“Seth material” search engine (Jane Roberts)

Earlier I mentioned several times that we must reach a point at which you are able to see around the corner of seemingly contradictory material,²¹ and this is one of those occasions. (Long pause.) Time overlays present you with a picture in which you have free will—yet each event that you choose will have its own time version. Now those time versions may be entirely different one from the others, and while you certainly initiate your own time version, in terms of usual understanding there is no true place or time in which that version can be said to actually originate (again with emphasis).

“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.

“The church was quite real to Ruburt as a child, through the priests who came (to the house) regularly, and through direct contact with the religious (grade) school, and the support offered to the (fatherless) family. Ruburt’s very early poetry offended Father (Boyle), who burned his books on the fall of Rome, so he had more than a hypothetical feeling about such issues. Many of his fears originated long before the sessions, of course, and before he realized that there was any alternative at all between, say, conventional religious beliefs and complete disbelief in any nature of divinity.

“Now Ruburt had only one parent available most of the time, and he did not feel secure in that relationship—a situation chosen ahead of time, now. There is great leeway in the nature of such bondings…. With some people, they are so secure that they provide an overall, fairly permanent inner and outer framework. Ruburt’s relationship with his mother left much to be desired. The bonding did not secure him that vital sense of safety, and he felt threatened by abandonment. His bonding to the cultural beliefs of religion was very strong to make up for that initial lack. The sinful-self material represents those ideas that were a strong element in his original belief structures. The ‘troublesome’ material remained relatively inactive until his curiosity and ability led him to actively challenge those ideas while [he was] also in a situation where the natural fear of abandonment might be suggested. At certain points, the assimilation of new information is so qualifiedly different from the original belief structure that in order to assimilate it the personality is left for a time between belief systems.

“Part of my physical hassles come from fear of the unknown, once I realized I was gifted in that direction—that certain friends we’ve made here represent loved relationships of reincarnational origin, that offer support now if I accept it.

“How a belief in reincarnation and immortality added support to life, so that it didn’t seem dead-ended. That I could relax now, admitting and realizing that I did have certain fears per the sinful self’s document (instead of pretending that I didn’t). Because brought into the light I really could handle them and see how they originated. Stuff on how society operated, whether it knew it or not, on a reincarnational basis, and how association was many-lives-thick, so to speak. Only these are thoughts I’m left with, connected to the experience while I’ve forgotten the events themselves, and the scenes that were extremely colorful and emotionally charged.”