“Seth material” search engine (Jane Roberts)

Time overlays are the time versions of certain events, then. These time overlays always exist. (Pause.) They may become activated, however, by certain associations made in your present, and therefore draw into your present time some glimpses either from the future or the past. So-called present time is thickened, then, by a psychological realization on deep levels of the psyche that all events are interrelated, and that the reincarnational experiences of any given individual provide a rich source of experience from which each person at least unconsciously draws.

Such usually unconscious knowledge is of great benefit to the species itself, so that at certain levels, at least, the knowledge of the species is not imprisoned within any given generation at once, but flows or circulates within the overall larger reincarnational picture. Probabilities are very much involved here, of course, and it is easier for particular events to fall within one time sequence than another.

In the culture that you know, such information remains hidden from you. Your main belief systems lead you to feel that your present life is singular, unsupported by any knowledge of prior experience with existence, and fated to be cut off or dead-ended without a future. Instead, you always carry the inner knowledge of innumerable available futures (emphatically). Your emotional life at certain levels is enriched by the unconscious realization that those who love you from past or future are connected to you by special ties that add to your emotional heritage and support.

It seemed that he could step from any one such existence to the other as you might walk from one room to the other, and he knew that at other levels of the psyche this was indeed possible—and, of course, at other levels of the psyche those psychological doors are open.

“Again as with master events, we’re dealing with a different framework of action entirely, where the Mona Lisa is ‘more real’ than the physical properties that compose it. This is not to deny the validity of its [materials]. But to discuss Seth and his ideas primarily from the true-or-false framework is the same thing as considering the Mona Lisa only from the validity of the physical properties of its paint and panel: very very limiting…. I don’t have to ‘live up’ to anything. I don’t have to ‘make the material work,’ or prove through my actions that it does, because it proves itself in the way that creativity does, by being beyond levels of true-false references. Otherwise I’m at cross-purposes with myself.”

“Now remember that Ruburt’s mother used phrases like: ‘I hereby disown you,’ and: ‘You are hereby disinherited,’ and: ‘I consider you no longer my daughter.’ Such situations increased Ruburt’s sense of not being safe, yet also reinforced feelings of independence, for he did not have to feel as dependent upon Marie as he might otherwise. The time would come, however, when the old bondings had to be encountered, for they simply could not hold the newer larger frameworks of understanding. The ideas of the so-called sinful self represent several layers of activity, then—troublesome aspects of belief structures that are shared by millions in your society, and by certain levels of Ruburt’s personality. He is now trying to assimilate a greater framework, to become bonded to a higher sequence of knowledge.