“Seth material” search engine (Jane Roberts)

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.

“I resent the designation unjustly given me, for if I have believed in the phenomenon of sin and sought—apparently too rigidly—to avoid it, my intentions and interests always were not the avoidance of sin so much as the pursuit of eternal truths; the alliance with universal goals, the unity in spirit at least of self, whole self, and universal mind. Those goals ignite your creative powers and have (and still do) propelled you to explore all categories of existence possible, seeking to express those divine mysteries that lie within and behind each existence—yours, and mine as well.

“I accept everything in the book, but I think I felt that if I was going to tell it like it was—and I was, was determined to—then I also needed more protection from the world, and began cutting down mobility again. My idea is that the eyes get bad after the muscular strain reaches a certain point. The idea [of protection] also came back after reading a book on William James that a friend gave us for Christmas. [James’s] attitudes and mine so often seem similar—that he was determined to be daring, press ahead no matter what, explore consciousness—while at the same time being attracted to safety, disliking controversy, wanting peace, etc. I think I am that way. The long breaks when Seth didn’t dictate [book work] may have come when I got particularly concerned about the material, the wisdom of presenting it to the world.

“Wednesday, July 15, 1981. Last night or rather this morning I had a strange strange dream experience, very vivid while happening, quite important I felt, and now I hardly remember it. The affair involved an excellent TV movie on reincarnation we saw last night. In the dream experience I think I was considering doing a book, a sequel, to the movie—but I was also seeing one or maybe two reincarnational lives of mine, seeing how a belief in reincarnation helped open a sense of the future in the present: I was learning how to visit those lives, which were still happening and for which I think I yearned—without dying in this life. There was a road and other scenes from my past I wanted to paint too; a significant green bottle; people I dearly loved, and Rob might have been involved too. Lots I’ve completely forgotten about people who loved you in particular lives always in some way being supportive; that we’re caught up in time-to-time overlays Seth has referred to in his late book dictation; that rhythmic time overlays happened as various anniversaries or significant events from various lives overlapped, bringing them momentarily closer (like comets) when entries back and forth, and interchanges, are particularly easier.