“Seth material” search engine (Jane Roberts)

[...] I’d stopped at the post office to mail Tam the set of page proofs for Seven that Bill O’Hearn had sent us, along with a copy of Bill’s letter re bound copies of page proofs for Seven. [...]

[...] The story sprang out of the hilarious way she’s taken to addressing Mitzi in regard to that cat’s gifts from heaven; I’ve been telling her that the affair would make a great children’s book.³ In the several pages she wrote this evening Jane presented her material quite humorously, in a manner reminiscent of, yet different from, her second Seven novel, The Further Education of Oversoul Seven, and her Emir.⁴

Four days after Sue’s visit we received an enthusiastic letter from an independent motion-picture producer and director in Hollywood, informing us that he’s finally succeeding in his quest for an option to the film rights to Jane’s novel, The Education of Oversoul Seven. [...]

4. Seven Two, as we call it, was published by Prentice-Hall in May—five months ago. [...]

Three seven eight. [...]

[...] We have given you an idea for a book—Merry Christmas—and some dictation, beginning chapter seven. [...]

By the fourth week in July, a few days after finishing God of Jane, Jane was reading over the 17 chapters she’d done on her third Seven novel, Oversoul Seven and the Museum of Time.³ She made notes for Seven Three, as she called it. Then she wrote in her journal on the 24th: “I was looking over Seven Three for the first time in 14 months when sub rights called about the movie contract for the first Seven—so that’s no coincidence! May finish the third Seven next. [...]

[...] It has been an extremely slow-moving project, but The Education of Oversoul Seven may yet be a movie.

In the meantime, early in August Jane had laid Seven Three aside once more and returned to the book of poetry she’d had in progress for a year.⁶ And on August 15 she happily announced that she’d come up with the complete title she had been searching for all that time: If We Live Again: Or, Public Magic and Private Love. [...]

[...] She continued to doze, however, and I thought that the heavy meal was taking too much of her energy for digestion—reminiscent of the days when she’d first returned to the house from the hospital seven months ago. [...]

[...] And Seven (Oversoul 7) will also be mentioned.

Seven came precisely because it was free of all contract connotations, and so at the time did Aspects. [...]

[...] Yet creativity kept escaping the work definition—in my books, Seven and Sumari; and he even felt guilty about Sumari poetry in work hours, for it might not fulfill work’s requirements, produce money and so forth.

I am pulling an Oversoul Seven on you, but I am gong to give you an idea for a painting, in the next three days, waking or sleeping—I will not tell you which—but I want you to be playfully alert to it. [...]

[...] Well over two and a half years ago, I wrote in the opening notes for that session that Jane had “some 17 chapters in fairly good shape for her third Seven novel, Oversoul Seven and the Museum of Time.” [...] Although she considered resuming work on Seven Three at various times while she was producing Dreams with Seth, she never did; the status of that novel remains the same. [...]

7. I last quoted Jane about Seven Three in the opening notes for Session 920. I also referred to the very slow-moving production of a motion picture based upon Jane’s first Seven novel: The Education of Oversoul Seven.

I believe that his (ESP) class will work up to seven by the end of spring, or very early fall, stay at that level, and then be joined by others. [...]

[...] He has her short story and a chapter of Seven—promised to return them—but not as of February 21....)

[...] She seemed to agree with all of this, adding that already we had Rembrandt and the new Seven in the works. [...]

(“But I’m not worried about the Seven,” she said. [...]

[...] Seth said: trust the thrust of your own creativity, and go along with it— referring to Seven—and somewhere along the line I.... [...]

[...] Then there’s Jane’s business and personal correspondence; much of her poetry; her journals; her unfinished autobiography; several novels she wrote before publishing the three Oversoul Seven books; the later essays she dictated to me, while in the hospital, about Seven’s childhood; her family history as far back as it can be researched; an objective biography of her physical and creative lives including her two marriages, and Jane’s and my struggles to survive before the advent of the Seth material. [...]

Many ideas are being presented in Oversoul Seven to get around that difficulty. [...]

[...] Oversoul Seven is Jane’s sci-fi character.)

[...] It is his freely allowed subjective experience now that results in books—mine, and Seven’s. He has set up barriers however against his own personal inner mobility. [...]

[...] Now Seven gave Ruburt the same information in a different way.

[...] Seven. [...]

(“How about the four and seven you mentioned?”)

[...] Seven.” [...]

[...] Seven.” [...]

They went to their room shortly after seven and leave it again. [...]

[...] Sumari, and even Oversoul Seven, sprang into being as a result of the emotional rapport that existed between you just prior. When Seven was finished Dialogues began, and our book was in process. [...]

Seven represented the same kind of synthesis, and these were both Jane-type productions. [...]

Dictation: Chapter Seven: “The Living Flesh.”