“Seth material” search engine (Jane Roberts)

[...] During the evening as I worked in the kitchen, I heard her sing beautifully in Sumari several times; Seth spoke also, much more forcefully that he had this afternoon. [...]

[...] Andrija recorded Jane, Seth, and Sumari—all of which saw Jane coming through at her best. [...]

[...] I told Jane about my “hunch” immediately after the call; hence, long before her very successful voicing of Seth, Sumari, etc. [...]

powerful singer in Sumari
a fine dramatist
literal-minded
unbelievably stubborn
basically innocent

I think most people would agree that Jane’s singing in Sumari is extraordinarily original, and that she’s an excellent natural dramatist. [...]

[...] In Jane’s Adventures in Consciousness, see Chapter 7 for her thorough discussion of how she began to speak and sing in her trance language, Sumari, in November 1971.

Jane initiated Sumari in ESP class, and largely let it go when we ended class and moved to the hill house four years later. [...]

[...] She said she had a whole bunch of old songs she sang to herself — not Sumari,^* but the old standbys. [...]

[...] Let alone the bulk of Jane’s other work: her poetry, novels both published and unpublished, her other published books, an unfinished autobiography, the records of her ESP class sessions, her journals and paintings, her singing in musical trance language, Sumari, her never-ending correspondence. [...]

(Even so, her use of energy in ESP class Tuesday night was remarkable once again; she alternated between Seth and singing in Sumari throughout the evening.

The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.

[...] You Sumari, you. [...]

[...] Jane got scared with Sumari in the beginning, just as she had at the start of the sessions in 1963, but she was also very curious and turned on. [...]

[...] She felt better after I read her the session for March 19, and a great Sumari poem I used to close out the essays for Dreams with.

[...] Old impediments do indeed drop away, because you enter into a higher kind of knowledge—a kind of knowledge for which you also have been searching for for some time, a structure in which Sumari time operates, so that certain aspirations can be achieved in a very minimal amount of physical time. [...]

[...] This meant for about three hours; Sumari had been included, too. [...]

[...] We also think that her EEG readings would vary once again when she spoke or sang in Sumari, her trance “language.”

[...] “And now I feel Sumari in the back of my head.... [...]

1. See Jane’s Introduction for material on the development of her Sumari abilities.

Sumari, particularly in the beginning, and poetry in general were dubious from a work-sales standpoint, and therefore suspect in writing time.

[...] Jane also sings in Sumari occasionally, and has written down a few short songs in that “language” without translating them. I’ve been careful to collect for our own records the prose, sketches, poetry, and Sumari she’s produced during this time of healing and testing.

He still does not completely understand the nature of what he calls Sumari time, in relationship with inspiration. [...]

Let Ruburt return to the definite 3-or-4-hour writing period, involving what he understands of Sumari time, interspersed with what you are doing to change the environment in the apartments—a good mixture of the mental and the physical. [...]

[...] The book also contained much Sumari and speaker material.