“Seth material” search engine (Jane Roberts)

(“A photograph of a given person represents one experienced probable identity, focused in a recognized time sequence. Its validity is dependent upon the other invisible snapshots not taken, even as the given notes that make up a symphony are important because of the implied notes not actually used.

As you are looking at one photograph in your personal history, that represents your emergence in this particular reality — or the reality that was accepted as official at the time it was taken — so you are looking at a picture of a representative of your species, caught in a particular moment of probability. That species has as many offshoots and developments as you have privately. As there are probable selves in private terms, there are probable selves in terms of the species. As you have your recognized, official personal past, so in your system of actuality you have more or less accepted an official mass history (see Note 2). Under examination, however, that history of the species shows many gaps and discrepancies, and it leaves many questions to be answered.

These letters are written in an original native language that has little to do with the acquired language that has been picked up in any given country. (Pause, then humorously:) Mama and Papa, back at the homestead, know where their children have gone, in other words; they read with amusement, amazement, and wonder the communications from their offspring. In this homespun analogy, Mama and Papa send letters back — also in the native language — to their children. As time goes by, however, the children lose their memories of their home tongue. Mama and Papa know that times are like places or countries, but their children begin to forget this, too, and so they grow to believe that they are far more separate from each other than they actually are. They have “gone native” in a different way. Mama and Papa understand. The children forgot that they can move through time as easily as through space.