he Tipping Point is the biography of an idea, and the idea is very simple. It is that the best way to understand the emergence of fashion trends, the ebb and flow of crime waves, or, for that matter, the transformation of unknown books into bestsellers, or the rise of teenage smoking, or the phenomena of word of mouth, or any number of the other mysterious changes that mark everyday life is to think of them as epidemics. Ideas and products and messages and behaviors spread just like viruses do.
Malcom Gladwell in The Tipping Point
Barbara: Four more questions. (Reading questions.)
* I still feel guilty and somewhat frightened when I say “no” to a loved one. Does this change?
* How do I proceed in working towards spiritual growth?
* Why I am I so angry at work? Why is it that with my talent I am working with “dumb idiots”? (I do not normally use these terms.)
* Because of my depression, I am not able to go into deep sleep or meditation. How can I get back in control of my mind?
Barbara: H is saying that a lot of the questions speak of the person as being less than they want to be, as if something is lacking. He sees self criticism in the questions.
D: I think that working with these emotional issues is spiritual work.
Aaron: Precisely. Can you see how it becomes twisted when you fight with the emotions so that you are relating to them from a place of fear? It then ceases to be spiritual work and becomes an attempt to get rid of the emotion rather than to learn from it. When the question is one of getting rid of, there is so much tension involved, so much self involved, it is not opportune for learning. Can you accept the fact that throughout life there are going to be times of discomfort? While spiritual work is always happening, catalyst is not opportunity for learning unless there is deep awareness and some degree of willingness to let go, relax and investigate whatever has arisen. The tension and fear limit the breadth of awareness and investigation.
by Aaron channeled through Barbara Brodsky in The Path Of Natural Light I
From the example given of human breathing, we saw how the rime of a man’s breath is closely connected with the day of a cell, and the life of a molecule. In a curious way, these periods of different cosmoses depend on each other; or perhaps it were better to say that the very lives and days of smaller cosmoses are only a result of the breathing of a larger cosmos. In the case of blood-cells and the molecules of gas which they bear, this description is quite exact.
Life, day and breath therefore seem to be definite cosmic divisions of individual rime, which link the fate and experience of each being inexorably with those of the cosmoses above and below it. And in fact there exists a strange and constant relation between these divisions.
Rodney Collin en The Theory Of Celestial Influence