“Seth material” search engine (Jane Roberts)

(That concentration upon places to live reminded us of families, of course — “regular” families as well as Seth’s families of consciousness. While I drove us back to our apartment house for supper we discussed the incredibly complicated roles and events surrounding those different kinds of organizations — whereupon Jane came up with a most apt phrase: “The genealogy of events….” She laughed, then added: “As families of people have their genealogies, so do families of events.”⁴

The Sumari characteristics do not exist in isolation, of course. To one extent or another, each family of consciousness carries within it the characteristics inherent in all of the families. There is, therefore, great diversity.

The Sumari abilities are highly creative ones, however. To a large extent they have been inhibited in your society. I have been speaking of them here so that each individual can learn to recognize his or her own degree of Sumariness. The playful, creative elements of personality can then be released. These qualities are particularly important as they add to, temper, or enhance the primary characteristics of the other families of consciousness.

(Pause.) If you are a “reformer,” a “reformer by nature,” then the Sumari characteristics, brought to the surface, could help you temper your seriousness with play and humor, and actually assist you in achieving your reforms far easier than otherwise. Each personality carries traces of other characteristics besides those of the family of consciousness to which he or she might belong. The creative aspects of the Sumari can be particularly useful if those aspects are encouraged in any personality, simply because their inventive nature throws light on all elements of experience.

The psyche as you know it, then, is composed of a mixture of these families of consciousness. One is not superior to the others. They are just different, and they represent various ways of looking at physical life. (Pause.) A book would be needed to explain the dimensions of the psyche in relation to the different families of consciousness. Here, in this manuscript, I merely want to make the reader aware of the existence of these psychic groupings. I am alert to the fact that I am using many terms, and that it may seem difficult to understand the differences between probable and reincarnational selves, counterparts and families of consciousness. At times contradictions may seem to exist. You may wonder how you are you in the midst of such multitudinous psychic “variations.”

(9:40.) So far, you do not hold your consciousness in your hand, however. When I speak of the behavior of your psyche, then, you may wonder: “How can my psyche exist in more than one time at once?” It can do this just as an apple can be found on a table or on the ground or on the tree.

The inside dimensions of consciousness cannot be so easily described, however. If you ask: “How can I have reincarnational and probable selves at once?”, you are asking a question comparable to the one mentioned earlier, colon: “How can an apple have color and be round at the same time?”

So you look back through the historical past. All of the counterparts alive as contemporaries then form, together, a musical composition in what you think of as a present; and once that multidimensional song is struck then its past ripples out behind it, so to speak, and its future sings “ahead.” But the song is being created from its beginning and its end simultaneously. In this case, however, it is as if each note has its own consciousness and is free to change its portion of the melody. Yet all are in the same overall composition, in “time,” so that time itself serves as the scale (gesturing) in which the [musical] number is written — chosen as a matter of organization, focus, and framework.

Each portion, by whatever name, contains within it the latent potentials of the whole. If the unknown reality exists, it is because you play one melody over and over and so identify yourself, while closing out, consciously at least, all of the other possible variations that you could add to that tune.

He picks, or she picks, victims as intuitively as the victim seeks out the slayer. On the other hand, Mary’s experiences in life may make her change her mind, so to speak, so that at 17 she encounters a severe illness instead, from which she victoriously recovers. Or she might narrowly miss being murdered when a bullet from the killer’s gun hits the person next to her. On an entirely different level and in a different way, she might have no such experiences but be a writer of murder mysteries, or a nurse in surgery. The particular variations that one person might play are endless. You cannot consciously begin to alter the framework of your life, however, unless you realize first of all that you form it. The melody is your own. It is not inevitable, nor is it the only tune that you can play.

“The pendulum is a very old method. I use it, with excellent results, to obtain ideomotor — “subconscious” — responses about knowledge that lies just outside my usual consciousness. I hold a small heavy object suspended by a thread so that it’s free to move. By mentally asking questions, I obtain ‘yes’ or ‘no’ answers according to whether the pendulum swings back and forth, or from side to side.”

12. A note added later: I’m sorry to write that Seth didn’t discuss historical probabilities in the 736th session, or national counterparts either. I forgot to remind Jane of those topics before that session, just as I forgot to ask Seth about them while he was speaking. Several more sessions were held before I discovered the lapse, which occurred partly because I hadn’t typed the 735th session yet, and neglected to refer to my handwritten notes, and partly because in the meantime Seth had returned to his material on the families of consciousness. My error was unfortunate, since I feel that his information would have been most original, enhancing future sessions.