“Seth material” search engine (Jane Roberts)

She’s also done her first two colored-ink sketches, using one of the 4” × 6” watercolor pads I’d bought for her last year. In these sketches, with their simple but very effective patterns of line and primary colors, Jane somehow bypasses her everyday challenges and very clearly reflects her basically mystical view of the world. She does the same with the little poems she’s worked upon, most of which she regards as being not only incomplete but quite inconsequential: “I wouldn’t even type them up, like you did,” she commented. Yet I like lines like: “Let the dirge be heard, sweeping all things before it,” and: “I’ve developed a sense of death, when someone takes a few steps off the known path almost unknowing,” and: “I breathed in the public air and it became private.” 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.

Of course these essays reflect our particular chosen stances in life, both with and without the Seth material. I know that to some we’re sure to have appeared slow in putting to use much of the material, but in a most basic respect we’re way ahead in the situation: If we hadn’t almost instantaneously begun to encourage the flow of information from Seth when Jane started to express it some 18 years ago, and to write it down, then it wouldn’t even exist—at least in its present form. So we do take credit for doing some things right. Learning experiences can show themselves in a vast number of ways, then, and independently of sequential time, too; and if Jane and I don’t like certain aspects of the realities we’ve created, we can try to change them, together and separately.