“Seth material” search engine (Jane Roberts)

In later years it’s become impossible for me to close my eyes to the multiple pressing differences that exist between Seth’s explanation of the nature of reality, and of our own private experience of it. In this book, Dreams, “Evolution,” and Value Fulfillment, for example, Seth portrays us as a vibrant, well-intended species—a physically attuned kind of consciousness beautifully tailored by our own cosmic ingredients to live lives of productivity, of spiritual and physical enjoyments, with each individual life in charge of its own fate and adding to the potentials of all other life as well.

(Long pause at 7:51.) It began to strike me that even my own physical incapacities were indeed creative ventures that appeared in my experience as bad, or limiting, or even tragic. Perhaps they were instead efforts on the part of my own explorations of value fulfillment to reorganize my life’s vast energies. But instead of facing up to a considerable change in life-style, I panicked and felt myself to be almost assaulted, forced into a life that offered less and less physical freedom. So again, how did that experience fit into Seth’s Dreams, “Evolution,” and Value Fulfillment?

Our week just past had been filled with a desperate energy as we struggled to get settled so that we could return to “work”—to our arts—on some sort of a regular basis. To our dismay, we discovered that Jane had lost much of the use of her legs while in the hospital, since during that month she’d been actively discouraged from using them in her accustomed way. This complicated enormously all of our efforts to help her move about the house as she used to in her office chair, which is on rollers, and nearly signaled the failure of our efforts to live by ourselves. We’d scheduled just a two-hour visit by a registered nurse five afternoons a week for Jane’s physical therapy, and to change the dressings on her decubiti. Neither of us wanted live-in help on the premises 24 hours a day. I, for one, was afraid that such an arrangement would not only demonstrate our acceptance of the fact that Jane was really caught in a terrible, permanent situation, but that it would end up destroying us psychologically and creatively.

And amid all of this frenetic activity our painting and writing—those activities we’d always regarded as the creative hearts of our lives, the very reasons we’d chosen to live on earth this time around—had receded into a far distance, so that they’d become like dimly remembered dreams, or perhaps actions practiced in probable lives by “more fortunate” versions of ourselves.