“Seth material” search engine (Jane Roberts)

(Another two months have passed during Jane’s production of Dreams. We had a very subdued holiday season. Now the new year is almost a month old; the weather is cold but the frozen ground is practically bare of snow. Our mail is as heavy as ever. Those “unused gaps of time,” those long weeks passing between recent chapters for Dreams, have become very worrisome to me, for they fall outside of Jane’s natural creative rhythms. She hasn’t even had many private sessions during those breaks in book work; she gave but two private sessions between chapters 10 and 11, and four between chapters 11 and 12. That very infrequency itself is an obvious “symptom” of our psychic and physical challenges.

And a very positive event took place that afternoon. Jane received from Prentice-Hall the first copies of her book of poetry: If We Live Again: Or, Public Magic and Private Love. We had looked forward to seeing that handsome little volume ever since she first conceived of it well over two years ago, before she had a title.⁴ If possible, Jane was even more pleased at the publication of If We Live Again than she had been when her book of poetic narrative, Dialogues of the Soul and Mortal Self in Time, came out in 1975. If We Live Again once more carried her back to her earliest days of creative work, which in turn had led to her teenage dreams of becoming a published poet [she was born in 1929]. As I’ve shown in various notes in the Seth books, through the art of her first love, poetry, Jane presents her beliefs with an amazingly simple clarity, combining her mystical innocence and knowledge with her literal-minded acceptance of physical life.

I think most people would agree that Jane’s singing in Sumari is extraordinarily original, and that she’s an excellent natural dramatist. It’s easy to miss, or skip over, the drama in her lifework because it’s so pervasive in all of her creative endeavors. She was fully aware that that quality became much more obvious in her class singing and sessions, but she didn’t have to consciously evoke it—the drama was just there. In its own form each time, it still underlies our sessions, and her poetry, writing, and painting.

Some would argue, however, over whether the next three characteristics on my list are assets of Jane’s, or hindrances. I believe that any of those can be either or both, depending upon circumstances. My position is that all of the qualities listed, by both Jane and me, represent creative portions of her as she is—and I accept them all.

Your own entire structure of life, therefore, with its acute and precise definitions in the package of reality, is a living life cloud that may or may not be perceived in other realities. That cloud contains within it ever-freshening sources of new creativity. When you dream or sleep or think, you automatically add to other dimensions of a life cloud or dream cloud that emerge from the very actions of your own subjective motions.

(A one-minute pause at 10:10.) Even infinity is being everywhere expressed in each moment, for infinity itself is not something apart from what the universe is. As the universe is a portion of infinity’s creativity, in that light there are new species appearing all of the time, whether or not your own situation allows you to perceive that emergence. You yourselves may be portions of that emergence. From your threshold or focus you would be relatively unaware of your own motion on a new time threshold—for to the beings on that threshold you would have already arrived, while to you in your present their existence would at best be theoretical, as if they were future selves. From your standpoint they would be, of course.

“The sessions on the magical approach… can serve as valuable springboards to release from your own creative areas new triggers for inspiration and understanding, and hence for therapeutic development. That should be part of the program, in other words, regardless of what Ruburt intends to do bookwise with those sessions.

“Another point: Regardless of any seeming contradictions, the beneficial aspects of any particular creative activity far outweigh any disadvantages. The nature of creativity, regardless of any given specific manifestation, is reflected in an overall generalized fashion that automatically increases the quality of life, and such benefits are definite regardless of what other conditions also become apparent. I mean to make clear here that regardless of any complications that may seem only too apparent to you, in the production and distribution of my last book, and Ruburt’s (Mass Events), the benefits far outweigh any disadvantages.

“If the apparent trigger of a difficulty is a creative accomplishment, then the difficulty itself is ‘loaded’ also with its own natural therapeutic solutions.”

Very clear in Seth’s material, I told Jane after the session, is his message that it would be a great mistake for us to give up the highly creative endeavor of the sessions, regardless of whether they were ever published. I said that I was delighted to retract the observation I’d made before the last session—that on deeper levels she didn’t want to hold the sessions any longer. I added that once again we could try searching the creative matrix of the symptoms themselves for the solutions to her challenges, and mine as well, for that is where those solutions will be found.

I like that entire poem, of course—but in a different way I like just as much the untitled poem Jane wrote on a different subject almost 15 years later (on August 25, 1980). She was 51. I borrowed this poem for the opening notes for Session 920, in Chapter 9 of Dreams, and urged her to give it a title and present it in If We Live Again. Jane did so on both counts, in Section Six: “Strange Liberty.” She also changed the format of the poem, but not the words of what I consider to be one of her best creative insights.

“Value fulfillment is most difficult to describe, for it combines the nature of a loving presence—a presence with the innate knowledge of its own divine complexity—with a creative ability of infinite proportions that seeks to bring to fulfillment even the slightest, most distant portion of its own inverted complexity. Translated into simpler terms, each portion of energy is endowed with an inbuilt reach of creativity that seeks to fulfill its own potentials in all possible variations—and in such a way that such a development also furthers the creative potentials of each other portion of reality.”