Classical Writers on Spiritualism and the Soul

Hello, everyone! Today, we’re diving into something truly fascinating—an extraordinary imaginary conversation that spans the mystical, the philosophical, and the creative minds of some of the greatest writers in history. Imagine sitting down with Arthur Conan Doyle, William Butler Yeats, Elizabeth Barrett Browning, James Merrill, H.G. Wells, and Philip K. Dick, as they explore the realms of spiritualism, reincarnation, and the evolution of the soul.

These are the thinkers who challenged our ideas of reality, who blurred the lines between the seen and unseen. They’ve woven their experiences with the paranormal, their spiritual beliefs, and their artistic brilliance into works that still inspire us today. So, what happens when you bring them together to discuss the afterlife, mystical symbols, and the eternal journey of the soul?

We’ll hear about their personal encounters with the unknown, the ethical challenges of contacting the spirit world, and the purpose of reincarnation. This conversation touches the core of human existence and the boundless creativity that emerges from it. Get ready to expand your mind and reflect on life’s greatest mysteries. Let’s begin.

Communication with Spirits and the Afterlife

Nick Sasaki: “Welcome, everyone! It’s an honor to bring together such a remarkable group of writers and thinkers, all of whom have had fascinating experiences with spiritualism and the paranormal. Today, we’re discussing communication with spirits and the afterlife. Let’s dive right in. Arthur, you were a strong believer in spiritualism. What first drew you to the idea that we could communicate with spirits?”

Arthur Conan Doyle: “Thank you, Nick. My journey into spiritualism began after the tragic loss of loved ones. The grief I felt made me seek answers, and I found them through séances and mediums. The idea that the soul endures and that we can maintain contact with those who have passed beyond the veil has always resonated deeply with me. I saw this not as mere superstition, but as a powerful form of healing and connection.”

Nick Sasaki: “That’s powerful. Elizabeth, I know you also had an interest in the afterlife and communicating with spirits. How did that influence your work?”

Elizabeth Barrett Browning: “It’s true, Nick. I was quite fascinated by spiritualism. For me, the idea of communication with the afterlife wasn’t just comforting—it was also a way to explore the depth of human emotion and the mystery of existence. In my poetry, I often tried to express this connection, the notion that our souls reach beyond the physical plane. The thought that love could transcend death gave me peace, and it certainly influenced my writing.”

Nick Sasaki: “James, your work took this idea even further. Your Ouija board sessions became the foundation for some of your most famous poetry. What was that experience like?”

James Merrill: “It was quite profound, Nick. The spirits I communicated with weren’t just voices from the beyond—they felt like collaborators in my creative process. Over the years, these conversations took on a life of their own. My epic poem The Changing Light at Sandover emerged directly from these encounters. The spirits spoke in cryptic, poetic language, almost as if they were guiding me to explore the mysteries of existence in ways I couldn’t have imagined alone. It was as much a spiritual practice as it was a literary one.”

Nick Sasaki: “Fascinating! Philip, I know your experiences with the spiritual and the paranormal were a bit different. How did your encounters shape your view of reality?”

Philip K. Dick: “Well, Nick, my experiences weren’t just about communicating with spirits—they were about questioning the very nature of reality itself. I had visions that felt like divine revelations, moments where I believed I was receiving knowledge from a higher source, a kind of cosmic intelligence. This idea of multiple layers of reality and parallel existences made me wonder if what we call ‘spiritual communication’ might actually be tapping into something much bigger—a multiverse, perhaps, or different timelines where the soul exists in various forms.”

Nick Sasaki: “That’s a fascinating perspective, Philip. William, you’ve worked with symbols and mysticism throughout your life. How do you see the connection between spirits, the afterlife, and the mystical symbols you explored in your work?”

William Butler Yeats: “Ah, Nick, the spirits are but one aspect of the greater mystical tapestry of existence. I’ve always believed that the symbols of the occult and the spirit world are keys to unlocking deeper truths about the universe. My involvement with the Hermetic Order of the Golden Dawn was driven by a desire to understand these symbols, to interpret the messages from the other side. Whether through visions, dreams, or spiritual communication, I think the afterlife speaks to us in a symbolic language. It’s up to us to decipher it.”

Nick Sasaki: “That’s beautifully put, William. It seems like all of you have found meaning in the idea of spirits communicating with the living, whether through direct contact, symbols, or creative inspiration. Before we wrap up, I’d love to hear from each of you about the most important lesson or insight you’ve gained from these experiences. Arthur?”

Arthur Conan Doyle: “For me, the greatest lesson is that death is not the end. We continue, and our loved ones remain with us in ways that we may not fully understand, but they are there—watching, guiding, and waiting for the moment when we’ll be reunited.”

Elizabeth Barrett Browning: “I would echo that sentiment, Arthur. The most profound realization I had is that love transcends death. Our souls are intertwined across time, and we are never truly alone.”

James Merrill: “I would say that the spirits taught me patience and the importance of seeking wisdom, even when the messages aren’t immediately clear. The journey itself—through life and beyond—is what holds the meaning.”

Philip K. Dick: “For me, it’s the idea that reality is fluid. What we perceive as the ‘afterlife’ might just be another layer of reality we can’t fully comprehend. Spiritual experiences are glimpses into that vast unknown.”

William Butler Yeats: “I believe the greatest lesson is that the universe is far more mystical and interconnected than we often realize. Through art, symbols, and spiritual practice, we can access hidden truths and bring them into the light.”

Nick Sasaki: “Incredible insights from all of you. Thank you for sharing your experiences and wisdom on this fascinating topic. It’s clear that the connection between life, death, and the spirit world is as rich and complex as the works you’ve all created.”

The Role of Mysticism and Symbols in Understanding the Universe

Nick Sasaki: “Welcome back, everyone! Today, we’re diving into a deeper layer of the spiritual and paranormal: the role of mysticism and symbols in understanding the universe. Many of you have explored how symbols and esoteric knowledge play a crucial role in your work and spiritual beliefs. William, you’ve spent much of your life immersed in mystical practices and symbolism. How do you see symbols shaping our understanding of the universe?”

William Butler Yeats: “Ah, Nick, symbols are the language of the unseen. In my work with the Golden Dawn, I came to understand that symbols are not just artistic flourishes—they are keys to unlocking the deeper, spiritual forces that govern existence. Everything we perceive in this world is a shadow of a higher reality, and it is through symbols that we glimpse that higher truth. In both my poetry and my personal spiritual journey, I found that symbols offer a way to connect with the divine, to access wisdom that is otherwise hidden from view.”

Nick Sasaki: “That’s fascinating, William. So you believe that the universe speaks to us in symbols, and it’s up to us to interpret them? Philip, your work often blurs the line between reality and illusion. How do symbols fit into your worldview, especially considering your experiences with the paranormal?”

Philip K. Dick: “Symbols have always felt like breadcrumbs, left by some higher intelligence for us to follow. My experiences—especially during those revelatory moments—were filled with symbols, often flashing in front of my eyes, as if the universe was trying to communicate in a language beyond words. I think of symbols as connectors, linking our reality to other dimensions or alternate realities. They help us perceive the truth in fragments, which is often all we can handle. In VALIS, I explored this idea heavily—the notion that divine or cosmic intelligence communicates through symbols, and our role is to piece together these clues to understand the larger picture.”

Nick Sasaki: “So you both see symbols as a form of universal communication, almost like a puzzle to decode higher truths. James, your work with spirits and the Ouija board seems to tap into a similar idea—how do symbols play a role in those spiritual communications?”

James Merrill: “You’re right, Nick. In my sessions with the Ouija board, the spirits often communicated through cryptic messages that felt symbolic in nature. The spirits didn’t always speak in clear, straightforward language—they gave us symbols, fragments of poetry, or riddles that we had to interpret. It was as if they were pointing us toward a larger truth but only giving us pieces to work with. In The Changing Light at Sandover, I tried to capture that sense of mystery, where symbols act as bridges between the material and spiritual worlds. I’ve always believed that our lives are filled with hidden meanings, and it’s our job to uncover them, bit by bit.”

Nick Sasaki: “That’s really interesting, James. Elizabeth, I know you were deeply fascinated by the afterlife and spiritualism, and you often explored deeper truths in your poetry. How did symbols play a part in your understanding of the universe?”

Elizabeth Barrett Browning: “For me, symbols are a way to express the ineffable—the things we cannot fully comprehend or articulate. In my poetry, I used symbolic language to express themes of love, death, and the spiritual journey. I believed that symbols allowed us to transcend the limits of our understanding and touch something eternal. Whether it was the symbol of light representing divine presence or the rose as a symbol of love that endures beyond death, I found that symbols could carry layers of meaning that simple words could not.”

Nick Sasaki: “That’s a beautiful way of putting it, Elizabeth—symbols as a way of expressing what’s beyond words. Arthur, you were more grounded in investigations of the paranormal, but you must have encountered symbols in your spiritualist work. How did they influence your view of the universe?”

Arthur Conan Doyle: “Indeed, Nick, while my work in spiritualism was more focused on direct communication with spirits, I cannot deny that symbols played a significant role. In séances, symbols would sometimes emerge—certain images, gestures, or objects that held meaning for those in attendance. I came to understand that these symbols were often messages from the spirits, a way for them to communicate across the divide. For example, a flower might represent love, or a certain number might signify an important date. In my investigations, I realized that symbols often carried messages that were personal to the individuals involved, but also connected to broader spiritual truths. The universe, it seems, does have a symbolic language.”

Nick Sasaki: “It’s fascinating to see how each of you interacts with symbols in such profound ways, from poetry to spiritual communication. Before we close, I’d love to hear from each of you about a symbol or mystical practice that has been especially meaningful in your life or work. William?”

William Butler Yeats: “For me, it would be the symbol of the gyre, which I used in much of my later work. The gyre represents the cyclical nature of history and spiritual evolution—a spiral that continually expands and contracts, shaping human destiny. It’s a symbol of both chaos and order, and I find that it captures the tension between the material and spiritual worlds.”

Nick Sasaki: “That’s a powerful image, William. Philip, how about you?”

Philip K. Dick: “The fish symbol is one that’s stuck with me ever since my encounter with that ‘pink light’ in 1974. It felt like a direct communication from some higher force, and I couldn’t ignore its significance. It was an ancient Christian symbol, but for me, it represented knowledge from the divine. It changed the way I saw the world—suddenly, everything had a symbolic meaning.”

Nick Sasaki: “James, any symbol or practice that stands out to you?”

James Merrill: “The Ouija board itself became a symbol of my connection to the otherworld. It’s a simple tool, but what it represents is profound—an opening to the unknown, a bridge between realms. It became a central part of my creative process, not just as a device for communication, but as a symbol of mystery and discovery.”

Nick Sasaki: “Elizabeth, how about you?”

Elizabeth Barrett Browning: “The rose is a symbol that I often returned to in my work. For me, it represented love, beauty, and the eternal nature of the soul. It was a reminder that even as we face death, the essence of what we love continues to bloom in ways we cannot always see.”

Nick Sasaki: “Arthur, any final thoughts on a symbol or practice?”

Arthur Conan Doyle: “For me, the symbol of the veil has always been significant. It represents the barrier between life and death, between the known and the unknown. In my work with mediums, I felt that every time we reached out to the spirit world, we were pulling back that veil, if only for a moment, to glimpse what lies beyond.”

Nick Sasaki: “Thank you, everyone. It’s been incredible hearing how deeply symbols and mysticism have shaped your work and understanding of the universe. It’s clear that these symbols carry meanings far beyond their surface, opening up pathways to deeper truths. I look forward to continuing this conversation!”

The Ethics and Dangers of Engaging with the Paranormal

Nick Sasaki: “Welcome back, everyone! Today’s discussion takes a more cautionary turn as we explore the ethics and dangers of engaging with the paranormal. Whether through spiritualism, mysticism, or your own personal experiences, you’ve each ventured into realms that many would consider dangerous or at least ethically complex. Let’s start with you, Arthur. You were a passionate advocate for spiritualism, but you also encountered fraud and deception. How did you approach the ethical issues surrounding mediumship and séances?”

Arthur Conan Doyle: “Thank you, Nick. Yes, my belief in spiritualism was steadfast, but I became painfully aware of the potential for deception. There were certainly fraudsters who preyed on the grieving, and I made it a point to call them out whenever I could. However, I maintained that the majority of mediums were genuine, and their work provided much-needed comfort to those searching for answers. The key was discernment—ensuring that the mediums we engaged with were ethical and sincere. I believed that the spirits themselves would not harm us, but the danger lay in the dishonesty of certain practitioners.”

Nick Sasaki: “It seems like discernment and trust were crucial to your practice, Arthur. James, you took a different approach, channeling spirits through the Ouija board. Did you ever feel you were putting yourself or others at risk by engaging with these entities?”

James Merrill: “Absolutely, Nick. The danger wasn’t always obvious at first, but the deeper we went into these communications, the more I began to sense that some of the spirits we contacted were not as benevolent as they appeared. There’s a temptation to assume that any communication from beyond must be profound or wise, but I learned quickly that spirits, like people, can be mischievous, even malevolent. The ethical dilemma, for me, was in deciding how much to trust these voices and whether to share what they said with others. At times, I felt I was playing with fire, and that’s something I tried to express in The Changing Light at Sandover—the thin line between enlightenment and danger.”

Nick Sasaki: “So there’s a real sense of risk in the pursuit of knowledge from the other side. William, you’ve delved into the mystical and occult, where ethics and power often collide. What did you find most dangerous about engaging with these forces?”

William Butler Yeats: “The danger, Nick, lies in the allure of power. In the mystical traditions I studied, particularly with the Golden Dawn, there was always the temptation to use these esoteric teachings for personal gain. Whether through rituals or symbolic manipulation, one could attempt to bend the forces of the universe to their will, but such actions come at a great cost. The ethics of engaging with the paranormal are tied to humility—one must never forget that these forces are far greater than ourselves. I saw people fall into the trap of hubris, thinking they could control these powers, only to find themselves consumed by them. The occult is not a game; it is a path fraught with peril for those who seek to dominate rather than understand.”

Nick Sasaki: “That’s an important point, William—the need for humility in the face of forces larger than ourselves. Elizabeth, you often sought comfort and meaning through spiritualism, but did you ever feel there were ethical concerns or dangers involved in your pursuit of the afterlife?”

Elizabeth Barrett Browning: “Yes, Nick, I did. My fascination with spiritualism was always tempered by the recognition that, as comforting as it could be, we were venturing into a realm beyond human understanding. I was particularly concerned with how vulnerable people, especially those in mourning, could be manipulated by unscrupulous mediums. I sought spiritual connection, but I always urged caution. The danger, I felt, was in becoming too dependent on these communications from the other side. One must live fully in this world, even as we seek answers from the next. The ethical issue for me was whether we were seeking contact out of a genuine desire for knowledge, or out of a refusal to let go of the past.”

Nick Sasaki: “That balance between seeking knowledge and holding on to the present is crucial. Philip, you had experiences that were intensely personal and often unsettling. How did you navigate the dangers and ethical dilemmas of your encounters with the paranormal?”

Philip K. Dick: “Well, Nick, I didn’t always navigate them successfully. My experiences with what I perceived as divine or cosmic intelligence often felt overwhelming. The danger for me was in losing my grip on reality. When you start receiving messages—or think you’re receiving messages—it’s easy to question what’s real and what’s not. I often found myself on the edge of madness, wondering whether I was tapping into some higher truth or whether I was simply deluding myself. The ethical question, for me, was whether to trust these visions and share them with others. I worried about leading people astray with my own experiences, so I was always careful to frame them as personal, subjective truths rather than universal ones. The paranormal can open your mind, but it can also break it if you’re not careful.”

Nick Sasaki: “It sounds like you were deeply aware of the personal cost of engaging with these experiences. Let’s open the floor to a broader question: given the risks and ethical concerns, should we even pursue communication with the paranormal at all? Is the potential knowledge worth the dangers? Arthur, what’s your take?”

Arthur Conan Doyle: “I firmly believe it is worth the pursuit, but it must be done with integrity and caution. The afterlife offers us answers about the nature of existence, and for many, it brings peace. That said, we must protect the vulnerable and always seek out legitimate mediums. There is great knowledge to be gained, but the pursuit must never come at the cost of truth.”

Nick Sasaki: “Elizabeth, what about you?”

Elizabeth Barrett Browning: “I agree with Arthur. There is beauty and comfort in seeking communication with the other side, but we must remain grounded in this world. We must not lose ourselves in our quest for answers. The knowledge we gain should enhance our lives, not replace them.”

Nick Sasaki: “James, is the risk worth it for you?”

James Merrill: “It’s a delicate balance, Nick. For me, the creative and spiritual insights were worth the risk, but I also learned to respect the dangers. If you’re going to engage with the paranormal, you have to go in with your eyes open. There’s no guarantee that what you find will be comforting—or even true.”

Nick Sasaki: “Philip, your experiences were intense. Would you say the risk is worth it?”

Philip K. Dick: “It depends on the person. For me, I had no choice but to pursue these experiences—they came to me whether I wanted them or not. But I would caution others to be careful. The paranormal can lead you down paths that you might not be ready for. If you’re going to seek out these experiences, make sure you’re prepared to face whatever you might uncover.”

Nick Sasaki: “William, your final thoughts?”

William Butler Yeats: “There is great value in seeking out the mystical, but only if we approach it with reverence and humility. The forces at play are powerful, and if we do not respect them, we risk being consumed by them. The knowledge is there, but it comes at a price. We must always ask ourselves: is this knowledge meant for us, and are we ready for it?”

Nick Sasaki: “Powerful thoughts from all of you. It’s clear that while the pursuit of the paranormal and the mystical can yield profound insights, it also carries significant risks—both ethical and personal. It seems the key is approaching these realms with caution, respect, and a clear understanding of the potential dangers.”

The Intersection of Art, Spiritualism, and Creation

Nick Sasaki: “Welcome back, everyone! Today, we’re exploring the intersection of art, spiritualism, and creation—how the paranormal or spiritual experiences have influenced your artistic works. Each of you has drawn from the unseen, whether through direct communication with spirits, mystical visions, or the exploration of alternate realities. Let’s start with you, James. You famously channeled spirits through the Ouija board, which played a huge role in your poetry. How did those experiences shape your creative process?”

James Merrill: “Thank you, Nick. Yes, the Ouija board became an unexpected but powerful tool in my creative life. What began as casual experimentation with friends soon became a serious endeavor. The spirits, or at least the voices we communicated with, provided poetic material that was far beyond anything I could have conceived on my own. It wasn’t just the content they shared but the way it arrived—riddles, fragmented images, symbols. The spirits seemed to push me toward a new kind of narrative structure, one that reflected the disjointed and mysterious nature of their world. The Changing Light at Sandover is the direct result of these collaborations, blending my own voice with what I felt were voices from another realm.”

Nick Sasaki: “So, in a way, you see the spirits as co-creators of your work?”

James Merrill: “Yes, exactly. I was the conduit, but they provided the raw material and inspiration. It was a symbiotic relationship, though it did require a lot of interpretation on my part.”

Nick Sasaki: “That’s fascinating. William, you were deeply involved in mystical and esoteric traditions, and your poetry reflects that. How did your spiritual beliefs and practices influence your art?”

William Butler Yeats: “Art and mysticism are inseparable for me, Nick. I’ve always believed that the artist is, in a sense, a medium—someone who channels the deeper, hidden forces of the universe into form. My work with the Golden Dawn and my study of the occult gave me the symbolic language I needed to explore these forces. The cyclical nature of history, the rise and fall of civilizations, the movement of spiritual energies—all of these ideas found their way into my poems and plays. I viewed art as a means of revealing the eternal truths that lie behind the physical world. In particular, I found that symbols such as the gyre allowed me to express complex spiritual and philosophical ideas in ways that were both mystical and accessible.”

Nick Sasaki: “It seems like symbols were essential to both your mystical practice and your creative expression. Philip, you often wrote about alternate realities and divine encounters. How did your experiences with the paranormal influence your storytelling?”

Philip K. Dick: “Well, Nick, my writing was often a reflection of my own struggle to make sense of reality. After my experiences in 1974, where I believed I had been contacted by some higher intelligence—or what I called VALIS—it became impossible for me to separate my personal visions from my creative work. The distinction between what was ‘real’ and what was imagined blurred, and that’s what drove much of my later writing. Novels like VALIS and Ubik are my attempts to process these experiences. I often felt as though I was living in multiple realities at once, and my stories became an exploration of that disorientation. My paranormal encounters gave me a sense of cosmic significance but also raised questions about how much of it was true and how much was my mind trying to make sense of something incomprehensible.”

Nick Sasaki: “It sounds like your experiences with the paranormal were as much about questioning reality as about discovering new truths. Elizabeth, your poetry is often deeply emotional and spiritual. Did spiritualism play a role in your creative process?”

Elizabeth Barrett Browning: “Yes, it did, Nick. I’ve always believed that poetry is the language of the soul, and much of my work was influenced by a desire to explore the spiritual dimensions of human experience. My interest in spiritualism was part of a broader search for understanding—of love, death, and the afterlife. In my poetry, I used images of light, angels, and divine presence to express these ideas. I wanted to convey that the material world is only a shadow of a greater spiritual reality. Spiritualism influenced not just the themes of my work but also the way I approached writing—I felt that the act of creation itself was a spiritual practice, a way of reaching toward the divine.”

Nick Sasaki: “So for you, writing was almost like a form of spiritual communion. Arthur, your fiction often explored the supernatural, but you were also deeply invested in spiritualism. Did your belief in the afterlife influence your creative work?”

Arthur Conan Doyle: “Very much so, Nick. While I’m best known for Sherlock Holmes, a character grounded in logic and reason, I personally had a deep belief in the supernatural. My interest in spiritualism came later in life, and it influenced both my fiction and non-fiction. For example, in my novel The Land of Mist, I explored spiritualism more directly, weaving it into a narrative of discovery and revelation. I viewed spiritualism as a means of understanding the great mystery of life after death, and that naturally found its way into my storytelling. I believed that through literature, we could explore the unknown and bring these ideas to a wider audience.”

Nick Sasaki: “It’s interesting that even though your most famous character was a skeptic, you yourself were drawn to the unknown. Let’s talk more about the creative process itself. Do you feel that your spiritual or paranormal experiences made you more of a vessel or channel for your art, rather than the sole creator? James, you mentioned the spirits acting as collaborators. Do the rest of you feel similarly?”

William Butler Yeats: “Absolutely. I’ve often felt that the role of the artist is to channel forces that are far greater than the individual. My wife’s automatic writing, for example, was a direct result of such channeling, and we both believed that we were in communication with higher beings, providing us with insight into the human condition. In my own poetry, I often felt as though I was merely the conduit for ideas and images that flowed from the deeper, mystical realm.”

Elizabeth Barrett Browning: “I would agree, William. When I wrote, especially when I was deeply inspired, I often felt as though I were not the origin of the words but rather the vessel through which they passed. It’s a humbling experience, and one that ties into my belief that the creative act is a form of divine connection.”

Philip K. Dick: “I’d say my experiences were less about channeling a specific entity and more about being bombarded with ideas and visions that felt like they came from outside myself. After my encounter with VALIS, it felt as though my mind had been opened to a flood of information that I had to make sense of. Whether it was a higher intelligence or just my brain’s way of processing something extraordinary, I’m not sure. But I definitely felt like a medium for ideas that I couldn’t always fully control.”

Arthur Conan Doyle: “I would say that even when I was writing Sherlock Holmes, I felt as though the character took on a life of his own. As my interest in spiritualism grew, this feeling intensified—I came to believe that there is a creative force beyond us, guiding our work. Whether it’s the spirits or the collective unconscious, we as artists are simply the means through which these forces express themselves.”

Nick Sasaki: “It sounds like there’s a shared sense among all of you that creativity is a spiritual or mystical experience, and that the artist often functions as a medium. Before we wrap up, I’d love to hear your thoughts on what you believe the ultimate purpose of this creative communion is. James, why do you think we, as artists, are called to channel these spiritual forces?”

James Merrill: “I believe that art is a way to bridge the gap between the material and spiritual worlds. Through poetry, we can give form to the ineffable, to the things we can’t fully understand but that shape our lives nonetheless. It’s about making the invisible visible.”

Nick Sasaki: “Elizabeth, what about you?”

Elizabeth Barrett Browning: “I think it’s about love—about expressing the eternal, divine love that connects all of us, both in this life and beyond. Art, for me, is a way of reaching toward that divine love, of giving it a voice in the world.”

Nick Sasaki: “Philip, what’s your take?”

Philip K. Dick: “For me, it’s about truth—about peeling back the layers of illusion to get to the core of what’s real. Whether we’re talking about alternate realities, divine intelligence, or just the workings of the human mind, I think art helps us explore those deeper truths.”

Nick Sasaki: “William, final thoughts?”

William Butler Yeats: “I believe that art is a means of expressing the eternal truths that are hidden from everyday life. It allows us to transcend the ordinary and connect with the divine, the mystical, the eternal. It’s a sacred act.”

Nick Sasaki: “Arthur, your last word?”

Arthur Conan Doyle: “I’d say that art, like spiritualism, is about discovery. It’s about exploring the mysteries of life and death, and offering others a glimpse of what lies beyond. In that sense, it’s both a gift and a responsibility.”

Nick Sasaki: “Incredible insights from all of you.

Reincarnation and the Evolution of the Soul

Nick Sasaki: “Welcome back, everyone! Today’s topic is reincarnation and the evolution of the soul. This is a subject that has been explored in spiritual traditions around the world and has certainly been reflected in the work and lives of each of you. Let’s start with Arthur—while you were a strong advocate of spiritualism, how did the idea of reincarnation fit into your belief system?”

Arthur Conan Doyle: “Thank you, Nick. Yes, while my primary focus was on spiritualism and communication with the departed, reincarnation was a concept I found intriguing. I believed in the immortality of the soul and that it evolved over time, but I was not fully committed to the idea of multiple lifetimes. However, I did entertain the notion that the soul might return to the physical world to learn more lessons, which would fit within the broader spiritualist framework of progress and evolution. It’s certainly a comforting idea—that we are given more than one chance to grow and evolve.”

Nick Sasaki: “So reincarnation wasn’t central to your beliefs, but it was something you considered. Elizabeth, you often wrote about the soul’s journey and eternal love. Did reincarnation play a part in your understanding of the afterlife?”

Elizabeth Barrett Browning: “Yes, Nick, I found the idea of reincarnation to be deeply resonant with my views on the eternal nature of love and the soul’s progression. I believed that the soul is on a continual journey toward divine perfection, and reincarnation provides the opportunity to learn, grow, and love more deeply across multiple lifetimes. For me, love was a guiding force in this process—each life offers us new chances to express that love in different forms, moving us closer to the divine. In my poetry, I often alluded to the idea that the bonds we create in this life persist beyond death, and perhaps even carry over into future lives.”

Nick Sasaki: “That’s a beautiful perspective, Elizabeth—love as the force guiding the soul’s evolution. William, your work is filled with references to mystical cycles and spiritual growth. How do you view reincarnation in the context of your esoteric beliefs?”

William Butler Yeats: “Ah, reincarnation is central to my understanding of the soul’s evolution. I’ve always believed that the soul progresses through cycles of life, death, and rebirth, each cycle bringing it closer to enlightenment. My concept of the gyres—spirals that represent the cyclical nature of history and the soul’s journey—was directly inspired by this belief. In each incarnation, the soul gathers new experiences and wisdom, building upon the lessons of previous lives. It’s a process of continuous refinement. I explored this idea extensively in A Vision, where I described how souls move through phases of existence, gaining deeper understanding with each rebirth.”

Nick Sasaki: “The idea of cyclical growth through reincarnation seems to have deeply influenced your work. Philip, you often wrote about alternate realities and parallel lives. How did reincarnation fit into your worldview, especially considering your experiences with altered states of consciousness?”

Philip K. Dick: “Well, Nick, my experiences with what I call ‘anamnesis’—the sudden recollection of past lives or alternate realities—made me question the nature of time itself. I came to believe that the soul doesn’t just move linearly through different lifetimes, but that it might exist simultaneously in multiple dimensions or timelines. I wrote about this idea in VALIS, where I explored the possibility that all of our past and future selves are interconnected. I think reincarnation could be just one expression of a much larger, more complex structure of existence—where the soul is constantly shifting between different realities, learning different lessons. So, in my view, reincarnation is less about linear progression and more about the soul navigating multiple layers of existence.”

Nick Sasaki: “That’s a fascinating take, Philip—reincarnation as a multidimensional experience rather than a simple cycle. James, your communication with spirits through the Ouija board touched on a lot of esoteric themes. Did reincarnation come up in your dialogues with the spirits?”

James Merrill: “Yes, Nick, it did. In my sessions, the spirits spoke often about the soul’s journey through multiple lives. They described reincarnation as a kind of apprenticeship—a way for the soul to refine itself over many lifetimes. What fascinated me was how the spirits emphasized the importance of every small choice we make. They suggested that in each lifetime, the soul encounters opportunities to learn specific lessons, and if we fail to learn those lessons, we return in another life to face them again. This theme made its way into The Changing Light at Sandover, where I explored the idea that our actions ripple through time, affecting both our current life and our future incarnations.”

Nick Sasaki: “It sounds like reincarnation, for you, was deeply tied to personal growth and the consequences of our choices. I’d love to open the discussion now: what do you all think the ultimate purpose of reincarnation is? Arthur, do you believe the soul is working toward something specific through these lifetimes?”

Arthur Conan Doyle: “I think the soul is ultimately working toward spiritual perfection, Nick. Whether or not reincarnation is a part of that, I believe that each soul is on a path of growth and development. We learn from our mistakes, from our joys and sorrows, and become better versions of ourselves over time. If reincarnation is part of that process, it would be a way for the soul to continue learning, especially when a single lifetime might not be enough to achieve the growth we need.”

Nick Sasaki: “Elizabeth, you’ve spoken about love as a driving force. Do you think the purpose of reincarnation is connected to love?”

Elizabeth Barrett Browning: “Yes, absolutely. I believe the soul reincarnates to continue its journey toward divine love. Each life offers the soul new opportunities to express love, to grow in empathy and compassion. The ultimate purpose, I think, is to unite with the divine—to return to the source of all love. Reincarnation allows us to purify ourselves, to become more aligned with that divine energy through the lessons we learn in each life.”

Nick Sasaki: “William, how do you see the ultimate purpose of reincarnation in your mystical framework?”

William Butler Yeats: “For me, the purpose is enlightenment—each life is a step on the ladder toward spiritual awakening. The soul is constantly refining itself, gathering knowledge and wisdom through its incarnations. Reincarnation is not just about individual growth, but about the evolution of humanity as a whole. As we progress through these cycles, we contribute to the collective advancement of the soul. Ultimately, the goal is to break free from the cycles of birth and death, to reach a state of spiritual transcendence.”

Nick Sasaki: “Philip, do you think the purpose of reincarnation, or whatever form of soul evolution you believe in, is something we can understand from within our current reality?”

Philip K. Dick: “I’m not sure we can fully understand it, Nick. From what I’ve experienced, the purpose might be beyond our comprehension. If we’re moving through multiple realities or dimensions, then the lessons we’re learning might not even be specific to this one reality. The purpose could be something much larger than personal growth—it could be about the evolution of consciousness itself. We might be part of a much grander, cosmic process that we can only glimpse in brief moments of insight.”

Nick Sasaki: “James, what’s your view on the soul’s ultimate purpose in reincarnation?”

James Merrill: “I think the purpose is to refine the soul, to bring it closer to understanding its place in the universe. Reincarnation allows the soul to explore different facets of existence, to face challenges and opportunities that contribute to its growth. The spirits I communicated with often spoke about the idea of cycles, not just of life and death, but of spiritual awakening. Each lifetime is a chance to move closer to that awakening, to understand the interconnectedness of all things.”

Nick Sasaki: “It seems like all of you see reincarnation, or the soul’s evolution, as part of a larger process of growth, whether that’s toward enlightenment, love, or cosmic understanding. Before we wrap up, I’d love to hear from each of you: if you could offer one piece of advice to someone considering the possibility of reincarnation, what would it be? Arthur?”

Arthur Conan Doyle: “I would say, live each life as fully as you can. Whether or not reincarnation is real, the lessons you learn in this life are valuable. Seek growth, seek understanding, and be kind.”

Nick Sasaki: “Elizabeth?”

Elizabeth Barrett Browning: “I would encourage people to embrace love in all its forms. Each lifetime is an opportunity to love more deeply, and it is through love that the soul grows.”

Nick Sasaki: “William?”

William Butler Yeats: “I would tell them to seek wisdom. Every life is a step on the path to enlightenment, and it is through knowledge, reflection, and spiritual practice that the soul evolves.”

Nick Sasaki: “Philip?”

Philip K. Dick: “I’d say, question everything. Reality is much stranger than we think, and if reincarnation is part of that reality, it’s likely more complex than we can understand. Keep your mind open.”

Nick Sasaki: “James?”

James Merrill: “I would say, pay attention to the choices you make. Every action, every decision ripples through time and possibly through multiple lifetimes. Whether or not you believe in reincarnation, the way you live this life will shape your soul, and perhaps even the future lives you might experience.”

Nick Sasaki: “That’s a great note to end on, James. It seems like no matter how each of you approaches the idea of reincarnation, there’s a shared belief in the importance of how we live our current lives—whether it’s through love, wisdom, questioning, or simply being mindful of our choices. Thank you all for such a profound and enlightening conversation on the soul’s evolution. I think we’ve uncovered some fascinating perspectives that could inspire many to reflect on their own spiritual journey.”

The Future of the Soul and Human Consciousness

Nick Sasaki: “Welcome back, everyone! Today we’re taking a new direction with the conversation by adding H.G. Wells into the mix. Given his unique vision of the future, I think it would be fascinating to discuss the future of the soul and human consciousness. We’ve explored reincarnation and spiritual evolution in past discussions, but let’s expand this to ask: How might spiritual and human consciousness evolve in the future, particularly in relation to technological advancements? H.G., I’d love to hear your thoughts first.”

H.G. Wells: “Thank you, Nick. My primary concern has always been the future of humanity, and while I focused largely on technological and social evolution in my work, I believe the soul and human consciousness are intricately tied to that progress. If reincarnation or spiritual evolution is indeed a reality, it raises the question: How will the soul evolve in tandem with the rapid advances of science? Will we eventually transcend our current human limitations, perhaps even becoming something beyond what we now recognize as human?”

Nick Sasaki: “So you’re suggesting that the soul’s evolution might be influenced by the trajectory of technological advancements. William, as someone who explored mystical cycles, how do you think technological evolution might affect the soul’s journey?”

William Butler Yeats: “Ah, H.G.’s question touches on a key tension between the spiritual and the material. I’ve always believed that the soul moves through cycles of enlightenment, gathering knowledge in each incarnation. Technology, in my view, could either serve as a tool for expanding consciousness, or as a distraction from the soul’s true path. If humanity becomes too absorbed in its material progress, we may lose touch with the deeper, spiritual forces guiding us. The gyres I wrote about could become increasingly disordered as we push forward without sufficient reflection on our inner evolution.”

Nick Sasaki: “That’s an interesting warning, William—technology as both a tool and a potential hindrance. Arthur, you were a spiritualist but also a man of reason and logic through Sherlock Holmes. How do you see the soul evolving in a future shaped by science and technology?”

Arthur Conan Doyle: “I see no reason why the soul and science should be in conflict, Nick. In fact, I’ve long believed that spiritualism and rational thought could complement one another. If humanity continues to evolve through scientific progress, it might actually provide us with more tools to explore the mysteries of the afterlife and the soul’s journey. I would imagine a future where we develop ways to scientifically measure spiritual phenomena—perhaps even prove the existence of the afterlife or reincarnation. But, as William mentioned, we must remain vigilant that our spiritual progress keeps pace with our material advancements.”

Nick Sasaki: “That balance between spiritual and scientific progress is key. Elizabeth, you’ve always focused on the soul’s journey of love and growth. Do you think the soul will continue evolving in this future, or could modern advancements change that?”

Elizabeth Barrett Browning: “I believe the soul’s ultimate purpose—its journey toward divine love—remains constant, no matter the external changes. Technology may offer new ways for us to connect or learn, but the soul’s evolution is an inner process. However, we must be cautious that technology does not become a substitute for genuine human connection and empathy. The danger lies in losing ourselves in the material world and forgetting that the true evolution of the soul lies in love, compassion, and spiritual growth, not in technological achievements.”

Nick Sasaki: “So for you, Elizabeth, technology is secondary to the soul’s inner progress. Philip, you’ve often written about alternate realities and divine intelligence. How does this conversation about the future of the soul align with your vision?”

Philip K. Dick: “I’ve always believed that the soul exists in multiple realities at once, and the future might reveal ways to access those realities. Technology could play a role in expanding our consciousness, allowing us to glimpse these alternate dimensions or even past lives. But there’s also a danger of losing ourselves in artificial constructs. As we move forward, it’s important to ask: are we evolving toward truth or just creating more elaborate illusions? My fear is that we might use technology to escape rather than confront the true nature of the soul.”

Nick Sasaki: “James, your creative process involved the spiritual world directly through your Ouija board sessions. How do you think the soul’s evolution might be impacted by the future advancements H.G. mentioned?”

James Merrill: “I think the soul will continue its journey, regardless of technological changes, but technology could offer us new ways to engage with the spiritual. It’s possible that future innovations might allow us to access the spirit world more easily or to understand reincarnation in new ways. However, I’m wary of how this might commercialize or trivialize the spiritual journey. The deeper meaning of the soul’s evolution can’t be captured by machines alone—it’s a mystery we have to approach with reverence.”

Nick Sasaki: “That’s an important point, James—keeping the spiritual journey sacred, even in an advanced future. H.G., having heard these perspectives, how do you think technology and human progress might affect our spiritual journey? Will the soul’s evolution align with human advancement?”

H.G. Wells: “I think the evolution of the soul must keep pace with human progress, or we risk a great imbalance. As technology enables us to push the boundaries of what it means to be human—through artificial intelligence, genetic engineering, or even life extension—we must ask ourselves whether our spiritual evolution can keep up. The future holds tremendous promise, but without a parallel evolution of the soul and consciousness, we may find ourselves more advanced materially but spiritually impoverished. Perhaps the next great challenge for humanity is not just scientific advancement, but spiritual enlightenment.”

Nick Sasaki: “It seems we’re all in agreement that the future of the soul is closely tied to the choices humanity makes as we move forward. Balancing technological progress with spiritual growth will be key. Thank you, H.G., for adding this visionary perspective to our conversation. And thank you to everyone for sharing your insights on how the soul might continue to evolve. Until next time, let’s keep reflecting on these ideas and exploring the mysteries of life and beyond.”

Short Bios:

Arthur Conan Doyle was a British author best known for creating the detective Sherlock Holmes. Beyond his fiction, he was deeply invested in spiritualism, believing in communication with the dead through mediums and séances. His interest in the paranormal grew after personal losses, and he became a vocal advocate for the afterlife.

William Butler Yeats was an Irish poet and playwright who played a key role in the Irish Literary Revival. He was also a member of the Hermetic Order of the Golden Dawn, a group focused on the occult and mysticism. Yeats’s work often reflects his interest in symbols, mysticism, and the cyclical nature of history and the soul’s journey through reincarnation.

Elizabeth Barrett Browning was a renowned English poet, known for her emotionally powerful works that explored love, spirituality, and the soul’s journey. Her deep interest in spiritualism and belief in the soul’s eternal progression were central themes in her poetry, especially regarding the afterlife and divine love.

James Merrill was an American poet who won the Pulitzer Prize for Poetry. He is best known for his epic poem The Changing Light at Sandover, which was inspired by his conversations with spirits through a Ouija board. Merrill’s work blends the mystical with the creative, exploring themes of the afterlife, spiritual evolution, and the role of art.

Philip K. Dick was an American science fiction writer known for his explorations of reality, alternate dimensions, and the nature of consciousness. His experiences with altered states of mind and visions of alternate realities heavily influenced his work, particularly his later novels like VALIS. Dick often explored themes of divine intelligence, parallel worlds, and the soul’s journey through multiple dimensions.

H.G. Wells was a British author, best known for pioneering the science fiction genre with works like The Time Machine, The War of the Worlds, and The Invisible Man. Beyond his fiction, Wells was also a futurist who wrote extensively on politics, history, and human evolution. His works often explored themes of technological progress and its impact on society. While not widely recognized as a psychic, Wells showed a remarkable foresight into future possibilities, blending scientific curiosity with visionary thinking about the future of humanity.