If you have had enough of searching for spiritual
gold then you must read Nathan Gill's book 'Already Awake'.
For Gill the totality is made of the knowing
and the known. The knowing is the film-screen and the content of
consciousness is the film. Together they form an indivisible
unity or knowingness.
'I speak of consciousness, oneness, wholeness, with
its two simultaneous aspects of awareness and content of awareness.
The two aspects – awareness and content of awareness – are
not separate: they are one. Awareness is the registering or cognizing
of all that presently appears as the content of awareness.'
Usually the knowing as part of the unity
'Awareness is devoid of all qualities, and so it
According to Gill the content aspect of
knowingness has a hypnotic effect – in the sense that it
makes us forget the whole.
'Oneness is already Your true nature. 'You' oneness,
are only ever seeing Yourself as all forms, but this fact is overlooked
in the mesmerisation with the thought story.'
It is namely the I-thought that makes us
lose sight of the unity and causes us to feel separate.
'With the identification as 'I', all of the other
thought images become 'my' thoughts, and this seeming succession
of thoughts is what is referred to as 'mind' or the psychological
In reality there is only seeing and not
someone who sees.
'There is actually only ever seeing, but at times
there is the play of identification as the character –so
it seems as though the character is seeing, doing, all the rest
The tension between separation and our intuitive
knowing of our true nature makes seeking arise.
'When there is identification as a character, there
is a sense of separation from everything else. With this sense
of separation, there is simultaneously an intuition of our true
nature as oneness, and this disparity is what appears in the play
of life as the motivation for the search for oneness.'
However, the seeking is also only a thought
that arises in consciousness,
'In the thought story there is a search for meaning
and a looking for a way out of it all – whereas when it's
seen to be simply a story arising presently, an extension into
past and future existing merely in thought, then the seriousness
goes out of the quest for oneness. There is simply the registering
of the present content of awareness. This is already presence,
Gill discusses a number of ideas around
the theme of seeking. For example, he discusses the idea that
searching for unity is a special kind of seeking.
'Seeking takes many forms. It can be the search
for being able to play the best game of football or for a new car
or to get over a feeling of anxiety or whatever.'
He also talks about the idea that we should
go outside the content.
'This idea that the content of awareness is
unimportant is a misconception. It stems from the traditional
idea of spirituality, which is to try to escape from the material – or
the content, an that's why the material is often negated. But
if there is only Consciousness – which is awareness and
content of awareness – then the content is completely and
equally as important as awareness. There is nothing outside of
the movie. There is only the movie and the present registering
of it from 'within' the movie.'
Gill also warns about waiting for realization
as a special moment in the future.
'There's a subtle waiting game for something to
appear differently, for some kind of 'event' or experience as confirmation.
But what confirmation is needed for presence? If it is projected
as an awakening that's going to happen in the future, then something
is being overlooked. There is only already awakeness, which may
or may not be recognised. Without awakeness, none of this could
Searching for something special only disturbs
the peace that is already there.
'The peace which is sought is covered up by the
seeking for peace.'
As far as Gill is concerned very little has to be changed. Therefore,
the 'I' need not go.
'It's not necessary for the 'I' to completely disappear.
If there is knowing as our true nature, then it doesn't matter
what appears, whether there is the appearance of 'I' or the absence
of it. There is this appearance as the character, but the story
of this character is no longer taken seriously. There is no longer
the same investment. When it is simply recognised that 'I' is just
another thought, it's not required that 'I' completely or permanently
disappears, and it's perfectly OK for this 'I' to come and go.'
Separation continues to exist as a function
of the game.
'There is still however, the appearance of separation,
distance, perspective, as a functional aspect of the play. Although
there is still appearance as this character, there's the recognition
that this isn't all we are. We are not only the person but also
the registering of the person – awareness and also the content
of awareness. Oneness is the whole thing – including the
seeming separation. It's not as though anything has to change – there
is already awareness right now, presently viewing the content.'
Problems remain but without a 'someone'
who assigns the problems to themselves.
'All the 'problems' are still there, but there is
no longer identification with them. There is no longer the movement
to escape from them. They are no longer 'my' emotions, 'my' thoughts
etc. The story is no longer 'my' story. It's seen through. Agitation
may still arise, but there's a tendency for it to subside fairly
quickly. There is no longer the story of this 'I' that it can 'stick
to'. There is presently 'what is', whether we stick a 'great' label
on it or a 'mediocre' label'.
According to Gill you can't do anything
to become conscious.
'The play is on automatic pilot, it's all happening
automatically: apparent identification as the character, involvement
with the seeking - and then maybe the permeation into the
play of the recognition of oneness. 'You' can't surrender. What
is going to surrender? An apparent surrender happens, but there
is no one that surrenders.'
Further Gill has this to say about it:
'There is this mesmerisation whereby a story arises
that 'I' need to be aware of awareness. But as the mesmerisation
is seen through, the struggle to be aware as the 'I' becomes obsolete.
The 'I' can't do anything about any of this; it cannot 'de-mesmerize'
itself because it's part of the mesmerisation.'
Thoughts that can't be reached are also
part of the game.
'The play is on autopilot, including all of these
arising fears and anxiety about it not being seen. There's only
already awakeness, only already oneness, and maybe a story about
not getting it. With this seeing, the tension disappears from it
If it is seen that there is nothing to reach
then relaxation can happen.
'When the mesmerisation with the story is seen through,
the contraction of tension and seeking is released. There is ease – no
desire for escape. The ease is always the case: it's simply covered
up by tension arising with the mesmerisation. And so, in the absence
of that tension, there is still this apparent life as the character,
but it's no longer 'my' life.' Once again in other words: 'When there is recognition of this being a play, then the desire
no longer appears for any of it to change at all. That agitation
that is the seeking dies. The play continues but without the tension
of seeking. The mesmerisation is seen through. The 'I' that would
do something is seen through. An ordinary life is lived in this
innate knowing. So it's not that there's necessarily bliss, but
there is an ease with it all.'
website Nathan Gill: www.nathangill.com
'Already Awake' is sold by: www.non-dualitybooks.com