/2. “We can now securely assert,” Jeff wrote, “that Chopin began modifying the ornaments in this work shortly after its publication….”

Yup, that’s our Fryc. So many possibilities, and he wants them all to be available.


On 8/2/14, I was asking Fryderyk about a pedaling question; I’m not sure what the piece was. I received these words:

“You are making the supposition that I have written a symbol which is absolute. You are looking for the sound of words on a page. Words are not sounds and symbols are not music.”



A great fan of Chopin and expert on his life expressed the thought that he did most of his composing on paper, not at the piano. It was her belief that even when he first began to work out his ideas, he did so away from the piano.

This is not what is generally believed about Chopin’s creative method. As soon as I could, I asked him what he might have to say about the matter. When he was beginning to put a piece together, did he start with the piano, or with a pen? He told me clearly: “Sound. Sound is primary. It doesn’t matter how you get there.” Apparently I was asking the wrong question again. He added, “Sound comes from the inner being.”

Wanting to be completely clear, I tried once more to ask how he started, and he added: “Exploring sound. Sound, not thought.” Which does imply starting with an instrument, I would think, not inside one’s head.

Since the words were definite and exact, I wanted to be sure to catch them verbatim, and I stopped to write them down. Unfortunately, after that I could not get back into the channeling state and was unable to hear any more. Research continues.


See more fantastic Chopin cartoon portraits at http://muzeumkarykatury.pl/joomla/index.php?option=com_content&view=article&id=147:umiech-chopina&catid=54:umiech-chopina&Itemid=228

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