“Seth material” search engine (Jane Roberts)

Now in the affair of the raise, you picked this up, Philip, first of all telepathically from the mind of your superior. You were also aware of it however clairvoyantly. In your mind’s eye you literally saw the letter and read its contents, though you were not aware of the actual action as it occurred. The original decision however was made somewhat previous to the meeting which you attended, but it was at that time not yet definite. And your behavior at the meeting reinforced your superior’s decision, and made it certain.

(Again, see the 199th session, in which Seth’s information on drug companies in Minneapolis is confirmed by John. John now laughed at Seth/Jane’s amusing reference to an affair.

(Jane now took a pause that lasted a minute. She sat quite still, her eyes closed, her head down.)

(Briefly, Seth now burst out in a loud, deep and humorous voice.)

(John now delighted Jane by telling her that the figure 30 is the correct one, exactly, concerning his raise—thirty dollars a month.

(Jane now took a long pause, sitting quietly with her eyes closed. Her pace was now, again, quite fast.

My friend, you had better leave now. And if you can return by eleven, then do so.

(It was now time for the 13th Dr. Instream clairvoyant test. Jane resumed speaking with her eyes closed and while sitting down. Her voice was good; her pace was much faster while giving this material than in any of the previous sessions. She used but a very few brief pauses. Resume at 10:01.)

Now please give us a moment. (Pause.)

Perhaps this is a scene from the novel or an opera, for now there are two very tall candles, with golden holders and many shadows. (Pause.) And the entrance of a male character. Perhaps a deathbed scene, but I do not hear music, and it would seem that music would be connected with an opera. But the scene is macabre.

Now, separately, I sense a framework, as of a house that is not yet fully constructed. It may have to do with a young relative of his (pause), or close friend, or someone connected with him. The house is on a hill. The framework is there but it is open, with the walls not yet constructed completely. (Pause.)

They suggest matchsticks. I sense a turnabout for him. (Pause.) An intermission now, I sense. He speaks with many people. (Pause at 10:11.)

(As break arrived we heard John Bradley returning up the stairs. He had succeeded in postponing his business appointment until tomorrow. We asked him to say no more about his voice experience yet, to see what else Seth could pick up on it. Instead the conversation turned to the fact that last week Jane was offered a part- time job as a dancer in a local supper club. Both of us like to dance, and Jane is an expert dancer. Now during break we amused ourselves discussing some of the humorous aspects of such a potential situation.

(Jane now took a pause that lasted at least one minute.)

It would appear that all bars are long and narrow. There was a particular decoration however at the center of the bar.Ruburt now thinks of his Green Pastures, but this is his idea not mine. We will mention it in passing. It clears the air.

You have been coming to sessions off and on now for some time, and I appreciate your interest, and we shall do what we can for you; and we have made headway on Ruburt’s part.

(John was now considering trying to locate the woman, to check up on Seth. He was joking, yet perhaps serious also. He was curious however, and was talking about whether he should really make the attempt when Jane resumed in a good voice, and with her eyes closed at 10:50.)

Now, when you speak of free will you automatically think in terms of your own time sequence, for you are caught within it. Those who are not within it can see past, present and future, and the interchange of action.

You are merely apart from them, and able to switch backward or forward as you wish. Now we are speaking of a planned movie, with a plot. Now however consider another analogy, where action envelopes and changes within a different dimension. I can look in on it and see its progress, but the action develops as it will, and is free.

(John now told us that he knew the name of the woman in question, but did not give it to us; we requested that he wait on this.

Now the man involved has something to do with mechanics. I am not sure of the age. Between, I should say, 27 and 37, though this is not precise, I know. I have the feeling she may be older.

Now, Philip. Indeed when I speak of the future I do see possibilities, and speak in terms of trends of activities that may change. This is why, often, our specific dates do not materialize as given, or why events foreseen do not occur as given. For at no time are any events predestined. There should be no such word in your vocabulary, for with every moment you change, and every heartbeat is an action, and every action changes every other action.

There is more pertaining to our friend Philip, but for several reasons we shall let it lie for now. The reasons have to do with my judgment rather than any fear of distortion.

Now we think of an episode—I will avoid the word affair—a particular episode occurring a while back in connection with Philip’s daughter, in her bedroom or by her bed. I believe late at night, perhaps when she was ill, but in connection with strong feeling on his part.

Now as to the session, Joseph. I leave this to your discretion. We shall end it when you prefer. (I nodded yes.)