“Seth material” search engine (Jane Roberts)

Ruburt has been working on a book of poems called The Dialogues, and in it recently he wrote of the double worlds. One night he stood at the kitchen window, and quite without drugs saw a rainy puddle below suddenly turn into an alive, beautifully fluid creature who stood up and walked while the rain slid off its liquid sides.

He was filled with joy as he observed this reality. He knew that in the physical world the puddle was flat, but that he was perceiving another just-as-solid reality; a larger one, in fact, in which that rain creature had its being.

For a moment he saw double worlds with his physical vision. While the experience was exhilarating, it could have turned into a “nightmare” had his conscious mind not clearly understood; had he walked outside, for example, and found himself encountering living creatures rising out of each rainy puddle; and if for the life of him he could not have turned the creatures back. As it was, it was a beneficial experience.

Now: A few moments following Ruburt’s experience with the rain creature, he had another. His eyes were wide open and he stood in the exceedingly small kitchen — when suddenly there appeared before him a round soft yellow light.

This identity is your physical self through which now, in your terms, all expression must come. You are more than your temporal being alone. Your life as a creature is dependent upon your alliance with flesh. You will exist when your body is dead, but practically speaking, you will always be working through an image of yourself.

(10:42.) If you identify with your body alone, then you may feel that life after death is impossible. If you consider yourself a mental being only, however, you will not feel alive in the flesh, but separated from it. Think of yourself as a physical creature now. Know that later you will still operate through another form, but that the body and the material world are your present modes of expression.

(Now here are excerpts from the account she wrote for me of her experiences involving the rain-puddle creature and the light on the evening of February 2. Jane’s narrative and poetry supplement Seth’s own words, and show how she became consciously aware of the unique transformation of her original poetic ideas into visual reality — and how she then carried the creative process another step by converting her new perceptions into more poetry. We think these bleed-throughs between realities are common, if largely automatic in most cases, in any area of “life.” In the arts they’re often called inspiration.

(“After supper Rob went out to get groceries. I don’t know the time but it was dark and raining hard, with flashes of soundless lightning. It was quite warm for February. I thought about going for a walk, but didn’t…. Immediately after the two experiences that Seth describes in this session, involving the rain creature and the light, I added this section to Dialogues:

and there stood a creature so mobile,

The creature’d flattened out again

(“With the puddle creature I saw both realities — the puddle in physical terms, and the creature in larger than physical terms — and could switch from one reality to the other if I wanted to, I think. But the light didn’t have a physical counterpart. I think it came … from that other reality directly here, because I had my ‘windows’ open.”