THE CHARACTER


The character is kept offstage and called in whenever the notion of a problem arises, or when attention is invited, and the character becomes the means of avoidance of the love that is invited. Instead of simply allowing rest when the body is tired, a story of the poor tired character is summoned to the play. When the body needs attention, the identity of the character is called on as a means of neglecting or abandoning the body. The character is a diversion strategy with a familiar sense of location and convenience that maintains the false beliefs of lack, unworthiness, being unloved, and victimhood. The character is a detour. The character is the sufferer.

The body has its own intelligence, which arises as clarity. Only humans sabotage this with mind and separation. There is no other life that engages a story as a means of diverting the stream of the flow of True Nature. When the natural condition of the body-mind is interrupted or hijacked by thought, or when it serves as an invitation to the sufferer character, one is substituting the present need for an imaginary one, which in turn does not meet the present need, and suffering continues, expands, is maintained. This validates the presence of the character and the story.

For the character, stage left and stage right are two apparent ends of the same pattern. At stage left, the onset of the pattern manifests as behavior, habit, addiction. At stage right, the other apparent end of the same pattern, is the resulting suffering. Both ends are seeking the same thing, love and Self. The tendency of the pattern is to desire that which already is, but brings suffering as both a means to attain this, and as validation of the failure to do so, and the apparent perceived absence. In the moment, the belief arises of that which is not present. The true question is what is present, and that which is prior, as that which is believed to be absent, is always present, never not here. The character does not question the belief, only absence. The inquiry, the question, is a threat to the character. Everything is seeking, as that which has been forgotten, or is not remembered, is already that which it seeks.

Notice if this imagined character is being served, and if this is the very suffering one seeks freedom from, not the apparent problems or needs that arise. The one who is aware of the character has no problems. The character is the problem, however the character is imagined. From this point of view, there are no problems. Problems are a fundamental disagreement with the apparent world and what is. Problems are the impossible disagreement and argument with Presence. This is separation, division, as one is That. The notion of problems is the pattern of invitation to the sufferer story and character. Problems are the imagined alternate path to being present to, and as the invitation to and as Love.

Suffering serves as the abandonment and the rejection of Love. This then is believed to be 'caused' by other, or ‘something’ external. This is the means of the maintaining of the story, and the invitation and identification with and as the sufferer character. What is it that is aware of the character? Every arising is the invitation of, and as Love, Compassion, and Grace. The character feeds on, and is maintained by attention. Turn around, face the other direction, take the backwards step. Rest attention as Awareness on what is present and arises, and meet what arises as Love. The mind dissolves into the heart, as one Is Love. If the sufferer character is imagined, suffering is imagined. This is freedom.