Search Results for 'ethel'

When he first witnessed how the traveling portals worked, Badul had been greatly impressed. No such magic existed on Asgurdy, and even though is was supposed to be a small portal, it was greater magic than anything his imagination could have devised.
He and his crew were so much impressed that Badul had required his small crew to settle down so that they can study further the thing. Tomkin had frowned a bit, as he was eager to continue and above all to leave this uncharted district ruled by a fierce warlord (or “governor”, as it was required to address him) in a moistly forest miles away from any living creature, but then again, Badul’s orders were not to be discussed.

The portal was constituted of a wide circle of heavy limestones, with two crossing arched vaults made of limestones too, with smaller blue stones incrustations of various shapes tucked into round holes regularly scattered along the vaults. These smaller stones could apparently be rearranged, and Tomkin and Badul quickly figured out they were used to determine the coordinates of the various places they would be traveling to. This portal, they’ve been explained had a set of other stones, ocher and dark red ones which were not part of the traditional set of the main network on the continent. Their design was not overly displayed as the others which were left on the portal at all times. They were carried on the spot by one of the generals of the local governor, and used under strict guidelines, for fear that the parallel network would be uncovered.

It took Badul a dozen of hexades to relinquish his fear of the unknown magic that made people disappear and reappear in thin air. He was a brave man, and that which he could see with his own eyes was no longer deemed irrational. It was very real, and he could use it. And there was no point in delaying the experience of it, as it was the only way for him to conquer his turmoil.

So, on that fine morning of the falling season, he decided to move. Genflik Thran, the local governor, had come to appreciate the help Badul and his men had provided him in loading and unloading the cargoes of goods which were banned on various parts of the Warring Kingdoms nonetheless traded on the black market with great benefits, and occasionally escorting them to some of the nearest villages. But the deal had been made clear from the start: he would allow Badul and his men to use the network in exchange of two hexades of service. In fact, they had repaid the debt largely already.
So he agreed to let them go on their journey and provided him and and his crew enough supply to continue their trip for quite some days. And as a token of appreciation, he allowed Badul to choose his destination, a privilege that was rarely granted, as usually people where glad to take whatever ship was about to depart.

Badul turned to Tomkin, wondering where they could go next.
“There are a few villages I heard of” Tomkin said after having pondered, “in the valleys down Mount Elok’ram. I heard this place is the tallest of the World, and is full of ancient powerful magic. Perhaps we can go to one of these villages, as I don’t think there is any portal on the top of the mountains.”
“Ahaha, yes, you’re right” had smiled Genflik Thran “I’ve been heard there is a monastery on top of this mountain, but no portal unless you go in the valleys. Not that they couldn’t have built one, but they thought it would soon become too crowded and… how did they said? Yeah, unholy… with the ease of a portal access. Now, perhaps that with the new Abbott, it will change… who knows. We already have approached him, and he seems a man with a nice sense of compromise, for the good of all, ahahaha!”
“What’s this village called?”, asked Badul
“ Chard Dut Jep “ answered Genflik Thran “I have a local contact there, a witchy woman, with some sense for business too, when you’re there, ask for her, people call her Madame Chesterhope. Just don’t forget to mention you are coming on my advise, or else the bitch might reserve you a trick or two of her own, ahahaha!”.
“To Chard Dut Jep then!” cheered Badul, and his crew echoed with him.

It had been a moonth now that Elizabeth had got her first encounter with Pigoosus, her inner inspirer, on a dirty bench of the public park littered with pigeons droppings.

A whole moonth, and yet, it had been so full that she had barely noticed it passing. Even Finnley, the ever grunchy grumpy one, had felt ubiquitously absent (Elizabeth was quite fond of Lemone’s profoond quotes, and his consummate uooze of exquisitively bizarre words; so, “ubiquitously absent”, oxymoronic as it was, for all matter and purposes felt deliciously adequate to her present mood).
So, yes, even Finnley… who had felt recently so deeply absorbed by flocks of dust bunnies that went around the corners.

As for her, the grandioosa noovelist, she had used the inspiration of that day to take a break from that strange story she was writing, and which had accumulated so many loose ends that she’d grown yucky at the mere sight of a dish of spooghetti.
Instead, she had written a small unpretentious (as far as she could, that is) novelette, or children book as her publisher said. Of course, everything a little bit out of the ordinary was only good for children, and in fact, she couldn’t care less. She had tremendoose fun writing the Extra-vagrant Illustrated Tales of The Oogletoon Twins. Not only writing in fact, but also illustrating that intermission work (which was a first, as she had mostly the habit of doing coollages of various pictures teafed around, hence her fondness for Robert the robber magpie).

Notwithstanding, this was an interesting adventure for Elizabeth. Life was full of surprises, and she wouldn’t have thought that in becoming more “down to Oorth”, as her parents would have exhorted her to do, so to spook, she would have indeed be really, really closer to Oorth, but nonetheless, still in fairy land. Ahaha, that was putting her in the greatest of moods.
She smiled a broad smile to a fidgeting Finnley who was under the glowing neon light of the dark copy machine room, apparently in great conversation with some invisible being, as she went past the room, on her way to her office.

Checking on her compooter (her gorgeous iPear) she noticed an email from Barash… Another publisher that she was considering working with, when her current one had felt hesitant at publishing her illustrated book.
Decidedly, everything was going well for her these days.

What a francitic woman thought Elizabeth, a bit less distressed now she had secured her last insights into her clooh-box.
Hopefully, she could happily forget about those, and go for a walk to have some welcomed cooffee.

Wishing she would not bounce into some unwelcome apparition, she trod her way to the outside world.
How long it had been? With all that pressure from her publisher, she had almost forgotten how exquisite it all was outside.
So simple, and yet so brilliant.

It didn’t have the complexity of the Worlds of which she intuited things, nor the same amount of excitement it aroused in her, but nonetheless it was appeasing, and that was perhaps all she needed for the moment.
Perhaps a walk to Garden Centrool would do her great.

Sitting on a bench near the dribbling foontain where cuckoos were drinking at the sound of woodpeckers’ holes drilling, she became entranced by the sound of water, and almost felt like dancing at the cuckoos and woodpecker’s cooing and drumming beats…
All this Lemone quotes were now far away… She’d had enough of them, and wanted simpler truths. Lively ones.

She could feel inspiration flow back into herself, as she envisioned her favorite depiction of inspiration, the mangeloose Pigoosus. Elizabeth was reeling in its wonderful aura, seeing the squinting eyes of the creature, the magnificence of its sprawled wings, its awe-inspiring moose antlers, and the slick body of a foxy mongoose with a protuberant snoot.

It all was symbolic of herself of course, the best depiction of all her awesome features. The snoot for curiosity (and nose in general), the wings for imagination, the antlers for connection, and the mongoose for the fearlessness and sex-appeal.

Pigoosus, or Pigooh, as she called him, was telling him tales, tales that were spun between the gapping holes of her clooh-box items, and that were weaving them together in beautiful macramooh patterns.

The Shift in Earth-dimension awareness is coming and it is revealing long-lost hidden things, that is the reason of these other-dimensional bleed-through on the islands. Where those having hoped to bury some artifacts away of consciousness, in that dimension where all was so separated that even Pigooh would have had trouble getting throoh. The skulls gates one by one open now.…

Pen! She needed a pen!

January 4 ^th, 2008

A communication about legends, to complement what Yurick had connected to during his sleep, with ties with the dimension of Alienor, and possibly counterparts within his dimension

Starry sky, eternal and boundless waft of dreams and legends…

Many if not all of the physical dimensions possess legends. Legends of their beginnings, and legends of their ends.
The language which legends speak is a language of symbols, and though many of the receivers of legends are prone to erect them as absolute and faithful accounts of historical soundness, they are much more mutable and protean than what may be commonly thought of them.
They are connections, bridges from a locus (point in time/space) drawn as a frontier between what is known of the now, in which civilizations of these worlds are thriving, and a locus which is forgotten, or beyond the commonly perceived world.
As such, they essentially represent boundaries.

And of course, boundaries are only boundaries because they serve a purpose. Much like boundaries drawn on maps are not necessarily representing actual obstacles which cannot be physically crossed. These are mere perceptive frontiers, which tie in the various developments of history and societal relationships.
When the civilizations, or species, as you understand them, come close to one of these perceptive boundaries, there is an interaction with the very nature of the boundary, which is receptive to the inception of volition to cross the perceptive limitation.
And a process of reshaping and expending the borders takes place, by means of insertion of new legends.

Legends, in that way of seeing things, are not necessarily old dusty accounts sung by blind bards with jovian white beards. Not quite. They are much alive. They are created and recreated in the instant where boundaries of perceptions are being tempered with. Which makes it important to notice that they are translations of much wider movements in consciousness, spanning more than the physical dimension in which they manifest.
Many of the legends that humanity is aware of are very similar accounts, throughout your globe. And they are also projected in other dimensional areas vibrationally close to your manifestations.

You are currently fiddling with the legends of your ends of times, and that is the reason why at the same time, you are starting to create new legends. Legends of new beginnings.
In actuality, this is done oftentimes; each time a perceptual limit is crossed and seen beyond. The only difference here would be the unprecedented span of the process which is occurring now. The point where you are standing, prodding into the interactive frontier you have come across is not a single mere frontier, but a converging point of many of tinier, shorter ones. This also creates a singularity which makes the frontier respond with a sort of inertia. In fact, it is like a wide net of fine threads, which possess altogether a high absorbing potential for small energy bumps. Nonetheless, it will give way to a vastly expanded perception, as soon as the collective energy is focused upon, and steadily moving into the direction of pushing that protective envelop.

That process never ends, and during that process, new legends are being remembered. For the lands beyond the frontiers exists when you are aware of it, which in retrospect also means, it is created, or inserted as you are prodding the frontier.
In fact, you are, as you stand before that specific nexus point, being creating new legends, in that you are evaluating the potentials that you see fluctuating as a shadow world through the layer of a soap bubble, and have them blend with legends that you know of.
Your very lives become the legends of these potential worlds, and thus is the importance of your being at that locus of transition. You indeed come at that point, as much for making it possible but more so, to experience the transition and alteration of the legendary landscape. You are the bridges between a future which you are creating as you remember it, and a past which contains the clues that will be seeds for your new discoveries.
And that is a most rewarding travel, as you will come to see…

— The legend of Mævel — (Part II)

The young fairy princess, whose secret name had been forgotten, and thus her very existence to whoever had known her, grew up as a beautiful child.
Mævel she was, and the youngest of the clan too. Her delicate features stood out of the many children that Jorg and Ilga, her human parents already had, and they first saw her as probably their most useless child, being frail and unfit to the works of the woods. But she’d been saved from a sure death, and that had proved to them that the child was some odd gift from the Gods.

Mævel looking at her brothers and sisters, was constantly reminded of how different she was, as small and fair and fragile as a sparfly’s egg. She helped her mother Ilga as much as she could in the kitchen, preparing meals for the clan. Her parents did not know how she could ever get a husband, as she would never be much of a great cook either.
So, she was feeling not fulfilled by what she was doing. She loved her parents, and sisters, and brothers, but there was something else that she did not know how to express.
During the springing and sunny seasons, and even the rainy and icy one, she would go after her works had been done to the little meadow brook, and watch for hours the little rosy trouts dancing in the clear waters.

And much of her young years passed, and she learned how to cook, how to sew and how to wash clothes and many other tasks that could help the family. She had improved much in her skills and could do wonderful adornments to her sisters and brothers clothes. But noone cared about the adornments, which would be useless for them. But they loved their little sister nonetheless, though they did not understand.
Soon, all the elder brothers left the house, one by one, and the sisters too. And as Mævel turned twenty one, she was left alone with old Jorg and old Ilga.

That day, her parents had offered her a pearl white ribbon, for her to tie her hair, and they had thought it would probably please her, as it was as useless a thing as their mind could imagine. And indeed she was delighted by the gift, and to please her parents, she had danced and sung in the night, barefooted on the floorboard, her shiny golden hair swirling around her, as they both loved her to do.

The next day, Mævel went to the brook to wash some clothes, when she noticed a reddish bluish spark of light coming from the forest nearby. How strange she thought. Perhaps it is only my imagination. But soon, a plaintiff cry came from the same direction, and she was deeply moved by the cry.
Leaving her clothes to dry up, she went to the forest, knowing she could trust her instincts and that no wild beast would harm her. Calling to see if someone was there, a voice called her, crying “here, here!”

Behind some fern trees, she was surprised as she saw a wounded blue fox. Was it the fox that had spoken?
— Yes, that was me, answered the blue fox
— Oh, a talking fox! You are wounded, aren’t you? asked Mævel
— Yes, a stupid arrow from a stupid hunter… I can’t extract it, would you help me?
— Of course, answered Mævel, hold on a second.

And she leaned forward to draw the arrow from the fox’s leg, holding fast so that it would not hurt the creature. She was just knowing what to do, as if she had done it many times already. Then she drew out her white handkerchief, and bandaged the bleeding wound, tying it tightly with her pearl white ribbon.

— I must leave now, said the fox, I am greatly indebted to you, young lady
— Will you tell me your name?
— I am called Blohmrik. And may I inquire as to your name?
— I’m called Mævel, but you can call me Mæ
— Such a lovely name…
— How come you are a talking fox?
— I was not always in the form that you see now. This form is due to a curse from the God of the Forgotten, from which I foolishly tried to stole secrets when I was a young god learning magic.
— Ooh, so you are a god? Mævel was amazed
— Oh, smiled sadly the fox, as you are also, though you probably don’t realize. Gods are not so different than what you think…
— Oh, really? So there isn’t anything I can do for you, is there?
— You have already done much for today Mæ
Mævel was blushing… She dared ask to her new friend
— And will I see you again?
— Perhaps sooner than you know.

— Daddy, daddy! I want to come with you!

Young Peregrine had been running after his father at the moment when he had put the letter in his pocket ready to go off the streets.

— Oh, really? Sean Doran Wrick was weighing the possibilities.

Peregrine was still in fluffy rabbit slippers and pajamas, but he had a very determined look on his young face.

— Then perhaps we should ask Guinevere to come with us too?
— OK, I go ask her!

And off was Peregrine, running down the hall of the large Dublin apartment to his sister’s room.

Sean was thoughtful… Well, Edmund had said that the private jet would be ready in an hour, so that was leaving him some time to have a nice beer at the pub before departing to New York to see the Traveling Reality Amusement Park, or T.R.A.P. for short, as the imaginative publicists of his father’s company had decided to brand the new revolutionary concept.

Sean had been supervising the very first prototype before he had met Margaret, and then had got more interested in his “real” family life than in amusement travels in fairy lands… But nonetheless his father had trusted his flair, and had kept him informed of the developments of the project.
Now, for the premiere of the T.R.A.P., he’d got some VIP invitations, but grieved with Margaret’s death, he had not wanted to go there at all. That is, until Becky had spoken about it…

Peregrine came back with a pout on his face.
— She’s not sure if she wants to come, he said…
— Oh well. Then, let me have my beer, and I come back in a few minutes to see if you and your sister are ready. I’ll pick up whomever is ready and packed up.
— Yipeeee! Peregrine’s eyes were gleaming with joy.

September 24 ^th

Quintin remembered a snapshot of the notes that Dory had taken during her first trip to the Madagascan caves, a year ago.

Relevant extracts:

At one moment, I saw some hooded figure in the sideways tunnels… He vanished on the left, couldn’t follow him…
[…] HE KNEW HIS WAY INSIDE !
When he vanished, I had the vision of something, […] like the layout of a labyrinth, of cave tunnels — that are all underground and the many entrances are all over the world… PORTALS
focus opening/doors ; time/space…
The central cavernous part is some kind of key center, where anyone can meet…

This has inspired Quintin to write some notes too.
He has the vision of these portals organized as clusters, like a tree, with branches and leaves… I will send him a more detailed image, but that may take him some time to digest!

September 26 ^th

The latest additions to the story have inspired Quintin. He had some inkling of how “essence” (or what is somewhat referred as “oversoul” ) and all the “focus” of essence (or lifetimes) interplay, and are not as separate as they sometimes seem to be.

Here would be what we will say to him, if he wants to listen:

« Now, terminology can become tricky as, for much time, you have been accustomed to be considering of your experience as the projection of that of an “essence”, somewhat separate from you, the lowly focus.
Of course, you pretend the contrary, and become quite nifty in brandishing sentences like “I am essence, and I create all of my reality”, which you are and do actually, but that you do not always believe and trust.
These terms of “essence” and “focus” were given to you as means for you to better understand the interplay of consciousness. In the beginning of the acquaintance with these new terminologies, you have felt them remotely blurry and unrelated to previous concepts, which was the intention. But now, you once again objectify your understanding in something too rigid at times, and that little story is giving you a hint of what your real power is.
And you begin to really experience it, and really pay attention.

« As was expressed many times, “essence” is no thing. It is an action.
The “essence” is each of you, that very portion of you that you feel when you slide your attention into the comment box.
In that, your purpose, you see, is only to experience, nothing more, nothing less.
And then time, as you know it, becomes irrelevant, you see. Your natural time is expressed through you and your explorations.
Notice how playfully, as essence (essence playing focus or focus playing essence), you let your natural time unfold, and at times find some strange weather pattern in your awareness that needs clarification. As essence, you playfully find the most perfect habits [shapes and clothings] to wrap around you, and continue your story.
Just as your dreams at night overlap and blend into each other.
Just as Rafaela created new focuses [Sam and Becky] to continue to play and make the story expand for all of the other focuses, Dory included.

« That “I” of you is ever present, and is reflected perfectly in others’ perceptions, as you are drawing them to you purposefully. Do not brush aside their adjuncts, for they are also you, having moved your pawns forward, so to speak, through their moves.

« Thus understand that the story is a continuous stream reflecting the essence that is you, and your travel through the various guises you borrow.
In that manner, it does not matter how much sense it makes in linear terms. Because, in a way, it can’t make sense in these linear terms.

« Let us explain this in other terms.
When you found difficulties in understanding the “scheme” so to speak, the figure that is drawn by the participants, it is because you apply the linear understanding of what such a scheme should be.
In that, you only perceive the “plot” as a succession of dots without a continuity, whereas the continuity is to be found in the other stories interwoven.
You are accustomed to stories where a single individual is enacting throughout the play, in a linear continuous fashion. The individual goes through many different actions, but is always the same in your perception.
Here, the tricky thing is to notice the continuity throughout the various habits [clothings] taken by the essence(s). It matters not that the essence takes that guise of say, a pirate sailing on high seas, just after having been an old crafty Lord in his windy castle. The underlying aspects of his exploration has been continuous and coherent: in this case, exploring and making sense of one’s exploration. It is just that a certain appearance has been perhaps more fitting to express certain aspects or qualities of essence, but the exploration has been one, throughout the entirety of the experience.

« We will let you ponder this, and we will continue our own story, writing about you… »

September 28 ^th

This sand symbol that Quintin has brought up seemed to have come from many directions at once. Each character has connected it, in various ways.
Armelle (Arona) to her magic, Rafaela (Becky) to her collecting customs, etc. etc.

Let us say that this symbol is not as innocent as it may seem. There are lots of associations with sand.
It is solid, yet fluid. In association with water, it can be used to build, and also to erode. It can shift into many forms, one of which is your glass, and your electronic components.
And most of all, it is, after your very oxygen, the most abundant constituent of your reality.
It is almost limitless in your understanding.
As is your magic.

This magical device we made Quintin see in a visualization is an analogy of your very action of creation as essences.
The sand which molds itself to make forms and shapes in three dimensions is in fact likened to your consciousness. Each grain of sand represents your links of consciousness that bind together to do your command.
The shapes are moved by your essences, in which you may see that the essence is no thing at all, but is a continuous stream of action, not separate from others’.

As Quintin said to Fiona, some individuals do differently when they create and shape their sands.
In analogy with the coloured sands, some people like Quintin enjoy using other people’s colours in shaping his own characters, while some others prefer to keep their own colours, to create a more definite sense of individuality. But they integrate the others’ movements and shapes nonetheless, regardless of how much they perceive it to be coming from them.

With that said, let us see how much more will appear from that sandbox…

September 30 ^th

The Wrick family tree as it is now (or “will be” drawn around the time of the twins in 2057).

The Secret Life of Margaret Wrick , a newspaper cut from 2033.

October 7 ^th

The dragon Naasir’s dream
A panorama illustrating the portals between the worlds created by each of the participants… But who is dreaming, really?

And an illustration of Chiara’s encounter with the glutton “dreggun” Buckberry…

New York, October, 4 ^th 2033

Albert had opened the newspaper, scanning distractedly through the various pages of text that would read aloud automatically when he was running his fingers through it. He was about to close it, when he noticed that article in the Life Focus section.

(click for article)

Dublin, October 5 ^th 2033

Sean Doran Wrick had received tons of phone calls, emails and voice mails of condolences since the past few weeks, but he had not found the strength to answer any of them. Especially those coming from his father.

That morning, he had received some letters that he would have left on top of the others, had he not recognized the round and cheerful calligraphy of Becky on one of them.

He had known Becky when they had traveled together in Syria, and had enjoyed so much the lively young woman that they had kept in touch during all those years.

He was pleased to read from her, and wanted to enjoy it fully.

So he took his time to put to bed Guinevere and Peregrine before. Guinevere was the eldest, very mature for her barely 11 year old. She took great care of her younger brother, who was more dreamy and foolish. Peregrine would turn 10 next March… but he was hardly as responsible as his sister when she was his age…

Dear Sean, Becky was writing

I would have liked to finally take the time to write to you in better conditions, but I could not delay any longer. I saw the obituary in the newspaper, and wanted you to know that I share your grief and loss, and extend much love and support to you and to your dear little ones.

I know you’re not the kind of person to be satisfied with banalities, so I will not dwell on this tragedy, and will remember the best moments we shared together.

I still continue my studies and practices on dramatherapy, and till now it has proved very beneficial, in many ways. I have learned so many things. It’s quite rewarding. We are a close-knit group of fools (or drôles as Al loves to say, as some of his ancestors come from the bayous!), and that is very much enjoyable when things that tragic come to one’s reality.

In case you feel like talking, don’t hesitate any moment, I’ll be here. Anytime.

Love,

Becky.

Orkney Islands, October 4 ^th, 2057

This year again, Sean Doran had not answered his father’s calls.

This September 23 ^th was the twenty fourth anniversary of the disengagement of Lord Wrick’s daughter-in-law, and this was always a very somber period for the family.

Hopefully, the twins were here to enliven the old mansion, for as long as their parents, Lord Wrick’s grand-children, would be traveling. And of course, there had been the unexpected return of the books, which had been comforting too.

Nonetheless, Hilarion Wrick was sad, and Bill the painter was uneasy as to how he could not quite put right the portrait of the old dragon…