“Seth material” search engine (Jane Roberts)

Jane, again, dreamed often of walking, running, dancing, moving normally. To me those dreams were messages of encouragement not only from her own psyche, but from that certain other version of herself that I referred to in Note 2 for this session. In that reality [as well as in some others], she did have all of her motive powers. In this one, she was physically uncomfortable much of the time. Early in February she wrote an essay on Seth as a “master event.”⁴ That piece was inspired by her material in an old journal; Jane elaborated upon it in an effort to fit events from our own lives into our national consciousness. If Seth truly is a master event, I told her, the implications of her creative work are great: What she has to offer does count, it helps others in a significant way….

Amid her incessant questioning as to who or what Seth is—even if he is a master event!—and amid her concerns about leading others astray, Jane added to her journal four days later: “The worst explanation for Seth that I can imagine is that he is the part of me that I can’t express otherwise—making a psychological statement. Since his material is so terrific, why would this be bad? Because I’d be pretending to be better than I was—better than others? Or leading others to believe in life after death, because the material is so convincing?”

Time overlays are versions of master events, in that they occur in such a fashion that one “face” of an overall event may appear in one time, one in another, and so forth.

“Seth as a ‘master event.’ As the Mona Lisa is ‘more real’ than, say, a normal object or the [materials] that compose it, so is all good or great art more than its own physical manifestation. Consider art as a natural phenomenon constructed by the psyche, a transspecies of perception and consciousness that changes, enlarges and expands life’s experiences and casts them in a different light, offering new opportunities for creating action and new solutions to problems by inserting new, original data.

“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.”