“Seth material” search engine (Jane Roberts)

For example: Say that you have a certain Wilford Jones, who is a character in one of the soap operas. This Wilford, while carrying on within his own drama as, say, a sickly grocer in Iowa, with a mistress he cannot support, and a wife that he must support (with amusement) — this poor, besieged man on station KYU is also aware of all the other programs going on at the other stations. All of the other characters in all of the other plays are also aware of our grocer. There is a constant, creative give-and-take between the day’s various programs. Period.

When our Wilford dramatically cries out to his mistress: “I am afraid my wife will learn of our affair,” then the symphony playing on another station becomes melodramatic, and the sports program shows that a hero fumbles the football. Yet each character has its own free will. The football player, unconsciously picking up the grocer’s problem, for example, may use it as a challenge and say: “No, I will not fumble the ball.” The crowds then cheer, and our grocer in his soap opera may smile and say: “But it will all work out after all.”

Now: Dictation: Still using the same analogy. As he falls asleep some night our grocer, Wilford, might suddenly hear the full strains of a symphony in his head, or instead catch a quick glimpse of a football player; or on the other hand one of the musicians in the symphony orchestra may suddenly find himself thinking about how difficult it would be to have a mistress and a wife at the same time.

(Then to me, later yet in the session:) … and as a woman [when I knew you], you certainly put your present wife to shame as far as vanity was concerned!

[...] And I made Ruburt one lovely wife — so there, my lovelies.