“Seth material” search engine (Jane Roberts)

[...] Remember that the body is a natural self-healer.

To some extent tonight’s relatively brief session should remove senses of urgency on your parts, or of self-criticism, that make you question when or how can you “learn to make” the magical approach work in any specific way—that is, why can you not learn to make the approach work in, say, helping Ruburt’s condition in a faster, more effective fashion? [...]

[...] When he is in his room, let him begin to court his creative self (leaning to her right, eyes closed....)

[...] She is not certain of her own merit, and achieves her self-approval through your auspices.

[...] He is somewhat like a wounded buffalo, and to some extent at least the wound was not self-inflicted, although he himself has aggravated it.

[...] He loses the touch of it, and falls back on other layers of the self which are not reliable for this sort of data.

[...] In your particular personal relationship Ruburt began to feel that when you looked at him you were comparing him precisely with “that perfect physical self” that seemingly so eluded him, and in the face of that image, any improvement at all began to seem so insignificant as to be meaningless.

[...] In an odd way he also thought, because of that, that you were constantly comparing him now with a 5-or-10-year earlier self.

[...] The [epidemics] serve as accepted states of illness, in which people are given an excuse for the rest or quiet self-examination they desperately need but do not feel entitled to otherwise.

[...] Jane and I think the idea of such self-centered genetic behavior is much too limited, simple, and “mechanistic,” to use another term that’s currently in scientific vogue. [...]

[...] I’d realized later that I had, and that Jane had too, for she was back to behaving like her old self. [...]

This feeling of abandoning oneself to the power and force of one’s own life does not lead to a mental segregation, but instead allows the self to sense the part that it plays in the creative drama of a universe. [...]

[...] I am not usually so severe but all of you in the room are talented and your responsibility is directly in proportion to your talent and therefore you cannot afford self-pity or complacency or regret.

[...] The creative self is the most spontaneous of all. [...]

[...] She drew some of the typefaces either designed or approved by that large, male, “earlier” creation of her whole self. [...]

[...] Between lives whole self.

[...] You think, then, that if you were not so creative you could have a proper niche for yourself, and therefore you tense a portion of the body that seems to be connected to the unconscious side of the self, and chose the groin, which connects old beliefs about males to the beliefs about creativity. [...]

[...] It is sheer nonsense to look back for, or desire, such rigid frameworks of self-worth or merit. [...]

[...] There was also the feeling that contemplation and action were self-contradictory.

[...] The entire system of beliefs was based upon, again, fear of the spontaneous self on both of your parts—fear that it would lead you where you did not want to go, as if you and it were separate things, or as if its intents were by nature so divorced from your own that you must set up barriers against its expression except in certain acceptable areas.

[...] We sipped wine and used light self-hypnosis to take the edge off our tension, but as we watched the water crawl up the side of the old red-brick house next door, our new reality threatened to turn into a terrifying one indeed. [...]

If you have become afraid of emotion or the expression of feeling, or if you have been taught that the inner self is no more than a repository of uncivilized impulses, then you may have the habit of denying this deep rhythm. [...]

[...] When I woke up I made another little drawing: I showed my Roman-captain self still face down in the water, but entangled with the branches projecting from a waterlogged tree trunk — I’d been caught that way for a while, before a group of fishermen on a North American beach hauled body and tree ashore in their net. [...]

[...] She also related Joe’s limited model of his nature to some of her own ideas about disciplining her “writing self.”

He believed in the specific nature of the creative self, so that it could only be trusted in certain areas. [...]

[...] Again, bodily efforts are as magical, as creative, certainly, as the writing of a book or a poem (intently) — but Ruburt in the past trusted his creative abilities as if they were something he had to guard from his physical self.

[...] This will make it possible for some to obtain a clear vision of their timelessness of the self, existing in future as well as past terms.