“Seth material” search engine (Jane Roberts)

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.

Painting is really unalloyed fun for Jane. Not that she doesn’t have her failures, but her work has greatly improved since we met in 1954, and in ways that I hadn’t foreseen for her. Indeed, I now think that my wife is a better painter in her way than I am in mine. This doesn’t mean that I’m knocking my own abilities in any way. Jane is freer. She works in oils, acrylics, and watercolors. When painting she knows a release from time, care, and responsibility that she doesn’t experience otherwise—and surely that pleasure emphasizes qualities of living that Seth has always stressed. Her painting is her unhampered creative translation of the Seth material into pigments instead of words. Because of her defective vision Jane sees perspective differently than I do, yet achieves her own kind of depth with her “instinctive” designs and color choices. Her art contains a charming, innocent, mystical freedom that I envy. She’s produced many more paintings than I have in my own more conventional, more plodding way [although now I’m working faster than I used to]. I think that any assessment of her writing and psychic abilities will have to include a close study of her painting. To me, the lessening of Jane’s physical mobility has resulted in a strong compensating growth in her painting mobility. I also think her painting reflects her free physical motion in her dreams. Hardly accidental, any of that. I’ve seen her turn almost automatically to the relief that only painting can give her.

On the screen we saw a parade of citizens expressing shock, sadness, and outrage, frustrated by the knowledge that it had all happened before—not only in our country but around the world—and that it would happen again many times more. It became almost a cliché for people to wonder what was wrong with people: Why do those who attain prominence often attract those who want to destroy them? I think the Seth material contains some penetrating insights into such questions, but those ideas aren’t nearly well-enough known to help on a national scale. Seth didn’t comment upon the shooting, It wasn’t that he couldn’t, or wouldn’t—but that Jane herself is basically so innocent, so repelled by the violence involved in such episodes, that she often chooses not to go into the subject. I thought she might later in connection with other material, however; this had been the case when Seth discussed the mass suicide at Jonestown, Guyana, in November 1978.¹¹

Jane doesn’t agree with my doubts. As always, she’s been letting me put this book together the way I think best—and inevitably that way has followed how we’ve been trying to understand our joint long-term situation. She innocently accepts my labors as they come out. And that trust always reflects, I’m sure, Seth’s own larger view of reality, as I just quoted him from Session 915. Our challenges echo throughout all of our probable realities simultaneously, and through all of them together the largest picture of Jane and myself is presented. In this probable reality we work with what we can pick up from that great whole. We keep trying to learn to ask better questions.