“Seth material” search engine (Jane Roberts)

Our days and nights passed in such a kaleidoscope of activity, broken by such uneven periods of sleep, that we hardly noticed whether they were hot or cold, clear or rainy. The grass began to change color from brown to a pale yellow-green. Jane often dozed in her chair in the daytime, but woke up during the nights to watch old movies on television. During her first weeks home, I seldom slept more than two hours at a time: It seemed that I was always getting up to check the dressings on her decubiti, to adjust her pillows, to help make her more comfortable on the motor-driven, pulsating air mattress we’d finally settled upon as the best recommended support available. I’d give her a sip of something to drink, and massage her legs as she lay on her back with her knees drawn up. (She can’t straighten out her legs.) I’d sit with her while she had “a few puffs” on a cigarette. The nighttime had a sublime sense of timelessness that I’d always admired. It surrounded our bedroom—but even as bleary as I often was, I became acutely aware of how that serenity could be jarringly compromised by the television set, showing programs that contained their own times of day and seasons.

(This evening [on April 16] Jane suggested that we sit at our living-room table while I read her morning’s dictation to her. But instead: “Well, I guess I’ll do a Seth thing tonight,” she announced, rather to my surprise, “but it won’t be long at all….” This is the second time she’s spoken for Seth since leaving the hospital. When she went into trance at 7:39 her Seth voice had a distinct tremor—one decidedly more pronounced than on April 12—and a hard-to-define faraway quality. She spoke with many long pauses. I think that in the following excerpts Seth rather neatly encapsulates her past beliefs, her present condition, and how far she has yet to go in meeting her challenges. [Not that I’m the innocent bystander in all of this, of course. I’m deeply involved.]

And as for books, early in August I returned to our publisher, Prentice-Hall, the page proofs Jane had corrected for her book of poetry: If We Live Again: Or, Public Magic and Private Love. Ordinarily that event would have delighted us, since it meant that before the year was out she’d have another work published. Instead, we despaired over her physical condition as the weeks passed. Just how stubborn could those core beliefs held by her sinful self be? Finally, we were left hoping that the sinful self’s very exposure through its own material would eventually bring about some physical improvement. That didn’t happen either. I painted in the mornings, searching for a peace of mind that I couldn’t obtain in any other way. Jane held a few widely scattered sessions for Dreams, and a number of private ones as fall came, then winter. Those sessions represented largely futile activity, I thought, yet I gladly admitted that each one of them was as unique and creative as ever, no matter what its subject. Perversely, beyond taking it down and typing it, I hardly looked at the Seth material for days at a time. Finally, early in December 1981 I told Jane I was on the verge of refusing to sit with her for any sessions at all, regular or private, for I’d become deeply afraid that the more sessions she held the worse she’d get. Again she refused to go into the hospital. At this time, Prentice-Hall sent us the first published copies of If We Live Again, but as proud as Jane and I are of that book, its appearance didn’t help her. At our small, annual Christmas Eve party we gave autographed copies of the book to close friends—the best presents we could offer. After the holidays, though, we saw few friends and no strangers.