“Seth material” search engine (Jane Roberts)

I’ll skip ahead a bit here by noting that on August 15 four nuclear technicians made the second entry into the containment building—again, to acquire more information for future entries. [Two of the men were so strongly affected by the heat inside their heavy protective clothing that they decided to cut short their trip.] The reactor reclamation task is now projected to cost more than $760 million, and to take at least five years.

The head of the Subsidiary Rights department at Prentice-Hall had informed Jane that four copies of the film option contract were in the mail.⁴ By the first of August we’d had our attorney check, sign, and notarize the contracts, Jane and I had signed them, and I’d returned them to our publisher. It has been an extremely slow-moving project, but The Education of Oversoul Seven may yet be a movie.

Jane’s worsening situation through June and July, then, prepared her to accept my suggestion that Seth could help her. She put aside the first session for Chapter 9 of Dreams, and began Seth’s sessions on the magical approach to reality. As Seth remarked on August 6, when he gave his first session on the subject: “When Ruburt finished his project [God of Jane], he found himself with all of that time that was supposed to be used. He also became aware of his limitations, physically speaking: There was not much, it seemed, he could do but work, so he took the rational approach—and it says that to solve the problem you worry about it.”

See Note 7, in which I used Jane’s poem as a focus around which to offer certain pieces. Indeed, more and more as I worked on these notes for Chapter 9 of Dreams, I saw how necessary it was that I write an Introduction for the book itself—to create a framework for the presentation of all of the material in it from our private and professional lives. Of course, I couldn’t yet know everything that such a project ought to contain. Jane had mentioned a number of times that she’d help me with it. And she was playing around with the idea of a Seth book on the magical approach.

Early in September Tam mailed back to us, for our approval, the copy-edited 484-page manuscript for Mass Events. An independent reader had gone over our labors line by line, checking for everything from grammar and contradictions to philosophy, “flagging” questions for us by noting them on slips of pink paper taped to the appropriate manuscript pages. Along with our other projects—including answering a steady flow of letters—Jane and I spent the month going over Mass Events, accepting some suggestions but rejecting many others. On the 13th we received from Sue Watkins our first copy of Volume 1 of Conversations With Seth, Sue’s excellent account of the ESP classes Jane used to hold in one of the two apartments we rented in downtown Elmira, before we moved to the hill house outside of town in 1975. Sue was now working on the last two chapters of the second and last volume of Conversations. Early in October I returned Mass Events to our publisher once more; it was ready to be set in type. Jane kept at her poetry and essays right into that first week in October, while her physical improvements continued to show in a modest way. Her walking especially was better, and I was able to take her on an occasional drive in the beautiful country.

“When you were both intensely involved in your projects (Mass Events and God of Jane), just finished, you let much of your inner experience slide, relatively speaking. Since then, however, you have each been struck by the magical ease with which you seemed, certainly, to perceive and act upon information that you did not even realize you possessed.

“Being your own natural and magical self when you dream, you utilize information that is outside of the time context experienced by the so-called rational mind. The creative abilities operate in the same fashion, appearing within consecutive time, but with the main work done outside of it entirely…. When you were both working on your projects, your cultural time was taken up in a way you found acceptable. When the projects were done, particularly with Ruburt, there was still the cultural belief that time should be so used (underlined), that creativity must be directed and disciplined to fall into the proper assembly-line time slots.