“Seth material” search engine (Jane Roberts)

I’d never seen Jane hesitate for so many months over beginning a new project, as she had with Magical Approach. Usually she just plunged right into her latest creative inspiration, and that she hadn’t done so this time was to me a clear sign of her long-range, general physical-emotional state. I continued to reassure her [as Seth did also] after she’d finished Chapter 10, for I was deeply frustrated and concerned for her. There wasn’t anything else I could offer that she would affirm. As the weeks passed she denied more than once that she was depressed. Watching my wife over the years, I’d long ago come to feel that I was observing someone who was following a chosen course with incredible ability and determination. Nor is it contradictory of me even now to note that Jane’s path is quite in accord with her basically innocent, mystical nature—for her acceptance of her nature makes possible her explorations of it in her own unique ways. When she does mourn her impaired state, it’s still never with that tired old question directed at a supposedly unjust and uncaring nature: “Why me?” She just keeps trying to grapple with her challenges.

Then on October 23 Jane’s creative contentions led to her “attend” material—in which she picked up from Seth that her only responsibility in life is to herself: “Attend to what is directly before you.” Seth told her that she bore no onus to save the world. In relief, Jane wrote a short poem to accompany Seth’s message, then wrote further that she “realized that like many I’d become afraid of faith itself.” I’ve presented this cluster of material in the frontmatter for Volume 1 of Dreams. Her insight helped both of us. However, she hadn’t had a session, regular or private, in over 10 weeks [since August 13], so on October 27 she recorded in her journal the continuance of her daily creative struggles: “And once again I’m way behind in sessions and writing. This A.M. I ‘worked’ from midnight to 3—without getting anything done. I wonder about the advisability of the entire project [Magical Approach]. Where had the magic gone? Where was my inspiration? Those were my thoughts when it occurred to me that I should be writing them down, because they’re part of the whole picture. I felt better….”

I’ve slightly paraphrased portions of Jane’s entry in her journal for November 2, 1981. These events show once again her body’s incredibly tough, creative, and ceaseless attempts to right itself and carry on—when it was allowed to respond to faith:

9. Jane held her ESP classes for seven and a half years (from September 1967 through February 1975). Those gatherings were disrupted almost seven years ago, when we moved from our downtown apartments into the hill house, and for a number of reasons we did not resume them. Strange it may be, but Jane and I have never conducted a search for class artifacts, as our friends had just been doing, and as other former students had done before. We grew up without modern conveniences like portable tape recorders, of course, but even so our natural creative desires had always been to express ourselves graphically, in written and printed words and in drawn and painted images. They still are. In addition, Jane’s impetus is to continue driving forward; that’s her way, even though each project grows—as it must—out of the past. (I’ve shown in Dreams that many of her physical symptoms have resulted from conflicts between those spontaneous urges, and entrenched beliefs that revolve around her sinful self and tell her that such activity is wrong.)

“His ideas as he tried to explain them to you earlier this evening are excellent. They revive him psychologically, particularly with your help, as he discusses them. The sinful-self material is ‘timed’ in its own fashion so that although there is a good deal of material already written, its effects are periodic—that is, they are clued to spring into even greater insight, which may not be apparent at any one given time. It is important that he tells you when he does feel panicky. However, the feeling itself does not last long. Relaxation, again, is a part of the creative process.

“[Ruburt] does not have to publish a book every year on the button. The creative material will flow. It flows as a result of his own characteristic nature. It is safe to express that nature. It is even safe to explore that nature, and it is safe to allow himself to take some comfort in the source of being.