The Secret of Imagining by Neville Goddard (1960) LP Side 1

Neville Goddard, 1960 lectures. It came out on an album, an LP, and there's only two lectures for the year, side one and side two of this album. There was nothing from 1961, nothing from 1962. We just finished 1959 lectures and there's a compilation now on the channel. So I'm going to read these two and then we're going to get back into the 1963 lectures. The secret of imagining 1960 LP side one. It may seem incredible, but it is true. The world in which we live is a world of imagination. In fact, life itself is an activity of imagining. All that we behold, though it appears without it, is within, in our imagination, of which this world of mortality is but a shadow. Nothing appears or continues in being by a power of its own. Own events happen because comparatively stable, imaginable, imaginable activities created them. And they continue in being only as long as they receive such support. That would be from here. Therefore, the secret of imagining is the greatest of all problems to the solution of which everyone should aspire for supreme power, supreme wisdom and supreme joy lie in the solution of this great mystery. When man solves the mystery of imagining, he will have discovered the secret of causation. And that is imagining creates reality. Nice and simple. Divine imagining and human imagining are not two powers at all, but one. The valid distinction which exists between them lies not in the substance with which they operate, but in the degree of intensity of the operant power itself. Acting at high tension, unimaginable act is an immediate, objective fact. Keyed low unimaginable act is realized in a time process. Now let's break those two things down right there. Acting at high tension. When you are imagining an imaginable act, that is where the high tension is. It is a fact. It is. But you are in the shadow world of three dimensions. 3D. You are where it's where in your world it's keyed low, unimaginable act. So there's a time process between the imagination, the imaginable act, where the high tension is, and to where it shows up, where the low tension is. Now, that's my interpretation. I don't know if Neville means that in another world the tension is high and the things are instant. And if he means that, that's great, okay, but we have to do it from the fourth dimension first anyway. And it is, as he stated, many other places it is already done. Once you move in imagination, it's done. That's the command given by Jacob. So Esau is only going to fulfill it. And he has to. He's wearing the yoke, for crying out loud. He will do it. Human history, with its forms of governments, its revolutions, its wars, and in fact the rise and fall of nations, could be written in terms of the imaginal activities of men and women. All imaginative men and women are forever casting forth enchantments. And all passive men and women who have no powerful imaginative lives are continually passing under the spell of their power. No greater sentence. I'm going to repeat it. All imaginative men and women are forever casting forth enchantments. And all passive men and women who have no powerful imaginative lives are continually passing under the spell of their power. If imagination is the only thing that acts or is in existing beings, or men, as Blake believed, then we should never be certain that it was not some woman treading in the winepress who began that subtle change in men's minds, or that the passion because of which the earth has been drenched in blood did not begin in the imagination of some shepherd boy lighting up his eye for a moment before it ran upon its way. Wonderful. The future is the imaginable activity of man in its creative march. Imagining is the creative power not only of the poet, the artist, the actor, the orator, but of the scientist, the inventor, the merchant and the artisan. Its abuse in unrestrained, unlovely image making is obvious, but its abuse in undue repression breeds a sterility which robs a man of actual wealth of experience. Imagining novel solutions to ever more complex problems is far more noble than to restrain or kill out desire. Life is the continuing solution of a continuously synthetic problem. Imagining creates events. Our world created out of men's imagined time ago. And I never looked at it like this, but your imagining creates your reality. So then your imagination and your imaginable events also create your experiences. So if you find yourself in experiences with policemen and they're taking charge of you and arresting you, they're arresting you because you haven't arrested yourself. That's one idea, which is what he's been talking about quite a bit. But another way my teacher would put it was that if you don't police yourself, someone else is going to do it for you. So what you're putting into your imagination, either you're putting in those things of lovely rapport, or the opposite is where you would need the policing, because you're not policing yourself. Then you bring in the police to do that for you. Your imagination is an all powerful thing and. And while you bring the police in to police you, you're Doing it. You're the one wanting the police of yourself. You're wanting to police yourself and you're refusing to do it. Then you're calling on Esau as Jacob. You're calling on Esau to do it for you, because you're not willing to do it for yourself. Quite a concept. Man is all imagination. Therefore man must be where he is in imagination, for his imagination is himself. To realize that imagination is not something tied to the senses or enclosed within the spatial boundary of the body is most important. Although man moves about in space by movement of his physical body, he. He need not be so restricted. He could move by a change in what he's aware of. However real the scene on which sight rests, man can gaze on one never before witnessed. He can always remove the mountain if it upsets Hibbs concept of what life ought to be. This ability to mentally move from things as they are to things as they ought to be is one of the most important, important discoveries that man can make. It reveals man as a center of imagining with powers of intervention which enable him to alter the course of observed events. Moving from success to success through a series of mental transformations of nature, of others and himself. Listen to that very carefully. Mental transformation s Mental transformations. How does he do it? Self abandonment. Wow, what a phrase. You just got to grasp a hold of that self abandonment as a phrase and just run with it. That is the secret. He has to abandon him himself mentally to his wish fulfilled in his love for that state. And in so doing live in the new state and no more in the old one. Be the moth that dives headlong into the flame. After all, that's what God did when he became you. He dove headlong into you, forgetting where he was and became you, forgetting who he was and in being you. His wish is that you wake up and remember you are Him. I'm going to repeat this very small but very potent paragraph. How does he do it? Self abandonment transformations. That is the secret. He has to abandon himself mentally to his wish fulfilled in his love for that state. And in so doing live in the new state and no more in the old state. Now we can't commit ourselves to what we do not love. So the secret of self commission is faith plus love. Anybody here who has fallen in love before you know how fast you can abandon the old you. When you're. When you're falling in love, there's nothing that keeps you apart from each other. Number one. And number two, you could give a flying. And you know what about the past and about everybody around you. They all of a sudden don't exist. Literally don't exist. Because you are so close with. With your newfound love. You don't want to spend any moment away from each other. Everything else has disappeared in your reality. Everything else is gone. That's exactly how you're supposed to commit yourselves. Now we can't commit ourselves to what we do not love. So the secret of self commission is faith plus love. Faith is believing what is incredible. We commit ourselves to the feeling of the wish fulfilled in faith that this act of self commission will become a reality. And it will, because imagining creates reality. Imagination is both conservative and transformative. It is conservative when it builds its world from images supplied by memory and the evidence of the senses. It is creatively transformative when it imagines things as they ought to be, building its world out of the generous dreams of fancy. In the procession of images, the ones that take precedence naturally are those of the senses. Nevertheless, a present sense impression is only an image. It does not differ in nature from a memory image or the image of a wish. Listen to this very important sentence. Two sentences, maybe. Hmm, we gotta break it down. Imagination is both conservative and transformative. It is conservative when it builds its world from images supplied by memory and the evidence of the senses. It is creatively transformative. We're talking about imagination when it imagines things as they ought to be, building its world out of the generous dreams of fancy. In the procession of images, the ones that take precedence naturally are those of the senses. Nevertheless, a present sense impression is only an image. It does not differ in nature from a memory image or the image of a wish. What makes a present sense impression so objectively real is the individual's imagination functioning in it and thinking from it. Whereas in a memory, image or wish, the individual's imagination is not functioning in it or thinking from it, but is functioning out of it and thinking of it. If the individual would enter into the image in his imagination, as the design on the COVID of this record suggests, then would he know what it is to creatively to be. Then he would know what it is to be creatively transformative. Then would he realize his wish, and then he would be happy. If you haven't seen the COVID just look up Neville Goddard 1960 LP the Secret of Imagining. And that cover will be the. The thumbnail, I believe on the YouTube video. You'll see the guy sitting on the couch. There's two worlds right there. And he's. He's that one that's making this image, which is It's a great image for this. For this portrayer. Betrayal. If the individual would enter into his image in his imagination, as the design on the COVID of this record suggests, then would he know what it is to be creatively transformative. Then would he realize his wish. And then he would be happy. Yes, happy. Very, very happy. Every image can be embodied. But unless man himself enters the image and thinks from is incapable of birth. Incapable of birth. Incapable means not capable. Therefore, it is the height of folly to expect the wish to be realized by the mere passage of time. That which requires imaginative occupancy to produce. To produce its effect obviously cannot be affected without such occupancy. We cannot be in one image and not suffer the consequences of not being in another. If you were. I used an example a few videos ago and I don't know which one it was, but I says, get in a plane right now. Go fly over to Oahu, get in the car, go over to the North Shore, go find Waimea Bay park, go down to the beach, sit right there, look at the palm trees, kick back on the beach. We cannot be in one image and not suffer the consequences of not being in another. Now, if you flew over there and you're on the beach right now listening to this, laughing, it's because you cannot be in the image where you are at the airport in your hometown to not be. Excuse me. We cannot be in one image and not suffer the consequences of not being in another. Now, if you're at the airport and you're not making it through and you didn't get to Hawaii, you can't be in that image. Excuse me. You cannot be in one image, stuck in the airport and not suffer the consequences of not being in another. Imagination is spiritual sensation. When you're in one place, you're not in the other. Now, the magic here is you can be in any place with your imagination. In your imagination. If you're at the airport, you can literally be in Hawaii. An example of this was when my wife and I were flying to Hawaii to get married. For some weird, wonderful reason, we were late to the airport. Something said we had all this extra time and we just meandered about in town, stopped at the bikini shops and whatever we did. Then we went to the. To the airport, lax. And they had given our seats away. We were there. Her parents were flying there. My sister was flying. So many people were flying there. It was going to be a convergence and our consciousness was there. But we meandered and we were late and they pushed Our seats to someone else's hands. And we believed too holy, that we were already there here. So we went through whatever we had to do to talk and get whatever we had to get, get angry, whatever, yell whatever, raise a stink, whatever. Whatever we did, Our consciousness was already there. So there was no us not going on that flight. And it wasn't, you can say, oh, the mercy of the attendant. No, our consciousness was there more than the consciousness of the people that received the standby tickets. They were probably standby seats. I'm sure they were. I've flown to Hawaii on standby many times, so I understand that process. Right here out of lax, there's a big LAX location, and that's where a lot of employees and people take that flight to. To Hawaii. It's just a different point. But our consciousness was there already. That's why we made that flight even though we made it to the airport behind schedule. You're. You go where your consciousness is. Where you're operating from is where you are. We cannot be in one image and not suffer the consequences of not being in another. It's the same thing. I want to make sure I make this a point, a very, very clear point. When you're thinking about the present moment, which is the only moment, there is no such thing as past, and there's no such thing as future. But if you spend your time thinking and dwelling on the past, then you're not present in the present moment. You're not actually literally present the present. You're not present in the now because you're mentally occupied in this past illusion. You cannot be in one image without suffering the consequences of not being in the other. So what happens when you're dwelling on the past all the time is that when you try and come back to the present, you have nothing to show for your absence. Literally. You try and get present focus, but you mentally, the light's been on, but nobody's home. You've been focused over here in this thing called the past, and it doesn't exist. And you're in this fantasy, but you're not home. You're not present. You cannot be in one image and not suffer the consequences of not being in another. Same thing as on the future. Oh, someday I'm going to get married. Oh, someday I'll have my degree. Oh, someday I'll have the right job. Oh, someday I'll have the right retirement. Someday I'll have the right house. Someday I'll have the right boat. Someday I'll have the right wife. Someday I have the right husband someday. I have the right relatives someday. If you're doing that kind of thinking in your now, that means you're over here in this thing called the future illusion. The future doesn't exist. It's only now. Now if you spend your time over there, you're not home. There's nobody here. You're over here all the time. We cannot be in one image, this illusion image and not suffer the consequences. No one's home. Of not being in another. Have you seen the movie? It is Adam Sandler. He's got a remote control and I don't know the name of the movie. I think it might be just called Remote. I don't know. It's something like that. It's got Christopher Walken and he gets that remote control and he keeps doing this number about getting his work done and getting the bonus and getting this partnership and this promotion. And then he can do this and then he can do that with his family. And then he can. It's always. And then, then, and then, and then it's always a future, future, future. And David Hasselhoff is. Is the boss. And it's very. It's a very, very well done movie, very well made. And it has exactly to do with. Everything to do with this one sentence because that character in that movie is constantly in a push. And then he comes back to realize everything's gone. His marriage is gone and she happens to be with his. This other guy that he doesn't like, the guy that was actually kind to his kids because he wasn't home. He was suffering literally the consequences of not being in the place. We cannot be in one image. He was not present. He was at that future place and not suffer the consequences of not being in another. The another was minding his family, being loving, being present. Great movie. I mean, to tell you, that movie, if you don't shed a tear on that movie, I don't know what you're made out of and I don't care because that movie will pull it out of you. It is very, very well done. Movie imagination is spiritual sensation. Enter the image of the wish fulfilled, then give it sensory vividness and tones of reality by mentally acting as you would act were it a physical fact. Now this is what I mean by spiritual sensation. Imagine that you are holding a rose in your hand. Imagine right now, if you can close your eyes. Let's go ahead and close your eyes because it helps. Imagine you are holding a rose in your hand. Not the thorns, the rose. Smell it. Do you smell it? Do you detect the odor of roses? Well, if the rose is not here, why is its fragrance in the air? Through spiritual sensation, that is, through imaginal sight, sound, scent, taste, touch, man can give to the image century vividness. Man can give to the image sensory vividness. You can imagine a thing and then put all five senses into it. You can give it sight, sound, you can give it scent. You can even taste it. If you're imagining a lemon, for instance, and touch, sight, sound, scent, taste, touch, you can give a mental image, all five of your senses. If you can do that with the rose, I don't know why you'd want to taste the petal. You can use a lemon in your imagination if you want. Or a slice of a lemon wedge. You can taste the lemon wedge. You can smell the lemon first off, you can feel the lemon. You can feel the. You can feel the wedge in your hand. You can smell it, you can see it for sure. But then when you take it in there, when you put it into your mouth and you taste that lemon wedge, you get it here too, and you get it through the olfactory too. It's going to go spinning around in your taste buds. My mouth's already watering right now. This is what we're talking about, cultivating, using your senses, giving life to the mental images with our senses, giving life to them, feeling them. Remember, the word is feel, but it has to do with sight, sound, scent, taste and touch. Five senses are how you feel things. Let's use the broad word feel to cover all five of those. And the best you can, whatever image you want to experience, whether that's love, marriage, family, responsibility, whether that's money, wealth, doesn't matter, health, activity, going, surfing, whatever you're doing, moving around, jogging, running, lapping, skipping. You give that vividness through the five senses. Okay? You can see yourself doing it from first person. See your arms moving. If it's one of walking, for instance, you see your look down and see your arms. You're mentally imagining seeing your arms. You're mentally imagining smelling the trees. Because you're walking through a street or road with nothing but pine trees and you smell the September pine. You can feel the road under your feet that's touching. You could pick up a pine cone. You get some of that SAP on your hand by accident. You can feel that, you can touch that, you can smell the pine cone. If you want, you can taste the SAP. But I wouldn't do that. You can dang near taste it. It's that close. When you smell it, you're taking your five senses and you're infusing them into the image that you want to experience. If it's one of marriage and love. What is it like laying there when you're falling asleep tonight or right now, whenever you're listening to this, what is it like to feel for your partner right there? You're sitting there and you're putting your hand across and you can feel your partner. When Neville, I think it was his army experience, one of his experiences, he touched and can feel his wife's warm body. I believe that was The Army Experience, 1943. What's it like for you laying there? You can touch your partner in bed. Whichever side. Whichever side. In my world, if we're in a hotel or if we're in our house, typically the man sleeps towards the door. It's a protective situation. Door is here, here's the square. Room. Doors here, bedroom or hotel, whatever it is, typically the man is protecting the wife over here. So he's first. If there's going to be an invader, he's first. So no matter what, I'm always at the side close to the door. So I'm in a hotel room and the door's over here. I'm over here in our bedroom, I'm over here. So put all these little elements into it. What's it like to get up and walk those few extra steps? Because you're on this side of the bed or that side of the bed, Wherever you are on the bed, which way are you reaching for your partner? If it's love, if it's marriage, which way is it? Feeling has a lot to do with it. But don't forget sight, sound, scent, taste and touch. You can go a long way with the sound, a long way with the sight, go a long way with the touch, a long way with the smell. You're not going to really taste your partner laying there, but you got four senses. Three is enough. Three goes a long way. Three is sight, sound, hearing. Somebody say, congratulations. Seeing them in front of you and touching them, that's a lot. You start putting that one in there now, you're going really far. Now you got the Hail Mary pass happening for you. You're going straight to a touchdown. You're putting four of them in there. And as Neville said in one of his lectures recently, the four. I think it's the four. It was the four something and taste and touch were blended together to be one scent. So that was. It was. Was it the four mighty ones? It was the four something. I Think it was the four mighty ones. So that, that goes. You can consider taste and touch along with the same category. So now you're using all four in the definition. There you're seeing your partner, your new marriage, you're hearing them talk to you. You're touching them, shaking, hugging, loving. And you're smelling their shampoo or their. Or their laundry detergent because you're close. That's four senses. Through imaginal sight, sound, scent, taste and touch, man can give to the image sensory vividness. If he does, all things will conspire to aid his harvesting. And on reflection he will see how subtle were the threads that led to his goal. He could never have devised the means which his imaginal activity used to fulfill itself. If man longs to escape from his present sense fixation, to transform his present life into a dream of what might well be, he has but to imagine that he's already what he wants to be. And then feel the way he would expect to feel under such circumstances. Let him, like the make believe of a child who is remaking the world after its own heart, create his world out of pure dreams of fancy. Let him mentally enter into his dream. Let him mentally do what he would actually do were it physically true. He will discover that dreams are realized not by the rich, but by the imaginative. Nothing stands between man and the fulfillment of his dreams, but facts. And facts are the creations of imagining. If man changes his imagining, he will change the facts. Man and his past are one continuous structure. This structure contains all of the facts which have been conserved and still operate below the threshold of his surface mind. For him, it is merely history. For him it seems unalterable, a dead and firmly fixed past. But for itself it is living. It is part of the living age. We cannot leave behind us the mistakes of our past, for nothing disappears. Everything that has been is still in existence. Very, very important sentence. Everything is forever. Every moment is forever. Literally. Literally. That's why it's so easy to remember certain moments. And I mean remember them easily. Some just you don't care about, but some you can remember very, very vividly. Because they all are still. That's it. Period. They are all still. And you talk about freezing an event, freezing activity. Think about that for a second. You're freezing a past idea. It's still and frozen in your memory. You can let it go, you can let it be and continue like in a dream. When you leave a dream, it doesn't stop, it keeps going. That environment you create to have the dream in continues not because you wake up, does it disappear? But because you wake up, it has now its life. You gave it a birth of a life. It's the same thing with your past memory images. You gave them a life in the first place. You can let them continue and not be constrained to you to hold them in your memory as if trapped. You've got them in your prison when actually you've become prison to them. You need to let go, let their activity continue. There was a story Seth was talking about in the class, and I think it was ESP class, and somebody was talking about the end of an animal when this other predator got this other animal. And Seth described that the animal that was eaten knew its place in the food chain. And so what it did was, I think it was a rabbit taken down by maybe a coyote. Let's just say it was those two. Well, the coyote catches the rabbit, and the rabbit knows it's now dinner. So it concedes and it okay, I'm part of this chain, this predatorial chain of life. But the rabbit, in its essence, which its foreverness, it kept running down, down the hill. It didn't stop because it doesn't go away. Anything from the fourth dimension, which is the rabbit and you and me, doesn't end. It continues. Just because the coyote happened to eat that rabbit doesn't end the rabbit. The rabbit continued running. And that's the way Seth described it. It was the rabbit actually continued running away from that coyote and frolicking in its own direction. When you understand that, you understand the permanency of things, the foreverness and the forever quality of things. It's very much something to really kind of get into and understand, because then you don't have this so fatalistic attitude about everything, because everything is continuously is go. Just look at historians and how they dig into these wonderful relics of the past and they really unearth these ideas. Or the guys that restore cars and they make them like brand new, wonderful machines, Beautiful, remade all down to the last nut and bolt. And they look like they're right off the showroom floor when they were first made. How can they do that? It's amazing. That is a forever piece of machinery. It's a forever. It's an example of the forever quality of that machine. Everything that has been is still in existence. The past still exists, and it gives and still gives its results. Man must go back in memory, seek for and destroy the causes of evil, however far back they lie. Remember, evil means missing the mark. It means not hitting the mark of what you desire. Or what you want to achieve or what your goal is. That's what evil means. So if you're going to go back and destroy evil, that's what you're destroying. Missing the mark. Whenever you are missing the mark, very subjective, meaning you, it's focused on you. I love the way he says this. Here man must go back in memory and seek for and destroy the causes of evil. And destroy, seek for and destroy the causes of evil, however far back they lie. This going into the past and replaying a scene of the past in imagination and as it ought to have been played the first time. I call revision. And revision results in repeal. Changing our lives means changing the past. The causes of the present evil are the unrevised scenes of the past. The past and the present form the whole structure. Are the unrevised scenes of the past. The past and the present form the whole structure of man. It is carrying all of its contents with it. Any alteration of content will result in an alteration in the present and future. Live nobly so that mind can store a past well worthy of recall should you fail to do so. Remember, the first act of correction or cure is always revise. If the past is recreated into the present, so will the revised past be recreated into the present. Or else the promise that though your sins are like scarlet, they shall be as white as snow is a lie. And what Neville doesn't unpack right there, which very much is totally true, is how that happens. Now I. In the Seth material, you can get down into the nth degree of this understanding of what he just mentioned. And when you do recreate the past into the present and then the result is the revised past recreates into the present, it. In the Seth material, it's Seth delivers the idea here on to such a degree that you understand it at, at the point in process where when you go into the past and now you're there, then the future is different. So you're not leaving, you're not leaving the mark. My point right there. You're not leaving this, this, this present and then jumping over here into this past. You're not. When you're doing revision, you're going from the perspective of the present moment and you're restructuring what's going on in your mind here, what happened here. So then what happens here is you literally sent it. You sent a new idea of a recreation of the past. You didn't go to the past as a place and then push forward with it. And sometimes Neville says that, and I know why he's saying it because he's saying it because we have to learn this. We have to learn this in a linear fashion. So I know why he says it a certain way, but it's not happening that way. What's happening with revision is you're only ever in the present moment. You might as well just accept that, because that's what it is. You're only ever now, and you can't be anything else now. Here, when you close these, you can be in this place called the past. You can be in this place called the future, but you're only in a now. All of it's only ever, only an eternal now. When you revise the past, the past is an idea you think you experienced. Now, I'm going down into some advanced, deeper pool and deeper into the pool stuff. But go with me for a second here, because I think you'll get out. You'll get something out of this because it's fun when you're in the present and you have something in your past you want to revise because you want it to go another way. This works wonderfully, by the way. I'm not discounting revision. I want to flesh it out a little more, to understand it for those of us who'd like to go on this level. Because there are some of you that like that, and I like it. Why not? When you go and you revise the past, you restructure the past. When he's saying that that past is pushing towards another, different future, it's because in the present moment, you've changed because you went back here and you replayed the role you played. You played instead of Matthew, you played Judas. Well, from the present moment, you got the 12 disciples to play here. You got 12 opportunities. Let's just for fun, go this way. One character you played and you didn't like that role in the present, you go, okay, well, I'm going to go back because I know all of the lines that Judas says. I'm going to go ahead and replay this, but I'm going to pretend I was Judas in that play, okay? So you go back in your imagination and you pretend. You do your meditation, and now you're revising and you were Judas, Okay? So now this past history in your mind now has a different part inside of you that now has more. It's like the flower bed came up more from that role you played as Judas versus the role you played as, let's say, Matthew there. That's why the image in you, in your present, if your memory is all Matthew, then that's all you feel here. But you change that memory to Judas just for fun. We're just the names only, not the actual events. Alright, so now you're a different character. Then you feel different here, but you're only ever doing anything you're doing is only ever here. You're not in the past, you're only in the present. You can only ever be in one place and that is now. This is what I learned from Seth. It reconciles wonderfully. After you dig it and understand it, you're only ever in and now. So when you do revise the past, you're changing your role in the event called the past, which is great because it gives you, it bolsters your present like nothing else. There's nothing like revision. Revision is by far one of the most amazing things ever revealed by Neville. Just wow, wow. Forever wow. Because this is the most wonderful, wonderfully freeing thing we have, I think. But understand on another level, if you want to take it to the advanced step, it's only all happening here anyway. That's how creative you are. You create past events, you create future events. But being careful that you're not absent here, remember the consequences of not of being in one place and not in another. So how was Abdullah able to persuade Neville? Abdullah persuaded himself that Neville was in Barbados. But Neville had to become persuaded. So when Abdullah told Neville, you are in Barbados, I told you this already. You've already gone there. You're already there. Abdullah, in his present, was fully persuaded. There was no if, ands or buts and there wasn't going to be any discussion about it again. Go to the north shore, sit on the beach at Waimea Bay and try and talk about going to the north shore in Waimea Bay. You're already there. You can't talk about something you already have fulfilled. It's already in your present moment. Abdullah was fully convinced, Neville having been caught up in the illusion of these maneuvers. There's one called the past and there's one called the future. Neville was having to grapple with these ideas he didn't know how to handle. Well, the schedule's coming and it's only so many days away and I don't know if I'm going to get this boat, what am I going to do? Because it's never worked like that in the past. I was never taught that. So how the heck could I be in Barbados? Abdullah, I don't understand you. What do you mean? You're already there. That's what I mean. I Already told you you went and you went first class. If it wasn't for that lesson. Boy oh boy, that one lesson. But reminding, mixing back into this. Neville had to become convinced of how these things worked. And he did it on a feeling level. He walked as if he was in Barbados while he was in New York. He walked on the street and he saw. He had to try and feel and see his first time doing this to the best of his ability. The trees and the no more than two story buildings while he's in the canyons of New York City. He had to see Barbados and feel it as he walked. But unbeknownst his brother sends him a check before you know he's on the boat. He's already in Barbados before he knows it. And first class because of his finally fully becoming persuaded in his present moment that he was there. If he would have kept doing this number, he would have been delayed on the ship. There wouldn't have been enough seats. He wouldn't have got the ticket. His brother's check wouldn't arrived on time. The Alcoa Ship company wouldn't have called him. Phone lines were down, too many people on standby, yada yada yada yada, all the way down the line. But he didn't do that. He didn't. He didn't. He came back where Abdullah focused him. Abdullah imagined lovingly for Neville being there and was persuaded and that was strong enough. Neville became the esau, the automaton in the story. When Abdullah became persuaded, it happened. But Neville saw this lesson and in his present moment went with the flow check came in the mail. He's on the ship, he's in Barbados. All happened in his present moment. I like that P there. It's like. It also can stand for persuaded. Live nobly so that mind can store a past well worthy of recall should you fail to do so. Remember, the first act of correction or cure is always revise. If the past is recreated into the present, so will the revised past be recreated into the present. It's all now. Or else the promise that though your sins are like scarlet, they shall be as white as snow is a lie. The question may arise as to how by representing others to ourselves as better than they really were or mentally rewriting a letter to make it conform to our wish or by revising the scene of an accident, the interview with the employer and so on could change what seems to be the unalterable facts of the past. But remember my claims for imagining. Imagining creates reality. What it makes it can unmake what it makes, it can unmaker what it makes it can unmake it can make something lovely it can make something lovely it can make something lovely there's nothing wrong with that it can make something lovely, lovely, lovely, lovely continuously. It is not only conservative, building a life from images supplied by memory. And it is always creatively transformative. Altering a theme already in being. The parable of the unjust steward gives the answer to this. We can alter our world by means of a certain illegal practice, by means of a falsification of the facts. That is, by means of a certain intentional alteration of that which we have experienced. And all that. Excuse me. And all this is done in one's own imagination. This is a form of falsehood which is not only condemned, which is not. Excuse me. This is a form of falsehood which is not only not condemned, but is actually approved in the gospel teaching. By means of such falsehood a man destroys the causes of evil and acquires friends. And on the strength of this revision proves, judging by the high praise the unjust steward received from his master, that he is deserving of confidence. Because imagining creates reality, we can carry revision to the extreme and revise a scene that would be otherwise unforgivable. Anything, everything can be revised. We learn to distinguish between man who is all imagination, from those states into which he may enter. An unjust steward looking at another's distress will represent the other to himself as he ought to be seen were he himself in need. He would, like the man on the COVID of this record, enter his dream house in his imagination and imagine what he would see and how things would seem and how people would act after these things should be. Then in this state he would fall asleep feeling the way he would expect to feel under such circumstances. Would that all the Lord's people were unjust stewards, mentally falsifying the facts of life to deliver the individuals forevermore. For the imaginal change goes forward until at length the altered pattern is realized on the heights of attainment. Our future is our imaginal activity in its creative march. Imagine better than the best, you know. Our future is our imaginal activity. Member of the future, this circle here, which I say does not exist. We're only ever in the present. We're only ever in the present. He's saying that our future. I say our new now is our imaginal activity in its creative march. Now I understand why he's using the word future there, and that's okay. But I always have a bone to pick here and there. Sometimes, not all the time, but here and there. But I understand why he's using it that way. It is, of course, our new. I like to say our new now because it's still. When I say our new now, it's because I always get to express where we actually are. So my new now. Let's do it. Our new now is our imaginal activity in its creative march. There you go. I just altered Neville's. What an amazing side. One of an album, huh? The secret of imagining, 1960. The only two lectures, I guess, from 1960. Because there's nothing else. Again, as I said. As I said at the beginning, there's nothing in 61 or 62, which is. I can't even believe it. If you know any reason why, if he was in the islands or what happened there, I'd like to know. So put in the comments. If not, we'll find out another way. All right, we're going to see you on the other side.