Sixth "Sunday" Session
Saturday, November 18, 1995, at Dance Home in Santa Monica
by Corey Donovan

[Kylie, Reni, Nyei, Grant and Ellis were on hand. Argentine visitors swelled the usual crowd of 40 or so to around 50.]

Castaneda asked if we had enjoyed the [November 10-12 Culver City] seminar. He told us it had had a big impact on them, and that the combined energy of the attendees "caused things to happen." He told us he was "able to see things," as a result. For example, he could now see that women's luminous eggs had "what looks like a little top sitting on the round shape, like the lid of a teapot." He also commented that Carol was "more ferocious than ever." He claimed that our group -- the Sunday 40 -- had "brought along" the others, the many newcomers at the workshop, imbuing them with the sense that "something important" was going on.

Castaneda told us there was a woman who was "red like a rose" at this seminar, seated to his left. He thought at first that it must be Merilyn Tunneshende. But Tunneshende turned out to be the "very anguished creature" sitting next to "the guy in the lotus position" to his right. He explained that the luminous eggs of sorcerers go "from white to a rose-like red" ("not a paint red") when they are "about to blow."

Castaneda claimed that he saw that our energy bodies were "just hanging there," and that all they needed was "a little twist" to lock them into place, so they could move. He told us he felt like he would like to give us that "tug or twist," and promised that when we did lock into place we would realize that "the energy body has been there all the time."

Castaneda claimed that our mass "supports me" (he leaned back to demonstrate how it made him feel something in back of him), "long enough for me to grasp a bit more" of the "inconceivable input" he received, before he inevitably "falls over."

Castaneda admonished us not to treat these weekend gatherings as "a heavy obligation." He again ridiculed the way people talk about the time they have left at school, as though it were a "prison sentence" they were serving. Unless we "keep it simple," he advised us, we would not be able to continue practicing what we had been given.

Castaneda indicated that what was most important for us was silence. "This sounds simple," he acknowledged, but we have to really work sometimes to get the silence we need. He indicated that our "enemies now" were the people making noise around us. He told us about having lived in a basement apartment in Oceanside, next to another apartment that a woman rented so that her son would have a place to practice the piano regularly so he would not do it at home. This constant piano practice became such an annoyance that Castaneda asked don Juan what to do about it. Castaneda told don Juan he simply could not move at the time. Don Juan told him to "ask intent to flood the basement." Castaneda did, and the basement was subsequently flooded, so that the rented piano the boy was using was ruined. Castaneda chalked up the event to coincidence, being unwilling to believe that he (or his call to intent) could actually have caused the flood. But, "Who knows?"

Castaneda also talked about how our energy gets "trapped." For example, we fixate on long past insults and other negative experiences. He told us there had been an elderly woman at one of their Mexico workshops who had been a student of Gurdjieff. When asked if she had any regrets, she said she was still upset that in 1927 "they said she had been Ouspensky's lover, but that it was not true."

Castaneda talked about the dynamics among don Juan's remaining disciples. He described himself, Carol and Florinda as arguing heatedly every day. He told us that Taisha remains quiet. She "will help us stay or help us go, but she's indifferent" as to what they do. Florinda would blame him for doing things, telling him he "always makes mistakes," or pointing out that if he would not eat bread, he would "know what to do." Castaneda explained, "I am allergic to wheat, but I love bread so much that I eat it by the loaf. I like taking a slice of bread, putting another on top of it and a third on top of that." But he joked that he "refrains from eating a whole kilo."

He suggested that when people call us on the telephone, we should answer as though we were a recording saying we were not there. He asserted that we had to lie to get people to believe us anyway, "so why not say whatever you want?" He joked about barking behind our doors to scare off visitors. "Treat it as a stalking maneuver," he advised. He told us we could tell people we were buying a tape of a dog barking to scare off intruders, and then people would believe it was a tape when they heard us barking. "But if you just have an unconvincing ‘arf, arf,?quot; he joked, they would accuse us "of buying a cheap tape." He imitated us just going along with them, saying, "Yeah, I'm cheap, so I just got a cheap tape." He also mimicked someone barking unconvincingly when their mother-in-law was at the door.

Replica Watches  Replica Watches

Castaneda talked again about La Gorda having "burst." He told us there was another woman, "another fatso, with her" [Cecilia]. Taisha, Florinda and Castaneda were all on hand when it happened. "Taisha never lost her cool," Castaneda said, and told La Gorda to "change channels." Taisha "even blew on her ear to try to move her to change channels, but La Gorda was too locked into her compulsion." Florinda and Castaneda "went to pieces," he claimed. Castaneda could not understand how a sorcerer "who had raised their awareness so much could die like that. Now I know that La Gorda never broke the beam" that connected her assemblage point to the "me" fixation on the floor in front of her. He told us that if he saw any of us with such an unbroken beam, he would help us break it, just like don Juan pulled out the "nail" that constituted the egotism in Castaneda and his other disciples.

Castaneda taught us a movement forward for two steps, starting with the left foot, in which the left hand swings to the side and then snaps into a flat palm facing forward as it pulls back in toward the left hip. Then two steps backward with the same hand movement (and the right hand with flat palm slightly in front of the body), then a step to the left with the left foot and a bent knee as we lean down toward that position (making the adrenals "smile" with delight), and then rotating so that we are facing the opposite direction while our hands swung over and up to the right and then around and back toward our left. He mentioned beforehand that he was teaching us "an important movement today." He explained, while breaking up the steps, that the focus was on the adrenals.

Castaneda laughed about the Chacmools teaching us Silvio Manuel's dance steps at the [November] workshop, leading us to believe that we were going to arm them by shouting words, and then having us all dance together to the tango [actually a bolero] with Silvio's steps. He told us he thought Silvio Manuel had "danced his way" into crossing over.

He told us the ten-year-old girl [Carola] was "as ready to go" as he was. She had asked him, "I didn't buy you time did I?" He asked her if she "missed people," if she missed her grandparents. At first she told him no, but then admitted that she did "for a moment." She told him, "You and I are alike. We miss them, from a distance." Castaneda showed how this hit him right in the heart.

He complained that he always asked his agent [Tracy Kramer, later known as "Julius Renard"] for stories from the man's recapitulation. The man always claimed his life was "just too boring," but he knew that Castaneda always used others' stories to illustrate points, and was just unwilling to have Castaneda tell any of his. "The only story he ever told me" was about when Tracy was a young child "and made a classmate, Dorothy Manners, pee in her pants. The principal had told him he would not tell his parents if he promised to tell them himself. But he never did. Seven years later," Tracy was "still racked with guilt about not telling his parents that he had made Dorothy Manners pee her pants." This reminded Castaneda of his own smoldering frustration when he learned that the head of the boarding school, who had once smacked him around the room, had died of a heart attack, so Castaneda could never "avenge myself" by "smacking the guy around."

Castaneda mentioned that when she was a child, Florinda's parents used to put a little mustache on her and she would imitate Hitler. Their group still sometimes had her do it, but Castaneda claimed they would have to stop her after awhile "because she gets carried away." They had once talked to a "very bored Indian movie star" who "only became interested" when Castaneda claimed that Florinda was Martin Bormann's daughter. The man looked at her and said, excitedly, "Well, it could be true. She looks like Martin Bormann!"

Castaneda commented that it was important for those of us at the beginning of this path to thank those that help us. "Later on, it is irrelevant and inappropriate to thank anyone."

Castaneda told us not to tell anyone about these sessions. He explained that if we told people what we were doing, they would try to dissuade us. "The chickens don't want any of their number to get loose from the flock," he said. He imitated someone asking, "Where are you going from 1 to 3 on Sunday?" He told us that, "as a matter of stalking," we should "just not say." Later on, he predicted, our energy would be so strong that people would not even try to dissuade us, or even ask what we were doing. "For now, however, you need the protection of silence."

Castaneda told the story of a woman whose mother had thousands of photos of her in ten or so large albums at the mother's house. The woman was told to take the albums from her mother, so she could destroy them. The woman "just could not imagine being able to do that at all." Years later, the woman did take the photos from her mother, "but by then it did not matter anymore. You have to do such a task when it seems inconceivable for it to have impact. To do it later on is irrelevant," he explained.

Castaneda talked about the Blue Scout [Nury Alexander] and how she was always alert and used words with maximum effect. He told us she argued with him a lot as to how he should be using his energy (i.e., that he should be "storing it up to make the leap"), and did not approve of him meeting with our group "all the time." Castaneda told us, "I do not say anything. Now, after the workshop, she has mentioned getting the group together on a Sunday so that she can read something to you." Castaneda, acting like he was not meeting with us anymore, had responded to her that "Kylie can probably dig up their numbers to call them together again." Castaneda looked for Adam and Michael Salter in the room to specifically ask them not to say anything to the Blue Scout about the Sunday sessions [since they often saw her around UCLA where they lived].

Castaneda mentioned that Carol Tiggs was in school for a Ph.D., and that one of her professors had come over to ask her to have lunch with him. The man told her, "You know, it's school policy that we can't become lovers, but I'd like to get to know you better." This guy asked her to tell him all about herself and Castaneda claimed that she "uses the eye on him and he goes right to sleep. When he wakes up he thinks he has been having the most fascinating conversation." Castaneda claimed that this had happened a few times, and Castaneda told us he wished he was there "to see the guy." He thought this was a "fascinating use of sorcerers' powers."

We were going to be bumped from our 1 - 3 PM Sunday slot at the dance studio for the following week because they had not yet made a permanent reservation. Castaneda asked us if we should make that time on Sunday a regular thing. Of course we shouted "Yes!" So that was what they were going to do.

Summary of passes taught
Session VI.
1. Adrenal push and throw away:
- left leg fwd, left arm tense pull
- right leg fwd, " " " "
- right leg back, " " " "
- left leg back, " " " "
- turn around 180 degrees
- clockwise toss