“Seth material” search engine (Jane Roberts)

You have a true or false world in that regard, and a relatively very flat psychological view of identity. Within that framework, however, you do have the creative abilities, and these stand out in their own fashions, since they “play with the facts.” They often do not honor conceptual conventions. They do not fit the true-or-false category. The imagination can of course conceive of many events, whether or not those events actually exist.

Straight-laced people have often frowned upon the use of the imagination, considering it most disruptive. (Pause.) From the beginning Ruburt has questioned whether or not our material gave a true explanation of reality—or at least presented one that was as approximately true as possible. Or were only creative hypotheses being offered? Was the material true or false?

The idea of the Sinful Self came into play here, for if the material was not true, then in that framework it must necessarily be false—or at the least very misleading. This led to many questions. Is creativity itself involved in a kind of mischievous lying? All of those questions make sense in a framework in which the dictums of one belief system—Christianity—are accepted as true, and everything that does not agree with them is accepted as falsehood.

(Pause.) Creative abilities are most helpful in that regard, for they are able to stretch recognizable concepts to their uttermost, allowing you some glimpses of organizations too vast for your own world’s dimensionalities.

Those structures include the unexperienced portions of your own identities. All of your concepts of gods and goddesses are basically creative attempts to portray psychological dramatizations of other portions of the psyche that do not appear in the flesh. To hint of other abilities and dimensions of being that cannot of themselves be squeezed into your own smaller definitions. So when Ruburt asks such questions from the framework of old beliefs, with their old meanings, then he can find no adequate answers.

(9:14.) The yes-or-no, true-or-false categories simply do not work when you are dealing with such issues. (Long pause.) In that regard it is important that he realize this. The entire concept of the Sinful Self can only exist at certain levels of experience. It can only seem to make sense in a very limited context. (Pause.) The creative abilities most often serve as psychological bridges, enabling man to conceive of the existence of realities outside of his own particular point of reference. They can hint at the greater diversity of being, the larger dimension of events. They can present dramatizations. They can serve as thresholds (long pause), but they cannot contain direct experience themselves with events that are intrinsically beyond those reaches.

I recognize the difficulties, for example, that you encounter quite personally as you struggle with Ruburt’s physical condition, or those you experience, say, watching television news as you see spread before your vision unfortunate events that seem to portray most clearly evidence of man’s flawed nature. It is impossible for you to perceive in the same direct fashion the majestic, almost unimaginable field of creative action in which any of those events occur, however, in which each act, however seemingly destructive, has vital creative purposes that may or may not appear within the limited references of your conventional dimensions.