“Seth material” search engine (Jane Roberts)

(9:25.) In Seth Speaks I tried to describe certain extensions of your own reality in terms that my readers could understand. In The Nature of Personal Reality I tried to extend the practical boundaries of individual existence as it is usually experienced. I tried to give the reader hints that would increase practical, spiritual, and physical enjoyment and fulfillment in daily life. Those books were dictated by me in a more or less straight narrative style. In “Unknown” Reality I went further, showing how the experiences of the psyche splash outward into the daylight, so to speak. Hopefully in that book, through my dictation and through Ruburt’s and Joseph’s experiences, the reader could see the greater dimensions that touch ordinary living, and sense the psyche’s magic. That book required much more work on Joseph’s part, and that additional effort itself was a demonstration that the psyche’s events are very difficult to pin down in time.

It did not occur to him that those experiences had anything to do with this book, or that in acting so spontaneously he was following any kind of inner order. He wanted these pages to follow neatly one by one. Each of his experiences, however, demonstrates the ways in which the psyche’s direct experiences defy your prosaic concepts of time, reality, and the orderly sequence of events. They also served to point up the differences between knowledge and comprehension, and emphasize the importance of desire and of the emotions.

Ruburt paints as a hobby. Sometimes he paints for fairly long periods of time, then forgets about it. Joseph is an artist. Ruburt has been wondering about the contents of the mind, curious as to what information was available to it. The Christmas holidays were approaching. He asked Joseph what he would like for a gift, and Joseph more or less replied: “A book on Cézanne.”

It seems almost heresy to suppose that such knowledge is available, for then what use is education? Yet education should serve to introduce a student to as many fields of endeavor as possible, so that he or she might recognize those that serve as natural triggers, opening skills or furthering development. The student will, then, pick and choose. The Cézanne material was from the past, yet future knowledge is quite as accessible. There are, of course, probable futures from the standpoint of your past. Future information is theoretically available there, just as the body’s “future” pattern of development was at your birth — and that certainly was practical.