“Seth material” search engine (Jane Roberts)

The tale has always appealed to children because they recognize the validity behind it.² The fairy godmother is a creative personification of the personalized elements in Framework 2 — a personification therefore of the inner ego, that rises to the aid of the mortal self to grant its desires, even when the intents of the mortal self may not seem to fit into the practical framework of normal life. When the inner ego responds in such a fashion, even the commonplace, ordinary, seemingly innocuous circumstances suddenly become charged with a new vitality, and appear to “work for” the individual involved. If you are reading this book you are already too old to clearly remember the constant fantasies of your early childhood. Children however know quite well, automatically, that they have a strong hand in the creation of the events that then seem to happen to them.

The child knew “that it came from somewhere else” — not by chance but by design. The child knew that in one way or another its most intimate thoughts, dreams, and gestures were as connected with the natural world as blades of grass are to a field. The child knew it was a unique and utterly original event or being that on the one hand was its own focus, and that on the other hand belonged to its own time and season. In fact, children let little escape them, so that, again, they experiment constantly in an effort to discover not only the effect of their thoughts and intents and wishes upon others, but the degree to which others influence their own behavior. To that extent, they deal rather directly with probabilities in a way quite foreign to adult behavior.

Will you open this (beer) for our friend. Do you want to rest your hand?

In that literally power-packed few hours, he also knew that the physical senses did not so much perceive concrete phenomena, but actually had a hand in the creation of events that were then perceived as actual.