A Message From “The Family”: Why Psychic Readings Fail

When Mister Rand first began psychic work, it was because he sought specialness and meaning for his life. In college, he was very shy, and hung back from socializing, preferring the company of one or two friends, his books, and fantasies of finding the perfect mate. He was twenty years old.

In a bookshop he discovered the first Tarot deck he had ever seen, The Aquarian Tarot, an art nouveau deck of limited trance-inducing usefulness [for him] but of considerable graphic beauty. To the friends and girlfriends of dormitory acquaintances, Mister Rand gave readings for free, and he was surprised by the positive reactions he got from those he read for. “I assumed they were remembering the things that applied to them and forgetting all the many other things that didn’t,” Mister Rand says. He had no belief in a spiritual reality or in psychic ability.

We speak of these things now because, forty-six years later, Mister Rand is still pulled from one belief system to another. His many years of experience as a consulting intuitive have given him evidence after evidence that, while much of what passes for psychic accuracy can be attributed to (1) common sense, (2) conscious or unconscious body language and voice tone reading, or (3) accident, a significant percentage of each reading contains elements that cannot be easily attributed to chance. Why, then, do so many critics of the psychic process declare that no evidence exists for psychic ability or a spiritual reality?

We find it amusing that we are discussing this, given that, as “The Family,” we embody various information gathering vectors, most of them located in Mister Rand’s unconscious.

From our viewpoint, the human mind is a doorway into a multidimensional reality connected to probability lines; other selves in other lives; and the consciousnesses of animals, plants, and the Earth itself. The Greater Self of the individual human creates a reality in which that individual human can experience spacetime directly rather than via detached observation. And part of the experience of spacetime is a narrowing of focus in which the individual human’s awareness of the nonphysical retreats from waking consciousness. This is necessary because only in physical reality and thought reality can pain exist. Therefore the individual’s consciousness must be equipped to notice spacetime opportunities for nurturance and safety, so that pain is kept if possible to a minimum.

The great challenge, therefore, for an incarnated consciousness, is to keep enough of a focus on spacetime conditions and events that the physicalized body and mind can survive and thrive the various challenges that physical reality affords, while simultaneously develop and maintain enough of an awareness of, and access to, the nonphysical realities that hope, consolation, wonder, and Divine Love may serve as tools and framing mechanisms for the individual’s spacetime experiences.

As your quantum physicists are discovering, atomic particles and processes, when observed by a human consciousness, behave differently than when they are observed by a mechanism. On the macrocosmic level, this process manifests for psychics as a shifting variability of successful psychic insight conditional upon not only the skill and detachment of the psychic reader, but also upon the willingness of the experimenter or scientific observer to allow for an expansion of his or her belief systems. In other words, Mister Rand cannot read anyone who, consciously or unconsciously, does not wish the experiment to succeed, either because of intellectual bias; a fear of being penetrated and violated by another’s consciousness; a fear of the information the reader comes up with; or emotional prejudice against “New Age” practices.

Mister Rand says to us, “Do you mean to claim that all experimenters and scientific observers participating in unsuccessful psychic experiments are biased against objective results?” We do not claim this. For there is another vector involved in failed attempts to read a subject, and that is the reader’s fear of those he or she is reading for. Mister Rand has found that if he is afraid of possible negative repercussions of participating in a reading, his fear will shut down the objective detachment necessary for a reading to succeed.

Mister Rand has experienced public humiliation as a result of a reading experiment before an audience containing significant numbers of individuals hostile to the reality of psychic abilities, and the shock of finding he could not pick up any information from those in the audience nearly caused  him to quit his psychic work entirely.

Sexual attraction to the one being read can also block a successful reading. •

Channeled November 4, 2017 by Rand B. Lee

A Message From “The Family”: On Writer’s Block

typewriterMister Rand frequently experiences what he describes as “writer’s block,” an inability to summon up enthusiasm, words, images, or ideas for writing projects he has chosen to pursue. These difficulties plague many writers and do not issue from a single cause. Some of the causes of writer’s block include:

(1) Unwillingness to verbalize a distressing scene or idea, owing to the unpleasant feelings experiencing that scene or idea may bring up in one. This is more common than one might imagine. Writers, particularly fiction writers, frequently inhabit a mental world far more real to them than the outer, physical matrix in which they find their bodies lodged. As a result, they empathize with the sufferings of their thought-forms–their “characters”–as though these characters were flesh and blood creatures capable of suffering as physical entities are. The solution for this kind of writer’s block? As we see it, time. In time, the writer becomes so frustrated that he either abandons the project entirely, puts it on a shelf so to speak, or waits, staring at it, until it either comes back to life or dissipates.

(2) Devoting one’s attention to a character, plot, or idea whose time has not yet arrived.

Sometimes a writer’s unconscious self knows better than the conscious writer when is the proper time to continue a project that appears stalled. This is because creativity takes place in most cases on the unconscious level, and is “channeled”–brought into physical reality–by the author maintaining a daily routine of sharpening pencils, getting coffee, tidying the office, doodling, staring at the computer screen, and so forth. A character, plot, or idea’s time may not have arrived because the author may not have experienced or studied certain experiences or subjects that are crucial to the author’s spiritual, emotional, intellectual, and physical understanding of the character, plot, or idea in question…

(3) Pursuing a plot development because one feels one ought to rather than because one feels it is right for the piece. Sometimes a writer, having immersed him- or herself in trade magazines and best-seller lists, develops a nagging suspicion that the plot with which he or she is laboring will not hold readers’ interests sufficiently to earn the writer multiple sales, accolades, etc. And so the writer makes changes to the plot (or characters, or writing style) in order to accomodate the imagined audience. But the writer’s muse—his or her creative unconscious—does not approve of this change. It violates the original, compelling vision for the piece. And so the unconscious blocks forward progress in this arena.

(4) Overindulgence in sugary or carbohydrate-laden treats, lack of exercise, lack of social life, lack of self-confidence, lack of friends, lack of a life. Sometimes the writer’s block emerges from a general disgust with one’s state of being, or from physical factors seemingly unrelated to the creative process. High consumption of carbohydrates can damage the brain’s capacity to focus on the creative process. So can insufficient exercise, which inhibits blood flow to the brain. In addition, overemphasis on solitude or self-importance (“I Am A Writer”) or the self-importance of solitude (“I Need To Be By Myself For A While So I Can Focus Upon This Crucial Scene”) can make the unconscious say, “Give me a break, Mister Rand,” so that it shuts down in disgust. [This is a joke.] Also, lack of social stimulation can cause a similar rebellion in the unconscious mind.

(5) Right time, right place, right character, right plot, wrong stylistic approach or genre. Sometimes the writer’s block reflects the writer’s unconscious suspicion that his piece should be fictionalized memoir rather than, say, science fiction; or it reflects the writer’s need to abandon James Joycean prose filigrees in favor of a more standard grammatical and syntactical approach.

(6) Right idea, wrong writer. And occasionally, although the idea has merit, it is simply an idea floating around in Thought Reality seeking someone to express it in spacetime. And Mister Rand is not the correct choice for this. •

— Channeled July 2nd and 3rd, 2015