“Seth material” search engine (Jane Roberts)

Enjoying the sounds of life in the mysterious nighttime, I intuitively understood that not only did I want to mention in this Preface the feelings Jane and I have about Three Mile Island as a technological and scientific entity, embodying man’s attempts to extract new forms of energy [and yes, consciousness, in our joint opinion] from the far more basic and profound quality Seth calls All That Is; I also knew that I wanted to indicate how the very idea of nuclear energy, as an attribute of a national focus, compared with the situation in the Middle Eastern country of Iran. Iran is undergoing a revolution of a strongly religious, fundamentalist-Islamic character. [Islam means “peace,” by the way.] The force of Iran’s upheaval makes the growing Christian fundamentalist movement in the United States seem tame indeed by comparison; therefore I want to concentrate upon the Iranian dilemma rather than the religious conflicts in our own country.

To some extent you had your own niches, recognizable by society even if they were relatively (underlined) unusual. You did not know that there was a deeper, older, or richer tradition—a more ancient heritage—to which you belonged, because you found no hint of it in your society. It seemed at different times since our sessions began that there were disruptive conflicts. For example: Was Ruburt a writer or was he a psychic? Were you an artist, or weren’t you? What about the writing you did—both for our books, and the writing that you sometimes plan to do on your own?

Those kinds of conflicts can only exist in a society in which the entire concept of creativity is segmented, in which the creative processes are often seen as inner assembly lines leading to specific products: a society in which the very nature of creativity itself is largely ignored unless its “products” serve specific ends.

(To me:) I want you to specifically understand that there is and can be no conflict, for example, between your writing and painting, for in the most basic of ways they represent different methods of exploring the meaning and the source of creativity itself.

Explore, for example, your own feelings toward me: whether or not they have changed through the years, how much I seem to be myself, or part Jane, or part Ruburt, or part you, or part Joseph, or whatever. Realizing that you are in the position you wanted to be [in], and realizing that your abilities are not in conflict with each other, nor you with them, will automatically fulfill and develop all of those abilities, in a new kind of overall creativity that is itself beyond specifics.

I want you both, then, to understand that in the greater light of creativity, understanding its true meaning, you have taken the right course, and therefore drop from your minds any lingering ideas of conflict and doubt. Such a stand will automatically clear up all problems involving things like taxes, sex roles, or whatever—on both of your parts.