“Seth material” search engine (Jane Roberts)

Today my wife was once again very much at ease for most of a day—so much so, in fact, that she slept several times. Many beneficial muscular changes appear to be taking place in her body. After supper I suggested that if she had a session tonight Seth could comment upon her current series of relaxations. At 8:30 she called me out of my writing room. Now she was nervous, for she felt that Seth was ready to dictate his Preface for Dreams.

I especially liked the first sentence Seth offered for his latest book. He promised something Jane and I could really focus upon … an exciting yet thoughtful time of “work” and new information. Quietly, with many pauses, a few of which are indicated:)

I speak through Ruburt—or through Jane Roberts, if you prefer. Ruburt has his own creative abilities, and uses them well, and it is to a large extent because of those abilities that our contact first took place (in December 1963). Scientists like to say that if you look outward at the universe, you look backward in time. That statement is only partially true. When you move inward through the psyche, however, you do begin to thrust, in your terms, “backward” toward the origins of existence. Your creative abilities do not simply allow you to paint pictures, to tell or write stories, to create sculpture or architecture. They do not simply provide you with a basis for your religions, sciences, and civilizations. They are your contact with the source of existence itself.

I nodded a very pleased yes. “He said this one will be his most ambitious project to date.”

It’s impossible, of course, for us not to have a sense of responsibility about the sessions. I’m sure Seth knows this, but it’s obvious that he wants us to maintain a light rather than a heavy psychological touch. Sometimes that’s rather difficult to achieve, though. Recently we received an excellent, rather lengthy paper about our work in which the writer, a psychologist, discussed among other things the import of Seth’s material, as well as various explanations of his origin. We think about those subjects too, but in order to have the sessions on a week-to-week basis we concentrate upon the simple creative achievement embodied in each session itself, and let go of the larger implications. Those implications are usually in the background of our joint awareness, however.)

“Today, Ruburt’s body wanted to relax. He has been doing very well, and he tried to approve, but since he lost work time yesterday, his approval barely went skin deep (louder).

“When you mentioned his ink sketches he instantly wanted to play at painting again, but felt, guiltily, that he should not. He forgot, once again, that the creative self is aware of his entire life, and that his impulses have a creative purpose.

“These sessions themselves involve the highest levels of creative productivity, at many levels, so he should refresh himself painting or doing whatever he likes, for that refreshment adds to his creativity, of course. He will finish his book (God of Jane), and do beautifully with it. He should follow the rhythms of his own creativity without being overly concerned with the time. For a while, again, have him write three hours of free writing, and paint or whatever. His book will be provided for. You can see how your own creativity is emerging in the notes for Mass Events. Granted, you need time to write physically, but the basic creativity has its own ‘time.’

(“What was that feeling he had today in his chest, back, and body, like an electric pulsation?”)

“Because he did not approve of his own relaxation. He put brakes upon it.”