“Seth material” search engine (Jane Roberts)

In your terms, whether a minute or 10 minutes, or an hour or two hours were involved, you reacted ahead of time to a headline that you had not as yet physically encountered. You reacted creatively, using the precognitive story as a basis for a fictional endeavor. You turned it to art’s purposes.

You used the magical approach. You caught yourself in the act of acting naturally, of demonstrating abilities that your society to a large degree does not admit. That same kind of lightning-swift organization goes on within the body itself constantly, as it deals with probable scenarios to which you may or may not end up reacting to.

In your comparatively simple experience, you can see, however, the implications of such activities. Men may react to future events by unconsciously translating them into art, or motion pictures. They may react by unconsciously taking certain steps of a political nature that seem at the time either unreasonable, or even incomprehensible — steps whose logic appears only in hindsight.

The same occurs, of course, in all areas of human behavior, as well as in the behavior of animals and even of plants. This future shadowing the present, or future illuminating the present, represents a vital element in the formation of events as they are perceived in time. In a fashion the triplets were reacting in their past to a future event that has now caught up with them, so that each of their actions in any moment of that past happened as a result of a tension — a creative tension — between the event of their original separation and the event of their future reunion.

I do not mean that the reunion was inevitable or predestined, but the vigor of that probability, you might say, magnified the original tension. I want Ruburt to apply all of this to his own situation, both in terms of creative endeavors and his physical situation, so that he begins to understand that he can start to react in the present to a future recovery.