Spiritual resorts, games, and a writers' house: inside one man's vision of heaven

The popular image of heaven is one of clouds, harps, and an endless wait. Saulo Calderon, who describes experiences of lucid astral projection, says he saw something quite different: a seaside resting place, with isolated houses, music, museums, and games. Lucid astral projection is the experience in which a person claims to leave the body while remaining conscious throughout the journey.

There is no way to verify what he describes, and science has no method for confirming journeys of this kind. The account matters as a testimony of belief and as another chapter in an old tradition: imagining, in vivid civic detail, what lies beyond death.

A tradition of colonies

In Brazilian Spiritism, the reference point is the novel Nosso Lar, published in 1944 and attributed to the spirit André Luiz, psychographed by the medium Francisco Cândido Xavier, known as Chico Xavier. The book describes a spiritual colony where spirits learn and work between incarnations. It became a classic of Spiritist literature and fixed a model: the afterlife as an organized place, with streets, study, service, and merit.

Calderon places himself in that lineage. He himself cites, besides André Luiz, the colony of São Sebastião described by Patrícia, and the transitional sites with beaches, lakes, and museums that Valdo Vieira mentions. What he brings is a variation on the same theme.

The seaside colony

According to him, the sea is calm and bright, a blue-green similar to the waters of Maceió. The streets flood with the tide every 15 minutes, turning the space into a liquid field. There are small, European-style houses surrounded by nature. No cars, no commotion. "There was an energy so light that just by looking at it you already felt peace," he says.

Each house would hold one spirit, at most two, and would stand apart from the others. The architecture, in his description, would serve meditation and self-knowledge, not display.

Rest as merit

These places, he says, aren't handed out at random. Spirits who work and study in the colonies would gain temporary access to them as a form of regeneration. There would be no money, no "astral Pix" — Brazil's instant-payment app — just vibrational merit, which Calderon compares to the "bonus hours" André Luiz mentions. Rest would be tied to service, and pleasure would coexist with duty.

It's the most revealing part of the account: the logic of the afterlife mirrors values from life on Earth, such as work, reward, and earned pause. Believers see coherence in that; skeptics may see imagination projecting the familiar onto the unknown.

Games, museums, and the writers' house

The novelty lies in the technology. Calderon says he found interactive spiritual games, far superior to physical ones, and museums where visitors step into the scenes and live the lessons from within. Communication would be telepathic and instantaneous. He compares it to a screenless, mouseless metaverse, where the person is both avatar and setting at once.

Another stop is the "Writers' House," which he describes as a center for the study of letters. There, according to his account, spirits devote themselves to language, expression, and inspiration, preparing to return to Earth with cultural and educational missions.

What he concludes

His conclusion is that the spirit world is neither punishment, nor an eternal hotel, nor a tedious wait: it would be a space of learning, healing, conscious pleasure, and creativity. The spirit would not lose its identity in death, and access to these places would depend on each person's "vibrational pattern," not on the religion they profess.

The practical takeaway he offers is to live better now, with more silence and more art. It's up to the reader to decide whether descriptions like these are metaphor, belief, or imagination — and to recognize that, one way or another, they say a great deal about what people hope for after death.