Bringers of the Dawn: Teachings from the Pleiadians

«You are going to piece this together using your intuition only. This is not at all to be a logical-mind project. By using your intuition, you will be guided and tested to see if you can perform and complete a project without your logical mind knowing the steps that are coming next.» — la voz, citada en discurso directo por Tera Thomas en el Foreword, fija el método: armar el libro por intuición, sin que la mente lógica sepa los pasos que vienen.

«It will be a tremendous exercise for you. It will lift you into a much higher place of consciousness, a higher place of order, and a higher place of trust.» — la voz promete a la compiladora un ascenso de consciencia, de orden y de confianza como efecto del encargo.

«When it is completed and is very successful, you will say, 'I don't know how I did it. I have no idea.'» — y anuncia que al terminar no sabrá cómo lo hizo, que es lo que el Foreword declara después cumplido.

«The story will show that if you can clear people of their personal information, they can go cosmic.» — la fórmula que la voz da como tesis del libro: limpiar a la gente de su información personal la vuelve cósmica.

«Ideally, yes, you will send out the announcement that you are beginning the book. The first time that you sit down to work on it, clear your desk top and have no clutter or disorganization around you. Have a clean space, with your crystal stones that will assist you.» — la voz responde sobre el editor con una instrucción de procedimiento: anunciar el libro y despejar el espacio de trabajo con piedras de cuarzo.

«Then you can make a prayer of intention by saying, 'I am now announcing that I am beginning a book, and I am sending this announcement out to anyone who is a publisher and to anyone who is involved in bringing this data into publication for those whom it will serve best. It is my intention that the person to publish this book discover me and be brought to me, and I promise that I will be available for that recognition. I understand that I have very little to do with this. That part is not mine. I understand that I am to broadcast the announcement like I am sending out the birth announcement and that a response will be sent to me. In this I trust.'» — la oración de intención que la voz dicta palabra por palabra, donde el hallazgo del editor se declara ajeno a quien escribe.

«Remember that the process you will be going through is very much a part of the story, because you will discover something of yourself; then the story will be told in the terms that you put together. You will understand the importance of the book because you will have had an experience as you create for others a pathway into reality based upon juggling your reality and allowing different sentences and contexts to be juggled through you and made into a new order.» — y declara el propio proceso parte de la historia que el libro cuenta.

«Someone who did not trust would find this very difficult. Trusting is the absolute key. There is nothing else that you can turn to in this process.» — la confianza puesta como única llave del método, sin otra cosa a la que recurrir.

«This is about commitment, and you are going to learn that you can commit to who you are, that you will not screw up, that you will always be provided for and that never will you be left without. It will always all work out according to your intentions.» — y la promesa de provisión que la voz liga al compromiso.

«Your part in this is to intend what you want and to simply let the data flow. The book will make its own order as you learn about yourself during the process and as you code certain information. It will be mind blowing what you experience.» — el reparto del trabajo según la voz: intención de un lado, orden propio del material del otro.

«You did not trust yourself, Miss Tera. You told everyone you did, but you did not really even like yourself. You compared yourself, and you were not honest with what was really going on with you, and people very close to you were mirroring this for you.» — la voz interpela por su nombre a la compiladora y le adjudica desconfianza de sí; es el único sitio del volumen donde se dirige a una persona nombrada.

«You had to explore certain behaviors you had that did not work and discover the reasons for them, and that discovery brought you to be a Keeper of Frequency.» — la voz liga ese trabajo sobre sí al título que los capítulos usan para el lector, guardián de frecuencia.

«This is why the book was given to you the way it was - because you had to have a major breakthrough in consciousness.» — y explica por qué, según ella, el libro no se dictó: para forzar una ruptura de consciencia en quien lo armaba.

«By hashing over and translating much material that you would not even use, you went through a process of a direct relationship with us. You heard over and over again, in a neutral way, all of the things that you needed to directly apply to yourself if you did not wish to be left behind. And, you did it.» — la voz declara que el material descartado servía para poner a la compiladora en relación directa con ella.

«It is the beginning of receiving direct guidance in how to do things. The more you say, 'I relinquish control, I don't know how to do this,' the more the energy will come in. As you get out of your own way, it will become easier and easier. All you need to do is intend. The more intending you do, the easier it will become.» — la voz describe lo que llama guía directa y pone la intención como único requisito.

«Later on, when the book is put together and many ask you how you did it, we want you to say that this is the process you used. We want you to verify our teachings as you were able to receive them by demonstrating that you believe what we are telling you.» — y pide que el método se cuente en público como verificación de lo enseñado.

«Remember how long it has taken you to grasp the process fully. We are not lecturing you - we are guiding you through this, pulling you back, reflecting back to you over and over again so that you can understand where the power of operation is.» — la voz niega estar dando lecciones y llama guía a lo que hace, con reflejo repetido hasta que se entienda dónde está el poder de operación.

«It is through clear intention - through acting as if, and then simply receiving continuously.» — y da la fórmula entera: intención clara, actuar como si, y recibir de continuo.

«You will go through the process of an initiation yourself as you write it. You have some mastering to achieve in a few areas during the next six moons, and all of this is tied together.» — y declara el encargo una iniciación de quien lo escribe, con un plazo contado en lunas y todo atado entre sí.

«You had to go deeper, as everyone must go deeper» — la voz generaliza a cualquiera lo dicho a la compiladora; la frase cruza de plana y la cita se corta en el marcador.

«into the layers, for everyone has layers of self-hatred and dislike.» — y la continuación en la plana siguiente, con capas de odio y desagrado de sí en todos.

«during the next few moons will be very intense for you.» — la continuación en la plana siguiente del anuncio que la voz hace a la compiladora, con el plazo contado en lunas.

«Our ancestors were some of the Original Planners of Earth, orchestrators who seeded worlds and civilizations with creativity and love. Because of their qualifications, they liked to orchestrate worlds just as conductors love to conduct. Our ancestors are also your ancestors, and we like to call you our ancient family, as indeed you are. Our ancestors gave their DNA to the Original Planners, and this DNA became part of the DNA of the human species.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, abren el volumen declarando a sus propios antepasados entre los Planificadores Originales de la Tierra y haciendo de su ADN parte del de la especie humana.

«Time is greatly misunderstood in thirddimensional reality: you believe that time is measured in minutes or degrees. Time is much vaster than you realize. In actuality, time codes and plays with information, allowing you to move into realities simultaneously by stretching, distorting, curving, and twisting time around.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, niegan que el tiempo se mida en minutos o grados y lo describen codificando información y permitiendo el paso simultáneo entre realidades; el troceo funde third-dimensional.

«As all realities are not solid, and as the future is not set (it is only a number of probabilities), we see an opportunity at this time to insert a more positive probability for Earth. We wish to reinsert light on this planet and restore Earth to its original purpose - that of becoming a magnificent intergalactic exchange center of information. So we have come back in a section of time to a place we call a kernel or a seed in order to effect change. This change will not only affect Earth, it will affect your future, our present, and the entire universe.» — los Pleyadianos, por Marciniak, en el primer capítulo, declaran el futuro no fijado, solo un número de probabilidades, y de ahí derivan su propósito: insertar una probabilidad más positiva que alcanza al universo entero.

«There are mother ships surrounding this planet that are acting as literal transducers of energy. There are beams of light coming to Earth from old and ancient star systems that have been working with you for eons. These beams of information are being blasted onto the planet.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, describen naves nodriza como transductores de energía y haces de información lanzados desde sistemas estelares antiguos.

«This is the evolution of super-consciousness, the evolution into the highest aspect of your being. You do not need to worry about becoming this being, for you already are this being, and you just need to remember it.» — los Pleyadianos, por Marciniak, en el primer capítulo, ponen la meta como recuerdo y no como logro: el lector ya es ese ser y solo le falta acordarse.

«You are evolving now at such an extremely accelerated rate that each year of this decade will be like ten years or more from the previous century. Feel how much you will accomplish by 1999 and feel who you will be. It will be as if you have lived one hundred years in a decade.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, cifran la aceleración: cada año de esa década como diez o más del siglo anterior.

«As you come into the Age of Light, worlds will open that you never knew existed. You have moved past the other ages: the Bronze Age, the Iron Age, the Industrial Age, the Information Age, and so on. These other ages had to do with seeding, planting, cultivating, and putting the potentialities of life into the third dimension.» — los Pleyadianos, por Marciniak, en el primer capítulo, nombran Era de Luz la que se abre y enumeran las anteriores como siembra y cultivo de las potencialidades de la vida en la tercera dimensión.

«A transition is about to occur, a dimensional shift that will lessen the density of the third dimension so that you will move into higher dimensions in which the body does not have such a solid state.» — los Pleyadianos, por Marciniak, en el mismo capítulo, anuncian un desplazamiento dimensional que aligera la densidad y deja al cuerpo sin estado sólido.

«Buried deep inside of you are all the answers. The questions that come to the forefronts of your minds are arising so that you can bring the answers from within your own beings. In order to achieve this, you must first believe that the information is stored there.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, ponen todas las respuestas dentro del lector y hacen de las preguntas el modo de sacarlas, con la creencia previa como condición.

«Humanity is learning a great lesson at this time. The lesson is, of course, to realize your godhood, your connectedness with Prime Creator and with all that exists. The lesson is to realize that everything is connected and that you are part of it all.» — los Pleyadianos, por Marciniak, en el primer capítulo, enuncian la lección como reconocimiento de la propia divinidad y de la conexión con Prime Creator.

«It is not just that we, the Pleiadians, have come to assist; we are only one grouping from one star system. There are many who have journeyed here for many reasons. The majority of the extraterrestrials are here for your upliftment, though there are also those who are here for other reasons.» — los Pleyadianos, por Marciniak, en el mismo capítulo, se sitúan como un solo agrupamiento de un solo sistema estelar entre muchos, y separan a la mayoría de los extraterrestres, que dicen venir a elevar, de los que vienen por otras razones.

«Information was distorted when those who came from the skies to move you along in your development were turned into gods. As children idolize those who can do what they cannot do, your society clearly demonstrates this same method of creating godhood. The concept behind this method is one of the belief paradigms that you have come here to change.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, sitúan la distorsión en el momento en que los venidos del cielo fueron convertidos en dioses, y hacen de ese paradigma lo que el lector vino a cambiar.

«Through these limitations, structures are formed, and through this process, you create and learn that you are a portion of Prime Creator and that Prime Creator desires experience.» — los Pleyadianos, por Marciniak, en el primer capítulo, hacen de la limitación tridimensional la condición de la estructura y del aprendizaje, y declaran que Prime Creator desea experiencia.

«You are magnificent beings, members of the Family of Light, and you came to Earth at this time on assignment to create a shift, to make a change, to assist in the transition. Love is the key. Love is what makes up the universe.» — los Pleyadianos, por Marciniak, en el mismo capítulo, nombran al lector miembro de la Familia de Luz venido en comisión y ponen el amor como llave y como materia del universo.

«The present technology on Earth will only develop to a certain extent because mankind does not vet understand that love is necessary. Energy can take all forms of creativity, but when one is dealing with greed or hatred or any emotion that is not working toward light, one is only allowed to go so for. Them is only so much information that is available to that sort of vibration. Love is the basic building block, so when one has love, all possibilities exist.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, ponen tope a la tecnología terrestre por falta de comprensión del amor y limitan la información disponible a una vibración de codicia u odio; el troceo imprime vet por yet, so for por so far y Them por There.

«Bringing back the concepts of light, which are information and love —which is creativity— is the plan. It takes renegades like the Family of Light to come into a system that as been primarily dark for eons and change it.» — los Pleyadianos, por Marciniak, en el primer capítulo, definen la luz por información y amor y llaman renegados a los que entran a cambiar un sistema oscuro; el troceo imprime as por has.

«We are very much renegades where we are. As we said, our own system is in need of transformation. We are working as a bridge or a link through the Family of Light in a variety of systems in order to change our own system. Your raising of consciousness through love and responsibility nourishes us, replenishes us, and expands our consciousness so that we may evolve further.» — los Pleyadianos, por Marciniak, en el mismo capítulo, declaran su propio sistema necesitado de transformación y hacen del trabajo con el lector la vía para cambiarlo: es la declaración de interés propio más explícita del volumen.

«We would like to see you become qualified to form worlds consciously. You are preparing to seed and be the species planted on many new worlds as they are being formulated, and because you have stored within your memories the history of what has occurred here on Earth, you will be able to teach others and consciously hold the direction in which other worlds need to go.» — los Pleyadianos, por Marciniak, en Ambassadors Through Time, dan por destino del lector formar mundos conscientemente y enseñar a otros con la memoria de lo ocurrido en la Tierra.

«A special thanks to my sister Karen, for her deep love and dedication to me and the "P's.» — Barbara Marciniak, en los Acknowledgments que firma, nombra a su hermana Karen y usa la abreviatura con que llama a la voz dictante a lo largo del volumen; el troceo imprime la comilla sin cerrar.

«A spectrum of the Pleiadian work has involved travel to many sacred sites and teaching at them as well as about them.» — y describe en qué consiste el trabajo que da nombre al libro: viaje a sitios sagrados y enseñanza en ellos y sobre ellos.

«Early on I was led to Toby and Teri Weiss, both of whom have provided adept assistance in supporting the Pleiadian experience during our myriad of power-site tours.» — con los nombres de quienes asistieron esa gira de sitios de poder, que es el marco en que se grabaron las cintas.

«Barrie and Susie Konicov first recognized the energy and brought the P's to print in Connecting Link magazine as a result of our being in Athens, Greece, on the same trip.» — Marciniak data la primera publicación impresa de la voz en una revista y la liga al viaje a Grecia, que es el mismo donde el Preface sitúa la primera sesión.

«Barbara Hand Clow eventually came along and recognized the vibration, and her impulses and encouragement are directly responsible for bringing this work to publication.» — y adjudica a Barbara Hand Clow el impulso que llevó el trabajo a publicación, sin nombrar editorial ninguna.

«Marsha Andreola generously provided her encyclopedic knowledge of the tapes, and Richard Rodgers offered his ongoing support.» — con los nombres de quienes conocían el archivo de cintas del que salió el texto.

«I felt overwhelming awe for the infusion experience of Gerry Clow, as he shared his journey of the material and offered me thanks for the opportunity to midwife this baby into existence!» — Marciniak nombra a Gerry Clow y usa la figura de partera para el trabajo ajeno sobre el material.

«Gail Vivino inserted her expertise and finetuning skills to bring the book to its final stages, along with Barbara Doern Drew, Amy Frost, and the other Bear & Company staff.» — la única plana del volumen que nombra a Bear & Company, y lo hace para agradecer a su personal: no es pie de imprenta ni mención de editorial, y aquí no se lee como tal; el troceo parte *fine-tuning* por el salto de renglón y la extracción por programa devuelve la forma fundida.

«Marilyn Hager added the finishing creative touch with her exquisite cover and book design. Cover artist Peter Everly worked through inspiration and suggestion to create an image of dawn in space, light coded to trigger the viewer with a deeper message.» — Marciniak adjudica cubierta y diseño y describe la imagen de portada como codificada en luz para disparar un mensaje en quien la mira.

«I honor the courageous, those who are willing to redefine the very essence of existence and to carry that renegade spark into a new version of the game.» — y cierra los agradecimientos con la figura del renegado, que es la que los capítulos usarán para el lector.

«After years of working many and varied jobs while traveling, searching, and studying consciousnessexpanding material, we had created for ourselves work that encompassed who we were and what we believed, and we were excited about it.» — Tera Thomas, en el Foreword que firma, sitúa lo suyo y lo de Marciniak como trabajo hecho a la medida de lo que creían; el troceo imprime consciousnessexpanding fundido, sin guion ni espacio.

«During the next two years, Barbara and I traveled to many expos, played a lot with the Pleiadian teachings, and generally had a great time with all of it.» — y describe los dos años de expos previos al libro, con las enseñanzas de la voz como materia de juego.

«The year 1990, the beginning of the "unnamed decade," came. Connecting Link was getting well established, and Barbara had made some three hundred tapes with the Pleiadians.» — Thomas cifra en unas trescientas las cintas grabadas con la voz hacia 1990: es el archivo del que se editó este volumen.

«I felt it was time for me to move back to New York, where I could continue to do the magazine on my computer as well as do more networking. I also felt it was time to do the book.» — y data ahí su propia decisión de hacer el libro.

«When I thought of "the book," I imagined that the Pleiadians would dictate it to me and that I would simply transcribe the tapes, edit the material, and there it would be. It would take no particular effort and very little time out of my pressing magazine schedule.» — Thomas declara qué esperaba: dictado, transcripción y edición, sin esfuerzo particular. Es la expectativa que el resto del prólogo dice desmentida por la propia voz.

«So, in May, when Barbara and I sat down to do a "book channeling," I was quite surprised to hear the Pleiadians' idea of how to do the book.» — y nombra la sesión de trabajo con el término que da nombre a la raíz de esta ficha, entre comillas suyas.

«Phew! "OK, so, how do I do this miraculous process?" I asked. "Where do I begin?» — la pregunta que Thomas dice haber hecho en esa sesión, que el prólogo imprime en discurso directo junto con la respuesta.

«I began to grasp the idea. My logical mind had one more question.» — Thomas consigna la resistencia de lo que llama su mente lógica ante el método recibido.

«As I now read the words they said to me then, I get a whole different picture than I did at the time.» — y declara que la relectura posterior de lo dictado le da un cuadro distinto del que tuvo entonces: la propia editora fecha su comprensión después del hecho.

«My personal issues started coming up big time. I didn't trust myself, I didn't love myself, and, in fact, I didn't really know who I was - I couldn't separate the real me from the facade.» — Thomas cuenta en primera persona lo que dice haberle costado el encargo, que el prólogo presenta como parte del libro y no como circunstancia.

«In October, I went to Egypt with the Pleiadians. I knew this trip was going to be an important turning point in my life» — con el viaje a Egipto como punto de inflexión que ella misma data.

«That December, I moved to North Carolina. When something is right, it works out beautifully.» — y el traslado a Carolina del Norte, que es el lugar desde donde firma el prólogo.

«I didn't question the order or attempt to make one. I just let everything flow through me.» — y declara haber renunciado a poner orden, que es lo que el prólogo presenta como instrucción recibida.

«I had another "book reading" with the Pleiadians in which they talked about the Bringers of the Dawn making the cosmic evolutionary leap in awareness possible by anchoring the frequency first inside of their own bodies.» — la sesión donde Thomas dice haber oído la fórmula que da título al libro, anclar la frecuencia primero en el propio cuerpo.

«Then they told me that I had transcribed enough material and that the book was ready to be put together.» — y el momento en que, según ella, la voz declaró bastante lo transcrito.

«I got chills all over, and I said to myself, "Oh my God, I think this is the first chapter.» — el relato del hallazgo del primer capítulo por recogida al azar de las hojas, que el prólogo ofrece como demostración del método.

«They fit together like a puzzle. I was shocked ~ I know I believe this stuff, but still, when it really begins happening it's quite amazing.» — Thomas consigna a la vez su convicción y su asombro, sin resolver la una en el otro; el troceo imprime una tilde donde iría una raya.

«I had another “book reading” and told the Pleiadians how pleased I was with the new process and how much fun it was.» — la segunda sesión sobre el libro, que el prólogo llama lectura del libro.

«the Pleiadians found us a publisher without Barbara or me doing anything. Of course, they hooked us up with Barbara Hand Clow - who better to understand how to get the material out to the public?» — Thomas adjudica a la voz el hallazgo de editorial y nombra a Barbara Hand Clow como la persona a la que dice que los llevó.

«I have learned how to work with nonphysicals, and I will never again set out to work on any project alone.» — y declara lo que se lleva del trabajo: tratar con lo que llama no físicos, y no volver a trabajar sola.

«The Pleiadians told me that the process of this book would be the most powerful teaching of my life, and I agree.» — el prólogo cierra su cuenta declarando el proceso del libro la enseñanza más poderosa de su vida, por boca de la propia voz.

«most of all, for tricking me into my own evolution.» — la última línea del prólogo antes de la firma, donde Thomas atribuye a la voz haberla engañado hacia su propia evolución.

«that I had no job: it was time to do the book. I began listening to the tapes and transcribing bits and pieces of them.» — Tera Thomas describe su método de trabajo sobre las cintas, escuchar y transcribir por trozos; la frase arranca en la plana anterior y la cita empieza donde el troceo la reanuda.

«Trapped in Bali! That's exactly how I felt, as I wondered why the bureaucratic necessity of an Australian visa had never been mentioned until now.» — Barbara Marciniak abre el Preface que firma con la anécdota del visado que la detiene en Bali, que el propio prólogo lee después como el aviso de que le tocaba escribirlo.

«I was not new to this game and had been tested many times during the last four years on my ability to transform and transmute obstacles into messages and to move with the living symbols into a new vista of experience.» — y declara el marco con que lee el contratiempo: transformar los obstáculos en mensajes y moverse con los símbolos vivos.

«As if haunted by a recurring dream, I have had the question put to me over and over again, how did it all begin?» — la pregunta que Marciniak dice recibir una y otra vez, y que el Preface entero contesta.

«In childhood, I felt I was different and marked to stand out by inheriting an older brother who was mentally retarded.» — Marciniak sitúa en la infancia su sentimiento de diferencia y lo liga a la presencia de su hermano mayor; el volumen imprime el término de la época.

«It was only recently that I was impulsed by the P's, as I have affectionately come to call them, to reexamine old photos from childhood and to reconsider my interpretation of who I thought I was.» — y declara que la relectura de su infancia se la propuso la propia voz dictante, con la abreviatura que usa para nombrarla.

«Our family shared and explored its boundaries under the influence of my Polish maternal grandmother, Babci, who embodied a dignity and a pride that transcended her earthly experience.» — con la abuela materna polaca a la que el Preface atribuye el amor a la tierra que luego oirá en boca de la voz.

«She told us that her maiden name meant "Star" in Polish. Those teachings of loving the Earth would later be echoed through the voice of my own star connection, the Pleiadians.» — Marciniak enlaza el apellido de la abuela, que traduce por estrella, con el nombre de la voz: es el único sitio del volumen donde da una etimología de casa.