After Death Or Letters From Julia

Combined with What is Death? by Mrs. M. T. Longley, and Where Do We Go? translated from the French. These rare classics are ideal text books for the beginner spiritualist. This is one of the best combinations found under one cover on the subject of Spi.

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1910 edition. Excerpt: ... LETTERS FROM JULIA FIEST SERIES, TO HER FRIEND* I. CROSSING THE BAR. When I left you, darling, you thought I was gone from you forever, or at least till you also passed over. But I was never so near to you as after I had, what you called, died. How You Feel After Death. I found myself free from my body. It was such a strange new feeling. I was standing close to the bedside on which my body was lying; I saw everything in the room just as before I closed my eyes. How She Felt In Dying. I did not feel any pain in "dying;" I felt only a great calm and peace. Then I awoke, and I was standing outside my old body in the room. There was no one there at first, just myself and my old body. At first I wondered I was so strangely well. Then I saw that I had passed over. I waited about a little; then the door opened and Mrs. H. came in. She was very sad; she addressed my poor body as if it was myself. I was standing looking at her, but all her thoughts were upon the poor old body I had left behind. It seemed so absurd I could not help laughing. I did not try to speak at first; I waited to see what would happen. An Angel and Her Mission. Then I felt as though a great warm flood of light had come into the room, and I saw an angel. She, * These "Letters" are partially made up from extracts from letters written with my hand, by Julia to her friend Ellen in 1892-3, together with others addressed to me. As these grew out of the correspondence with Ellen, I have included them in the first series. The black-letter headings are, of course, my own. for at first she seemed to be a female, came to me and said: "I am sent to teach you the laws of the new life." And as I looked, she gently touched me and said: "We must go." Then I left the room and my poor...

Excerpt from After Death: Or Letters From Julia Eight years ago I collected together and published the series of messages contained in this volume un der the title, Letters from Julia, or Light from the Borderland, received by automatic writing from one who has gone before. Since then the little vol ume has been six times reprinted in England, and at least one translation has appeared abroad. I have re ceived so many grateful letters from persons in all parts of the world, who, after sorrowing for their dead as those that have no hope, felt on reading this book as if their lost ones were in very truth restored to life, that I can no longer refuse to issue it to a wider public. I have not changed a word or syl lable in the letters themselves. They stand exactly as they were printed in the original edition where they were reproduced from the automatic manu script of the invisible author who used my passive hand as her amanuensis. I have also left unaltered the introduction explaining how these letters were written. But I have changed the title to one which is more challenging than Letters from Julia, and which also indicates more explicitly the subject of the book. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This Is A New Release Of The Original 1909 Edition.

In 1892, William Stead discovered he had the gift of automatic writing and it was then that a discarnate entity claiming to be Julia Ames began to write using Stead's hand. "Sitting alone with a tranquil mind, I consciously placed my right hand, with the pen held in the ordinary way, at the disposal of Julia, and watched with keen and skeptical interest to see what it would write." Stead wrote at the time. Julia Ames was a professional journalist who also edited the The Woman's Union Signal of Chicago. Ames had passed away during December 1891 and she and Stead had been friends. Her closest friend was a woman named Ellen who Stead also knew. Julia told Stead she wanted to relay her experiences from the 'other side' so as to help Ellen understand that death, far from being the end, was an event to be worked toward and that although her body had died 'she' hadn't really died at all. Explaining the process of her death Julia wrote; "I did not feel any pain in "dying;" I felt only a great calm and peace. Then I awoke, and I was standing outside my old body, in the room. There was no one there at first, just myself and just myself. At first I wondered I was so strangely well. Then I saw that I had passed over. She added in another communication, "There is no death... Death is only a sense of deprivation and separation which the so-called living feel - an incident of limitation of 'life.' Death only exists for the 'living, ' not for us." The letters were dictated during a period between 1892 and 1893 and during this time Julia asked Stead to set up a 'Bureau' -- a sort of facility where, with the use of mediums, spiritual communications between the living and the spirit world could take place. Julia expressed great importance in our knowing more about our true reality stating; "you may think it strange that the verification of another life should increase the importance of this. But such is the fact, and you can never understand the importance of your life until you see it from this side. You are never, for one moment, idle from influencing eternity. You may think this a figure of speech. But it is not. You are, far more really than you imagine, making this world of ours in that world of yours." The content of the letters included the law of spiritual growth, the mourning of the 'dead', life on the other side, and numerous other subjects she felt those living in the physical should be aware of before passing over.

With her outsize personality, Julia Child is known around the world by her first name alone. But despite that familiarity, how much do we really know of the inner Julia? Now more than 200 letters exchanged between Julia and Avis DeVoto, her friend and unofficial literary agent memorably introduced in the hit movie Julie & Julia, open the window on Julia’s deepest thoughts and feelings. This riveting correspondence, in print for the first time, chronicles the blossoming of a unique and lifelong friendship between the two women and the turbulent process of Julia’s creation of Mastering the Art of French Cooking, one of the most influential cookbooks ever written. Frank, bawdy, funny, exuberant, and occasionally agonized, these letters show Julia, first as a new bride in Paris, then becoming increasingly worldly and adventuresome as she follows her diplomat husband in his postings to Nice, Germany, and Norway. With commentary by the noted food historian Joan Reardon, and covering topics as diverse as the lack of good wine in the United States, McCarthyism, and sexual mores, these astonishing letters show America on the verge of political, social, and gastronomic transformation.