“Seth material” search engine (Jane Roberts)

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

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.

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!

How fortunate she’d been able to dig it all out, we said. And how sad, we said, that others who needed such help might not be able to do the same…. Jane’s material from her sinful self is obviously too long and complicated to present here, but I stress that one of its main concerns is its genuine and ironic puzzlement as to why man has for so long—probably from even before he started recording his history—persisted in the creation of and reliance upon entities like the sinful self! Surely that concern is creative, I told Jane; her sinful self is really questioning why she’s maintained it within such narrow confines.

“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….”

2. At times after Jane began to really show her physical symptoms, my awareness of the fact that basically she’s a mystic became submerged beneath many other more “practical” matters. Perhaps I should have stressed her nature more throughout Dreams. I never took that essential quality of hers for granted during those times, but instead accepted it so easily that I lost conscious stress upon it. She doesn’t use the word in connection with herself, yet I think that Jane’s mystical nature, which is so at odds with the realities most people create for themselves, actually offers the only real framework for understanding her physical condition, her choices, in our probable reality.

“Yesterday while checking the page proofs for Mass Events I got the feeling that that book really bothered me, served as a focal point. My eye troubles started the same spring that Seth started dictating it [in 1977]; I was doing [my world-view book on William] James; and those people were picketing Prentice-Hall’s offices in New York City because of the Seth material. The fact had escaped me earlier that Mass Events represented Seth’s and my direct attack on official dictums—or so it seemed to me. Before, we sort of did it by inference.

“They were these: that the entire world with its organization was kept together by certain stories, like those of the Roman Catholic Church; that it was dangerous beyond all knowing to look through the stories or examine them for the truth, and that all kinds of taboos existed to keep us from doing this, since … on the other side, so to speak, there was an incomprehensible frightening chaotic dimension, malevolent; powers beyond our imagining; and that to question the stories was to threaten not just personal survival but the fabric of reality as we know it. So excommunication was the punishment, or damnation … which meant more than mere ostracism, but the complete isolation of a person from those belief systems, with nothing between him or her and those frightening realities … without a framework in which to even organize meaning. This was what damnation really meant. To seek truth was the most dangerous of well-intentioned behavior, then … and retribution had to be swift and sure.

10. Like each of Jane’s books, Emir has its own life, its own place upon our planet, and resists categorization. It falls somewhere between being a book for children and one for adults. That made it difficult for its publisher to market. Tam Mossman said it best in September 1977, when Jane was writing the book and Prentice-Hall was considering its publication: Emir is really a book for “readers of all ages.” Jane has received many favorable comments upon it from readers, and we’re sorry to see it go out of print. Being remaindered usually means the end of a book, unless it can be placed with another publisher. That’s difficult to do.

“How a belief in reincarnation and immortality added support to life, so that it didn’t seem dead-ended. That I could relax now, admitting and realizing that I did have certain fears per the sinful self’s document (instead of pretending that I didn’t). Because brought into the light I really could handle them and see how they originated. Stuff on how society operated, whether it knew it or not, on a reincarnational basis, and how association was many-lives-thick, so to speak. Only these are thoughts I’m left with, connected to the experience while I’ve forgotten the events themselves, and the scenes that were extremely colorful and emotionally charged.”