“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….

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.

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.

“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.

That the Seth books outdo Jane’s other works has always puzzled us. Each one of her books, whether produced by herself or with Seth, is an equally valid and intimate expression of her basic creativity. Seth doesn’t come from some separate, more exalted portion of Jane’s psyche that’s off limits to her when she’s writing her own books. As he’s often said himself, he isn’t omnipotent: Like Jane, he shrinks from being a guru—and I stress that Seth doesn’t hold that attitude just because Jane does. Neither seeks to dominate the other; each tries to help the other.