“Seth material” search engine (Jane Roberts)

Great as these things are, there is a totality of experience and sensation that includes them all, a vortex that contains and transforms these infinite parts. I know that of which I speak. Yet, each minute event immeasurably increases not only itself but all other events, bringing into birth by its own actualization an infinitude of novus actions and events, an unfolding or multi-dimensionalizing of itself, an initiation into dimensionalization. For all versions and possibilities of each event must be actualized in the limitless multiplication of creativity.

In this experience, it is Thanksgiving Day. My mother’s family is here also. I am in the sunroom watching my father take food from a buffet set in the dining room. My mother and her sister are in there, talking. Suddenly my father becomes angry, throws his plate onto the rug and grabs another. My mother begins to cry. I remember probabilities, however, and instead of becoming upset myself, I send my father thoughts of peace and health. I know that now the scene will not happen this Thanksgiving in physical reality — that I have helped choose another more positive one. The scene ends. I feel as though I have been both watching and participating. I hear Seth remark: ‘You learn well, and manipulate equally well.’

That Robert Butts did not continue his painting with any purpose, trying to be objective and sensible, lacking the understanding of his parents that you have achieved through sessions. He put security in financial terms above everything, took no chances at all along those lines, and despite this, of course, is not making much money because his heart was, with the painting, most largely abandoned.

Ruburt’s creative ability quickly deteriorated, for bitter attitudes shrivelled up the source of the creativity. In that reality, you returned from York Beach, gave up your apartment in Elmira, returned to Sayre, lived for some time with your parents, [and] commuted to your Elmira job to save money.

You had planned for this as a temporary arrangement — six months, at most, to save money — then you were going to paint full time. Instead, however, you stayed, supposedly to aid your parents, but this was largely an excuse because you were afraid to take the chance and paint full-time and also afraid to give up the regular money, even though you had no rent to pay.

You felt the money might be needed for your parents, and as you continued you became more bitter at the sacrifice you felt you were making. Actually, the negative conditions were so accepted that you simply followed them.

Unconsciously, you are aware of their progress, as unconsciously they are aware of yours. You saw to it that they would be helped. Remember that regardless of anything, you gave them existence and consciousness, a gift of creativity, and potentials that they will try in their own way to fulfill. Their experiences have been different from yours. Their fulfillment, when they achieve it, will, therefore, be of a different nature, bringing out facets of activity that will not exist in your circumstances — their meeting with your friend [Sue], for example.