“Seth material” search engine (Jane Roberts)

Indeed, I didn’t learn that Jane had made the tape until five weeks later, after she’d returned to our hill house from the hospital: I found it on March 30, amid others in her writing room. She hadn’t labeled it, and I began to play it out of curiosity. The song’s mournful tones swam heavily in the room. It reminded me at once of a dirge or an elegy, and I felt chills as I began to intuitively understand just how meaningful it was, even without any translation at all.

Lest I give an inaccurate picture of my wife, however, let me add that she combines instances of that seeming intransigence with a profound intuitive innocence before nature (and thus All That Is), and with a great literal acceptance of nature’s manifestations and of her own being and creations within that framework. Although she’s not entirely in agreement with me on this point, I think that essentially Jane is a mystic—not an easy thing to be in our extroverted, materialistic society, for it represents a way of life that’s little understood these days. It’s a role she’s chosen for many reasons. Mysticism is still overwhelmingly regarded as a profoundly religious expression, and one that’s hardly practical, but in my opinion neither of those situations applies to Jane. Her “mystical way” is reinforced by a strongly secretive characteristic that’s usually belied by her seemingly outgoing character and behavior. It took me a long time to realize this. I also had to learn that her literal cast of mind grows directly out of her mysticism, and that because it does, she can be quite impulsive. There’s nothing halfway about Jane. She’s intensely loyal. She’s a very perceptive person with many abilities, a fine intelligence, and an excellent critical sense. Whatever reservations she shows—her conscious inhibition of impulses, for example—are learned devices that are literally protective in nature. I’ve certainly found her particular combination of attributes to be unique, and I don’t think she’d be able to express the Seth material as she does without them. Throughout these essays I hope to add many insights into her character. For now, though, I present what I have to work with from the saddest, most mournful Sumari song she’s ever created and sung. The tape goes into our files, although I’d love to know what she said on the rest of it….

I liked practically all of the doctors and nurses and orderlies, and they liked me. Most of them didn’t know or care “who I was.” Very few were familiar with my work (although a few local fans—strangers—eventually found their way to my hospital room). I found I could hold my own in that environment that at first had seemed so alien. I learned to joke even as my backside swung perilously above the commode, while I hoped that its aim was true in the hands of the nurses and orderlies—and again I felt that long-forgotten camaraderie with people, and a growth within myself apart from my work, or what I did. I had a right to be on earth because I’d been born here like every other physical creature, and on that level alone I was part of a great framework of physical energy and cooperation.

This is a good place to explain that while Jane was in the hospital neither of us ever made any attempt to “convert” the people there—doctors, nurses, technicians, say—to a belief in the Seth material. Beyond saying that Jane was a writer and that I was an artist, we told no one of our interests in life. We weren’t there to impose our beliefs upon anyone else. We’d made the conscious, joint decision during a time of crisis to seek certain kinds of help from skilled practitioners in the medical field, and we were willing to learn from them, even if those people were pretty certain to have belief systems very different from ours. (Well, I should add with a touch of a smile, at least we were more willing to learn in the beginning!)