“Seth material” search engine (Jane Roberts)

You are one conscious version of yourself, creating along with all of your contemporaries the realities of the times. When I use the term “contemporaries,” I refer to all of the species. You read your consciousness in certain fashions, but it is quite possible to read the consciousness of the world in other ways also.

They would seem to be the spirits of nature,² as you would be more or less bound to interpret them from your viewpoint. They would certainly be psychological relatives, but with their own time schemes, languages, and psychological affiliations. These do exist along with the kinds of consciousness that you recognize within the structure of physical life. When you dream, however, you often come in contact with these cousins of consciousness. It is not simply that they communicate with you, or you with them, so much as it is that in sleep the conventional properties that you have learned are somewhat loosened and abandoned. You see “the lights around the corner,” so to speak. You see a species of consciousness, a species that must remain unexplained in any normal explanations of evolution, and these hint at the communications that exist at all levels (intently), protecting not only the genetic references necessary to your own kind, but the combinations of other forms of organization that exist adjacent to your own, yet connected to them. You have often misread such references, and many of your legends of good and evil spirits, monsters and strange varieties of artificial creatures, appear in folklore.

The freshness of those poems was so vivid to me, their contents so pertinent to Jane’s situation today, that they seemed devoid of all that time that had passed since she’d written them. At once I thought of trying to explore that timelessness in the only way I could as a physical creature—by, contrariwise, taking the time to list a flow of events since she had conceived the poems, putting their creativity into perspective while still feeling it as if it were new. Arbitrarily, I chose professional events from our own lives, and thought of all of them as happening at once (as, according to Seth, in a larger framework they do). Obviously, anyone can compile such a list, involving any group of subjects. This happens to be the one I made:

I see that expanse of time (that four years and five months), as being really an emotional bridge between Jane’s poem in Note 6 for the 936th session and the two she wrote in March 1977. All three are entirely consistent not only with her beliefs and emotions, but with my own. For I feel now, in connection with the two “new” poems, the same profound sensations I had concerning Jane’s challenges when I wrote in Note 6: “Perhaps it was her poetic art of expression that helped me identify so strongly with her emotions, but I suddenly felt that even I had never really understood the myriad depths of her challenges and her reactions to them.” All three poems, then, are of a piece, in which she explores across time and emotion different facets of a common set of beliefs about friendly psychic colleagues and feelings of safety.

And as autumns fierce / moods have their /
reasons—in nature’s / deeper sanity / so must…/
my undeviating / direction— /
Though my thoughts’ leaves singly / seem separate /
they ride in one elemental / force / carried weightless— /
Then with them let me / be so supported /
though my tumultuous journeys carry me, / like them, /
above stormy treetops. / For higher still /
the sky holds all / safely contained.

So now it’s time to say— / “It’s all right,” /
and pick up the / magic bone / to try / its strange new /
nourishment. / I’ve prowled around it / for too long /
in circles; sniffing; / and I never did / say thanks.