“Seth material” search engine (Jane Roberts)

(This 806th session is such an example. Strictly speaking, it isn’t dictation for Mass Events, but Jane and I are presenting portions of it here because Seth discussed events and memory with a different emphasis, and touched upon aspects of reincarnation² — all subjects that spring out of that ineffable, really undefinable quality he calls simultaneous time. I ask the reader to always keep in mind that no matter what subject he’s discussing, or from what viewpoint, Seth’s kind of “time” underlies all that our present physical senses translate into linear, concrete experience and history. For clarification, I also keep this in mind: Seth isn’t physical, as he defines himself, and that “energy personality essence” seemingly isn’t all that focused on the passage of time — as we are — yet way back in the 14th session for January 8, 1964, he told us that time “is therefore still a reality of some kind to me.” In these notes for Mass Events, I plan to refer to time — all kinds of it — from “time to time.”)

You must remember the creativity and the open-ended nature of events, for even in one life a given memory is seldom a “true version” of a past event. The original happening is experienced from a different perspective on the part of each person involved, of course, so that the event’s implications and basic meanings may differ according to the focus of each participant. That given event, in your terms happening for the first time, say, begins to “work upon” the participants. Each one brings to it his or her own background, temperament, and literally a thousand different colorations — so that the event, while shared by others, is still primarily original to each person.

In those terms, past or future-life memories usually remain like ghost images by contrast. Overall, this is necessary so that immediate body response can be focused in the time period you recognize. Other life memories are carried along, so to speak, beneath those other pulses — never, in certain terms, coming to rest so that they can be examined, but forming, say, the undercurrents upon which the memories of your current life ride.

Often by purposefully trying to slow down your thought processes, or playfully trying to speed them up, you can become aware of memories from other lives — past or future. To some extent you allow other neurological impulses to make themselves known. There may often be a feeling of vagueness, because you have no ready-made scheme of time or place with which to structure such memories. Such exercises also involve you with the facts of the events of your own life, for you automatically are following probabilities from the point of your own focus.

(10:01.) The memory, left alone, not structured, will shimmer, shake, take other forms, and transform itself before your [mental] eyes, so that its shape will seem like a psychological kaleidoscope through whose focus the other events of your life will also shimmer and change. Such a memory exercise can also serve to bring in other-life memories. Edges, corners, and reflections will appear, however, perhaps superimposed upon memories that you recognize as belonging to this life.

This happens more often than is recognized, because usually you simply discount the feeling of strangeness, and drop the part of the memory that does not fit. Such instances involve definite bleedthroughs, however. By being alert and catching such feelings, you can learn to use the floating part of the otherwise-recognizable memory as a focus. Through association that focus can then trigger further past or future recall. Clues also appear in the dreaming state, with greater frequency, because then you are already accustomed to that kind of floating sensation in which events can seem to happen in their own relatively independent context.

The point is that past events grow. They are not finished. With that in mind, you can see that future lives are very difficult to explain from within your framework. A completed life in your terms is no more completed or done than any event. There is simply a cutoff point in your focus from your framework, but it is as artificial as, basically, perspective is applied to painting.