“Seth material” search engine (Jane Roberts)

I think Seth’s concept of simultaneous time will always elude us to some extent as long as we’re physical creatures, yet it gives clues to invisible mechanisms — we can better understand that Jane speaks her version of what Seth is. The very casting of the idea into words (as best Jane can do it) helps one grasp what Seth means: We can make intuitive nonverbal nudges, or jumps, toward understanding that to some degree transcend our trite ideas of that quality or essence we call time, and take so much for granted in our Western societies that to even question its seeming one-way flow appears to be quite futile.

However, the work we do deals with concepts that consciously we’d paid little attention to in earlier life. (I was 44 years old and Jane was 34 when she initiated the Seth material late in 1963). Jane’s early poetry, as I show in certain notes, clearly reflected her intuitive understanding of some of the concepts Seth came to elaborate upon much later. (This was true even when she was consciously unaware of what she was up to. See the verse from her early poem, Summer Is Winter, which precedes these notes.) As I see it, her task with the Seth material is to place these basic artistic ideas at our conscious service, so that their use in our daily lives can change our individual and collective realities for the better; and by “artistic ideas” here I mean the deepest, most aesthetic and practical — and, yes, mystical — truths and questions that human beings are capable of expressing, then contending with. Much of the response to her work that Jane receives by mail and telephone indicates this is happening. (That response, incidentally, will be discussed briefly at the end of these notes, when Seth’s letter to correspondents is presented.)