“Seth material” search engine (Jane Roberts)

Because of the opposition of local people and Pennsylvania officials, utility executives have not been allowed to restart Unit No. 1, which was shut down for refueling at the time of the accident. The cleanup at TMI must proceed regardless of whether Unit No. 2 is repaired or decommissioned, or whether the entire plant is closed down. The Nuclear Regulatory Commission has rejected the idea of a sealed-up radioactive power plant sitting on its island in the Susquehanna River; the danger of eventual uncontrolled contamination, including seepage into the river, is too great.²

Very briefly: More so than Jane is, I think, I’m intrigued by and susceptible to nostalgia. I create a feeling for it. I used to equate the emotion with sentimentality—but leaving aside the basic merits of the latter, I’ve come to understand that nostalgia, growing out of its inevitable counterpart, memory, represents a facet of Seth’s idea of simultaneous time. For if past, present and future exist together (and continue to develop), then I see nostalgia as expressing a legitimate searching by the conscious mind as it seeks to grasp that the past exists now, and is not “dead.” The quest for nostalgia is one way to bring the living past up-to-date. The yearning I feel each time I drive past the apartment house Jane and I lived in for 15 years, just west of the business section of Elmira, represents my conscious reunification of the past with the present, and even a projection of both into the future in ordinary terms.

We always liked the idea, however, that others were recording class events and were keeping tapes for us if and when we wanted them; we also liked the idea that it was safer to have the tapes scattered about instead of being kept in one place. In class Jane might have listened to portions of a tape as it was being made, or immediately after class was over, but seldom would I hear her playing the same tape later—if we had a copy of it, that is. She’s fascinated to hear herself speak as Seth, and sing in Sumari, but she always wants to move on. I simply have never devoted myself to collecting tapes. I don’t want to overstate the issue, but neither does Jane pay that much attention to a book once it has been published. She does reread various private sessions, usually those in which Seth discusses matters relating to her symptoms. Until this year (1981) she would occasionally replay one of the few tapes we’d made together, or use our recorder when writing poetry. She gradually gave up working that way, however, as it became more and more difficult for her to exert enough finger pressure on the recorder’s keys.

“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.