“Seth material” search engine (Jane Roberts)

When you speak a sentence you do not stop to consider all of the rules of grammar. You do not mentally diagram the sentence ahead of time. You simply speak more or less automatically. This involves the utmost precision, both mentally and physically. When you experience an event, you do not usually stop either to examine the rules of perception or to wonder what these are. You simply experience or perceive.

Those experienced events, however, are also the result of a screening process. They attain their focus, brilliance, and physical validity because they rise into prominence on the backs of other seemingly unperceived events. In the dream state you work intimately with the “inner grammar” of events. In dreams you find the unspoken sentence and the physically unexperienced act. The skeletons of the inner workings of events are there more obvious. Actions are not yet fully fleshed out. The mechanics of your waking psychological behavior are brilliantly delineated. That state can be explored and utilized far more fully than it is, and should be. Yet there will always be a veil between the waking and sleeping consciousness, for while you are physical, the waking mind can only deal with so much information. It would simply forget what it cannot hold.

In dreams you know the beginning and end of events in the same fashion. Any one action in your life is taken in context with all of the other events from your birth to your death. Now it seems to you that because you speak one sentence at any given time, rather than ten other possible versions of it, the sentence as spoken is the “correct” one. Its probable variations in grammar or tense or inflection escape you entirely. Yet unconsciously you may have tried out and discarded all of those, even though you have no memory of such experiences. So even in forming sentences you deal with probabilities, and to some extent or another your body mimics, say, the various muscular responses that might be involved with each unspoken sentence.

[...] This seemed strange to her because as a writer she is used to watching out for grammar, punctuation, etc.

[...] (Copyediting is one of the earlier editorial stages a book goes through on its way to publication, and is meant to study all of the work that Jane and I and her editor, Tam Mossman, have already done on the manuscript: Before it’s set into type, a reader who works independently of the publishing firm carefully checks the manuscript for grammar, contradictions, facts, consistency, and so forth, and makes suggestions for whatever changes he or she thinks are desirable. [...]

[...] An independent reader had gone over our labors line by line, checking for everything from grammar and contradictions to philosophy, “flagging” questions for us by noting them on slips of pink paper taped to the appropriate manuscript pages. [...]