“Seth material” search engine (Jane Roberts)

Ruburt’s love for Joseph, his own purposes, and his growing questions, along with his interest in painting in general, triggered exactly the kind of stimulus that broke through conventional beliefs about time and knowledge. Ruburt tuned in to Cézanne’s “world view.” He did not contact Cézanne per se, but Cézanne’s comprehension of painting as an art.

(10:30. Seth did an excellent job of describing the conditions that resulted in Jane’s “Cézanne experience.” Specifically, though, this is what happened: Quite suddenly in the predawn hours of December 11 she began to write an automatic script that purported to come from the artist Paul Cézanne, who lived from 1839 to 1906. She has no idea whether or not the manuscript will continue “to come.” Already, though, I am struck by the insights on art and life as they are presented.

(“I feel half massive, but half relaxed, too,” Jane said as we waited for the session to begin. “I feel an odd sense of frustration — or maybe just impatience is a better way to put it…. I think all of this psychic stuff that I’m half aware of has to be organized and expressed in our world — Seth, Cézanne, this book — so that we can make sense of the whole thing.”

(Her reference to the French painter, Paul Cézanne, involves an experience that she began just the other day. Since Seth discusses this himself in the session, I’ll let him carry on from here.)

The Cézanne book, the show, your own interest in Cézanne, and your own painting abilities are also connected in Framework 2, along with the fact that Cézanne himself had a secondary interest in writing, that fell by the board, so to speak. [...] Cézanne was such a one. [...]

(1. Was there any connection between Jane’s Cézanne, and the New York City Cézanne show appearing at practically the same time? [...]

(2. Did Cézanne “himself” have any sense of awareness, or of completion, connected with Jane’s book and the New York City show happening at the same time? [...] My own thought at the moment was that something different, or at least not the same, was involved with the Cézanne events—less personal.

[...] They were based upon his discussion of the Cézanne book, and our changed attitudes, as demonstrated by our sending the books out. [...]

That book, The World View of Paul Cézanne, was published by Prentice-Hall in 1977. [...] The Afterdeath Journal of an American Philosopher: The World View of William James came the same way, like mental dictation; only where the Cézanne world view had specialized in art, the James world view was more comprehensive. [...]

[...] My own interest in art and Rob’s appreciation of Cézanne’s works helped trigger the Cézanne book, for example; and my own curiosity about William James and Rob’s appreciation of his work helped bring about the James manuscript.

[...] It purported to come from the “world view” of Paul Cézanne, the famous French artist who died at the start of this century.

[...] So, the material I received didn’t come from Paul Cézanne per se, but from his world view.

[...] During break she picked up that the Cézanne material from Seth would be in two parts — one of these being on world views, the other more on Cézanne-and-world-views. [...]

(Seth devoted the first part of the session to a continuation of his introduction for Jane’s “Cézanne” book — and he has yet to complete that material. [...]

[...] Jane called them “the Cézanne days” since she’s still getting Cézanne material)

[...] Ruburt’s own painting, his knowledge of his psychic abilities, his love of Joseph — all served to form a pattern which then attracted the Cézanne material. [...]

The Cézanne material, the dream and the painting, are all aspects of another kind of perception. [...]

(Now Seth moved from his own book to this new subject — Jane’s The World View of Paul Cézanne — with ease and obvious zest. [...] He didn’t finish his work for Cézanne tonight, though.

(As we sat for the session, Jane reminded me that she thought Seth would do an introduction tonight for her own book on Paul Cézanne. [...]

[...] “But I’ve done introductions for Seth’s books, so why shouldn’t he do one for mine?” And yes, the Cézanne material mentioned earlier — see Jane’s introduction for Psyche — had developed into a full-fledged book of its own.

(Today we received from the Museum of Modern Art an acknowledgment that William Rubin had received the Cézanne book I’d mailed him on October 17. In a note dated Oct 25 his assistant implied that Mr. Rubin would get in touch later, after the affairs connected with the Cézanne show there had subsided. [...] I mentioned to Jane that it would be fun if Seth could give us a little bit on Rubin’s reaction when he saw the book on Cézanne—not on its contents.)

[...] The Cézanne book will have more effect on the people that you sent it to than they realize, or may be apparent at this time, because you are uniting two strong forces—the artistic and creative ones. [...]

(Odd that Seth would say that; as far as I know, neither of us have any conscious idea of trying to use the names of people who respond to the Cézanne books.)

(I’ll note here a small sign of the workings of Framework 2. Today I received a letter from the secretary of the British Psychic Society, Eleanor O’Keefe, thanking us for sending her an autographed copy of Cézanne a couple of weeks ago. [...] At the same time, I told Jane, we shouldn’t attach too much significance to this, since we’ve been sending out only Cézanne books—that is, anyone we send a book to gets one on art.

[...] Incidentally, Ms. O’Keefe wrote us that Jane’s Cézanne would be in the library of the British Psychic Society. [...]

[...] Did three excellent pages James—and would have done more except for day’s events—called Edna B. about Cézanne; Tam called; Peg called about those nuts; two fans arrived. [...]

I have not neglected Cézanne, and we will return to him.

(“Yesterday we were talking about works like James and Cézanne. [...]

As in the case of Cézanne, masterpieces would justify all else. [...]

Cézanne, as you know, was not a happy man. [...]

[...] Seth’s material on Cézanne was excellent.)

(Today we received an acknowledgement from the artist, Raphael Soyer, to whom I’d sent a copy of Cézanne a week or so ago. [...]

There is a connection on your part between your own interest in the Jewish past, and your art, and the gentleman (Raphael Soyer) who is an artist and a twin, to whom you sent Cézanne.

[...] In the meantime, with the Cézanne material and the painting, he is opening up other areas that will make certain portions of my new book possible, for certain levels of understanding are acquired on his part.

Your joint library experiments helped initiate the Cézanne material, which in a way then took over, and you will know when to resume those experiments.

[...] Earlier today she’d been wondering where the Cézanne material might lead her—to books on world views involving other people, she’d speculated, or something like that....)

(This morning I mailed the first three Cézanne books, of the 25 we have on hand to send out to artists, reviewers, etc.

(“I was just wondering how the Cézanne books we’ve started sending out will be received.”)

(I feel more hopeful today; and almost as if there might be something from the libvary on the principles of conservatism and originality as in the Cézanne book. [...]

The kind of dream Ruburt interpreted for you, about the Cézanne exhibition, is an example of an excellent message dream, important enough to come to consciousness because you were ready. [...]

Some of the people most influenced by the books, however, particularly “Unknown” Reality and Cézanne, are the kind of people who will take time to digest the books before writing. [...]

[...] He has been lately working with inner ideas of spontaneity, hence the Cézanne material, and the initial speaker’s manuscript. [...]

[...] (Amused; meaning Seth had already given material on Cézanne and on his own book.)