“Seth material” search engine (Jane Roberts)

The very next day we were distracted: We received back from our publisher the film option contracts for The Education of Oversoul Seven. The filmmaker required certain additions for legal reasons; we had to have our attorney renotarize the contracts. On the same day I returned them to Prentice-Hall, I also sent in Jane’s signed contract for If We Live Again—and the mail brought us the copy-edited manuscript for God of Jane.

Even though she wasn’t walking, Jane continued taking her steps between her office chair and the living-room couch, from which she was giving most of her sessions those days. As December came she stopped getting into the shower because of the trouble she had maneuvering in the bathroom, so I began helping her take sponge baths instead. Her physical condition was obviously intimately related to her creative condition. Even the simple act of writing was becoming increasingly difficult for her.¹ On December 4 I sent back to our publisher the corrected copy-edited manuscript for God of Jane. And late that month, and for the very first time, Jane allowed me to push her in her chair in front of company—a Friday-night group of friends, one reminiscent of the free, exuberant gatherings we used to have every weekend in our downtown apartments. Not that all of our friends hadn’t known of Jane’s physical symptoms for some time, but that Jane, with her innocence and determination—and yes, her mystical view of temporal reality²—had for the most part refused to put herself on display, as she termed it: She felt that she should offer something better to herself and to others, even with all of the intensely creative work she’d done for herself and for others over the last 17 years.

Two weeks later, on March 3, Jane and I really received a surprise through a friend who lives on the California coast: news of a Spanish-language translation of Jane’s first book, How to Develop Your ESP Power. The edition was printed in Mexico and is on sale in that country and on our West Coast. Our friend has a Mexican friend who showed him a copy of the book. Jane and I didn’t know what to think, since the American publisher of ESP Power, Frederick Fell Publishers, Inc., hadn’t advised us that a translation into Spanish had been authorized. The almost wordless quality of our surprise reminded me of our feelings of a year and a half ago, when we’d learned that the Dutch firm, Ankh-Hermes, had published an abridged edition of Seth Speaks in that language, without our permission.⁷

On April 12 the space shuttle Columbia was launched into orbit around the earth, and I thought that Jane was complementing that obvious exploration of outside space by exploring inner space with the only vehicle she had available—her own mind. That same day, Seth agreed that her new book idea was a good one. Somewhere in here we received from our friend in California the photocopies I’d asked him to obtain, of the frontmatter for the Spanish-language edition of ESP Power. So the book was out in Spanish, we saw—but we were so preoccupied with Jane’s symptoms and related matters that we let the photocopies lie on a shelf. During this time, we had been often rereading Seth’s information on the sinful self as he’d given it on March 11. [See Note 9 for this session.] That material had deeply touched us. The result was that on April 14, the day Columbia landed, Seth initiated a long series of sessions on both Jane’s own sinful self, and that quality in general. The very next evening Jane allowed him to come through with some extremely important material.¹³

During the first week in May, Jane received from Tam the copy-edited manuscript for If We Live Again. As she checked that book she listed several areas of her body where beneficial changes had begun to appear, as well as others that hadn’t shown any improvement. Her difficulties maneuvering in the bathroom were especially bothersome. She was both encouraged and discouraged, then—but did have more energy. I returned the poetry to our publisher on May 13.

“Finish checking copy-edited manuscript of God of Jane this afternoon. Feel this important…. As I finish, I realize how much physical activity and energy is required for even that seemingly sedentary task, for I’ve been uncomfortable, sitting, switching my weight, body soreish, eyes not seeing properly and so forth…. But in some newish way I seemed to understand how much seemingly mental work is dependent upon physical vigor, flexibility and so forth; and then rather strongly—emotionally it came to me that I’d thought it my duty to clamp down physically, to cut down mobility in order to … have mobility as a writer; that is, to sit down, cut down on impulses, distractions, to make sure I’d ‘do my work,’ pursue my goal undeviatingly; that new [book] contracts instantly led me to that kind of behavior and that I really see that such behavior carried to its extremes would end up smothering my writing, defeating the purposes it (seemingly) meant to protect. But I did fear that impulses and body motion were … distractions to work…. Now I see how much impulses are conducive … to just typing, for God’s sake; imagine typing and seeing with ease, just thinking about what I’m thinking about, instead of trying to get my fingers on the proper keys. I feel as if I’m on to something here … feel some relaxation. If this is the case, the entire process could be changed around quite quickly, of course, toward mobility. I’m not writing here tonight about the reasons behind such behavior—many ideas—but did want to get something down now….”

7. In Chapter 2 of Dreams, in Volume 1, see my account of the Ankh-Hermes affair, as given in Note 1 for Session 885. We didn’t know whether ESP Power had been published without our American publisher’s consent—but there we were, confronted by another puzzling development involving a foreign-language edition of one of Jane’s books. At once I wrote to our California friend, asking him to obtain from his friend photocopies of three pages in the frontmatter of ESP Power: the title page, the table of contents, and the page that nobody reads, containing the information on copyright, permission for translation, and the name of the Mexican publishing firm.