“Seth material” search engine (Jane Roberts)

I won’t go into the out-of-body implications of that experience until later in this book; here, I’d like to emphasize, instead, the mood-changing elements of the “dream” and what it meant to me. In the next session, Seth explained it and showed how reincarnational background, present problems and personal symbolism were all used in the dream drama. Portions of the experience were dreams. Others were valid subjective events of a different kind, and the entire production was in response to my suggestions for a mood-changing dream.

The above portions therefore were actually not dreams but experiences happening while he was dissociated. They shocked him; hence, the shock later on when he turned this into a dream. When he heard the voices, instead of becoming confident, he fell into a dream state. He did not want to accept the responsibility that he felt his abilities put upon him, and so in the dream, he looked for an outside source for the voices and dreamed the radio sequences. In the dream, however, the voices continue [after he switched the radio off] because he knows he is picking them up from a channel that is not physical.

When he leaped from the bannister, I was the one who extended an arm to help him. I appeared as the young man with olive skin. All of us tried to instill confidence and joy, and the responses were emotional. The dream generated sufficient energy to lift Ruburt’s spirits and allow his normal enthusiasm to return in full force. It cut short his poor mood by several weeks.