“Seth material” search engine (Jane Roberts)

Instead of the test, you are greeted with a vision of the shimmering glass with its glowing colors and prisms, rich and intricate, representing the true source of life and sexuality itself—the vast multidimensional mosaic of which sexuality is but one facet. You were viewing your representation of the many-faceted light of your own being.

Now: The lamplight episode. Here you did as you supposed. You viewed that inner light, but the lampshades had two purposes: one, as you surmised, to give you a comforting image, literally to shade your eyes. Ruburt was correct, however, in seeing the connection between the lampshades and the Nazi experiments (in World War II) with human skin. The movie (on television last night), about cloning and Nazi atrocities, had made you wonder about the nature of life once again, and man’s immortality. The connection with cloning came out in the lampshades made of (human) skins, in the old news stories—though your lampshades merely stood for those, and were of fabric. The connection was beneath, however, and also represented your feeling that even those people tortured to death did live again. They were not extinguished. Their consciousnesses were indeed like bulbs, say, turned on in new lamps. The lights connected life and death, then. The lights also represented pure knowing.

3. See the passages following Jane’s entry for March 31, 1977, in Chapter 10 of her The After Death Journal of an American Philosopher: The World View of William James.