“Seth material” search engine (Jane Roberts)

While Jane has been enjoying many periods of ease and relaxation, she’s also had bouts of blueness over her general stiffness and walking difficulties [her “symptoms”]. But she’s finally dispensed with the last stages of her cold, which had turned out to be much heavier than mine, and is feeling a resurgence of energy for the sessions. Her own work has been going well for the most part, however—she expects to finish Chapter 12 of God of Jane tomorrow. Because of her concentration on that hook she hasn’t done much on her book of poetry, If We Live Again, since late February; and as I mentioned in the Preface for Dreams, she laid aside her third Seven novel, Oversoul Seven and the Museum of Time, in May 1979 when she began God of Jane. As for myself, I’ve progressed to working with Session 860 [for June 13, 1979], which bridges chapters 8 and 9 in Mass Events.

Today Jane reread her recent sessions for Dreams; she wanted to resume work on the book tonight, and picked up on it from Seth throughout the day. She told me bits of the material at times, but I didn’t retain them. [She also relayed to me Seth’s comments about an article on bird migration that I read to her while we were having lunch, but I lost those too.] Jane called me early for the session—at 8:20, while I was still busy with Mass Events. She wanted to get started: “I still feel nervous about going back to the book….”

Reasoning, as you are familiar with it, is the result of mental or psychic processes functioning in a space-time context, and in a particular fashion. To some extent, then, reasoning—again, as you are familiar with it (underlined)—is the result of a lack of available knowledge. You try to “reason things out,” because the answer is not in front of you. If it were, you would “know,” and hence have no need to question.

Your technology is one of the results of that reasoning mind. That “reasoning” is necessary, however, because of the lack of a larger, immediate field of knowledge. Thoughts are mental activity, scaled to time and space terms so that they are like mental edifices built to certain dimensions only. Your thoughts make you human (underlined).

(A close friend, one who used to attend Jane’s ESP class, had called our unlisted number to ask one of us some psychic questions. Jane had been jolted out of trance, of course. After I hung up we wondered why our friend, who knows our usual routine so well, hadn’t realized that we’d probably be having a session at this time on a Monday evening.

—with great technical facility, regardless of family background, genetically speaking, and again, the reincarnational bank of characteristics accounts for such events. That inner reincarnational psychic structure is also responsible for triggering certain genetic messages while ignoring others, or for triggering certain combinations of genetic messages. In actuality, of course—say that I smiled—all time is simultaneous, and so all reincarnational lives occur at once.

Now in the greater framework of reincarnational existences you choose your roles, or your lives, but the lines that you speak, the situations that you meet, are not predetermined. “You” live or exist in a larger framework of activity even while you live your life, and there is a rambunctious interplay between the yous in time and the you outside of time.

(Long pause.) The you inside of time adopts a reasoning mind. It is a kind of creative (underlined) psychological face that you use for the purposes of your life’s drama. This psychological face of our analogy has certain formal, ceremonial features, so that you mentally and psychologically tend to perceive only those data that are available within the play’s formal structure. You cannot see into the future, for example, or into the past.

You reason out your position. Otherwise your free will would have no meaning in a physical framework, for the number of choices available would be so multitudinous that you could not make up your mind to act within time. With all the opportunities of creativity, and with your own greater knowledge instantly available, you would be swamped by so many stimuli that you literally could not physically respond, and so your particular kinds of civilization and science and art could not have been accomplished—and regardless of their flaws they are magnificent accomplishments, unique products of the reasoning mind.

(10:01 P.M. “Gee, I thought some of that was great while I was giving it, but now I can’t remember what it was,” Jane said as soon as Seth had gone. “But I feel better…. I think I got all kinds of goodies out of all proportion to time.”

(To me, loudly:) “You are still learning. Your work is still developing. How truly unfortunate you would be if that were not the case! There is always a kind of artistic dissatisfaction that any true artist feels with work that is completed, for he is always aware of the tug and pull, and the tension, between the sensed ideal and its manifestation. In a certain fashion the artist is looking for a creative solution to a sensed but never clearly stated problem or challenge, and it is an adventure that is literally unending. It must be one that has no clearly stated destination, in usual terms. In the most basic of ways, the artist cannot say where he is going, for if he knows ahead of time he is not creating but copying.