“Seth material” search engine (Jane Roberts)

During her early years Jane had naturally and deeply loved her mother, and tried in every way a child could to please her—yet she became ashamed at the treatment she was receiving from Marie, and for the most part kept it a secret while growing up; we’d been married for some years before I really began to understand the depth of her feelings on that score. Why, Jane’s sinful self even felt guilty, Seth told us, because of her abusive treatment by Marie—assuming that it must have been bad, that it deserved all those years of psychological assault!

“Part of me doesn’t want to contend with this material at all,” Jane wrote for her journal, “but last night I had one of the strangest, quite frightening experiences—all the odder because there are so few real events to hang on to. Very early after we went to bed I realized I was in the middle of a nightmarish experience, one terribly vivid emotionally yet with no real story line. I only know that the following were involved: a childhood nursery tale and a toy like the cuddly cat doll I had as a child, named Susie, and thought the world of. Anyway, the point is that the story … and there I lose it; I don’t get the connections. All I know is that I awakened myself crying, my body very sore, sat on the side of the bed and made the following connections from my feelings at the time.

“The church was quite real to Ruburt as a child, through the priests who came (to the house) regularly, and through direct contact with the religious (grade) school, and the support offered to the (fatherless) family. Ruburt’s very early poetry offended Father (Boyle), who burned his books on the fall of Rome, so he had more than a hypothetical feeling about such issues. Many of his fears originated long before the sessions, of course, and before he realized that there was any alternative at all between, say, conventional religious beliefs and complete disbelief in any nature of divinity.

“Outside of that context, none of those fears make any sense at all. In a large regard the church through the centuries ruled through the use of fear far more than the use of love. It was precisely in the area of artistic expression that the inspirations might quickest leap through the applied dogmatic framework. The political nature of inspirational material of any kind was well understood by the church. Ruburt well knew even as a child that such religious structures had served their time, and his poetry provided a channel through which he could express his own views as he matured.

“The point at which such a situation happens is of course internal, and it may or may not have anything to do with the quality of material, but with its nature. Each society—or each system of knowledge, for that matter—has its own taboos built in, and most of these imply abandonment by the community. A firm bonding with the parent ideally implies, however, that the child will not be abandoned, despite parental anger at any given time.