Andrés Rodríguez
Inducted in 2026
Why it is in the collection
What sets him apart is a difficult decision: not to offer relief too soon. In a field crowded with comforting talk, Rodríguez insists on the points a student would rather skirt — inherited guilt, the cruelty inside the victim's role, dissociation — and holds them to the end. That refusal to sweeten is, to our mind, a form of respect.
The question-and-answer series strikes us as especially valuable. There the teaching stops being a monologue and exposes itself to the real case, with its rough edges and no script. Answering a concrete difficulty live is an honest test of whether one commands what one explains, and he passes it soundly.
He is in the collection for the depth of long work: more than two decades accompanying groups through the same text, with no attempt to widen the repertoire or the reach. It is a body of work built slowly, addressed to those who want to understand and not merely to feel better.
About this channel
Andrés Rodríguez teaches A Course in Miracles and directs Mente Uno, a space for study and guidance that has worked with groups and with individuals since 2002. His channel gathers that work: sessions that begin from a passage of the Course and develop it until it reaches the ground where students actually stumble, which is rarely the theoretical ground.
The subjects make this clear. Guilt and its transmission within families, the dissociation and fragmentation of the mind, projection and its correction, the figure of the therapist and what healing really means, and the uncomfortable proposition that those who see themselves as victims also exercise a form of cruelty. These matters brush against psychology, though the interpretive frame is the Course's rather than the clinical one. Alongside the thematic sessions there is a regular question-and-answer series in which the material comes from the students themselves, and where the most practical side of the teaching shows: specific doubts about applying the Course to a relationship, a bereavement, an everyday conflict.
The tone is unhurried and notably sober for the genre. There is no staging, no music, no promise of results: there is a long spoken exposition that unfolds an argument and returns to it. It addresses those already studying the Course, or those looking to go deeper than a reading of the lessons, and it assumes some familiarity with its vocabulary.
Newcomers will find something uncommon in this field: teaching that does not console. The emphasis falls on examining one's own mechanisms ( judgement, projection, the role of victim ) before seeking relief, and on treating practice as sustained work rather than as an experience. Decades of accompanying study groups are audible in the precision with which the student's objections are anticipated.