“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.

The day after that session for March 11 was held we received a jolt: Eleanor Friede, Jane’s editor at Delacorte Press, informed us that Jane’s book, Emir’s Education in the Proper Use of Magical Powers, was being remaindered—taken off the market because in the publisher’s view it wasn’t selling enough copies. Eleanor’s protests at the action had done no good. We were given the chance to buy as many copies as we wanted to, at a very low price per book. We’d known that Emir hadn’t been setting any records since its publication in September 1979, but we’d also thought the book’s sales were respectable enough that the people at Delacorte Press would keep it in print until it became better known. Perhaps our shock came about because we’d become spoiled without realizing it, but of Jane’s 14 books Emir¹⁰ is the first one to be withdrawn—and, ironically, the last one she’d had published. That status would soon change, however, when Mass Events and God of Jane reached the marketplace.

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.

In an experience last evening in the dream state, Ruburt received fresh evidence by viewing for himself portions of two other lives—merely snatches of environment, but so dearly filled with precious belongings and loved ones, so alive with immediacy-that he was shocked to realize that the full dimensions of existence could continue so completely in such detail and depth at the same time as his present life.

To those of us who are rooted in more conventional approaches to our probability, Jane’s course may at times seem incomprehensible—but as far as she’s concerned that only shows our lack of comprehension of her viewpoint. As a mystic she can have motivations toward exploring certain avenues of the human condition that most of us don’t have. Her view of basic reality is her view, and even I must still grope at times to understand her chosen role. To actually carry out her way, as she’s doing, is something I cannot do. Her sacrifice of physical motion in order to have greater creative motion is a “bargain” I shrink from making. Jane used to say to me: “I told myself that if I let myself do that, then I’ll do this in return,” One can say that that kind of equation hardly represents a mystical view, yet I know that in her case it does. I don’t believe those kinds of bargains are necessary in life to begin with, but what’s real for Jane can be quite different than it is for me, and for most other people. She does have her reasons.

“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.

“We have to go beyond that—back to stressing the creative larger-than-life aspects. Otherwise all we have is a better problem-solving framework…. I’ve rejected all that kind of hash projected onto Seth’s books by others or myself—the assumptions that Seth must prove himself as a problem-solver—or the importance of functionalism over art. The larger view is that art, by being itself, is bigger than life while springing from it; that Seth’s and my books go beyond that simply by being themselves. They automatically put people in a different, vaster psychological space, another frame of reference, in which a good number of problems vanish or simply do not apply….

6. Seth went on to say in that session for February 17, 1980: “The only other times there are any such difficulties also involve responsibility, when he concentrates upon his responsibility to hold the sessions—that is, when he focuses upon need, function, or utility as separate from other issues involved. Such feelings can then for a while override his natural inclinations, his natural enjoyment and excitement with which he otherwise views our sessions.

“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.

Otherwise, I thought, all too often the afflicted one is left with that great yawning “Why?” in the face of whatever drastic negative events are taking place; and those who suffer with the sufferer are as fated as the sufferer is to receive no satisfactory answers within their lifetimes, either. To search for answers within the narrow frames of reference offered by the conventional view of reality could be like trying to peer into the depths of personality through an opaque window….

22. Although Jane has had “particular difficulty” with the theory of reincarnation, both through Seth and in her poetry she’s always kept psychic windows open through which she can view and express reincarnational ideas and emotions. Poetically, this will be obvious when If We Live Again is published late this year. (Probably in December. We expect to receive from Prentice-Hall the page proofs for the book, for our review, any day now.) In her poetry the young Jane was using ideas akin to reincarnation before she even knew the word—subject matter that was strongly disapproved of by the Catholic priests who visited Jane and her bedridden mother at home.