“Seth material” search engine (Jane Roberts)

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.

Over two weeks passed after the holiday season before Jane finally hand-lettered the first formal entry for her 1982 journal:

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.

Jane had noted on the 15th that she wanted to finish Seth’s book soon. She made no more entries in her journal over the next ten days. She did more painting. Rather than intensify, her voice tremors lessened on some occasions and disappeared on others. The slowdown in her speech was more persistent, although it didn’t become more pronounced in any manner. Following our own suggestions, we did fairly well at not dwelling upon those vocal challenges; we sent out no signals to Seth, asking him to discuss them. And Jane did have the energy to firmly begin dictating Session 939 for Chapter 12 of Dreams at 9:48 P.M. on Monday evening, January 25:)

I told her I think that on those levels she really doesn’t want to hold the sessions anymore, that we’re surrounded by clues to that effect, that such a strong part of her is now so against her psychic work, so afraid of its implications—of being swept away, of going counter to her early religious imprinting—that her fear has put her in an impossible position physically. Since she’s becoming more and more helpless, I said, we can hardly say we’re solving our challenges in ordinary terms. “And don’t tell me your present state means that you’re getting better, like Seth says, because you’re not,” I said. “You haven’t walked for how long?—two weeks over a year now, I think it is. Not even with your typing table. I’m aware that you may be coping with certain lifetime challenges through the psychic method, so the question becomes one of how far you want to carry the thing. In this probability I put physical survival first, obviously, but do you? Sweetheart, I’ll have to admit that sometimes I wonder….”

(10:28. Sitting very quietly on the couch, Jane took another long pause. Her eyes were closed. Then she began to gently snore: She was asleep, of course. After my first surprise I debated over whether to call her. Finally, as I began to put away my notebook, she came back to her Seth consciousness with a start:)

“They begin with a certain impetus, give you a certain kind of progress, and regardless of how great or small that progress may be, there is a necessary time of assimilation—that is, the stimulation over a period of time is more effective when it is in a fashion intermittent, when certain methods are tried out, applied, and so forth—but by the very nature of the healing process there is also the necessity of letup, diversion, and looking away.

4. I first mentioned what was to become If We Live Again early in the Preliminary Notes for the Preface to Dreams—those leading off the private session of September 13, 1979. By the time I wrote the opening notes for Session 886 in Chapter 2, three months later, Jane had decided the book would contain “some of the poetry she has dedicated to me over the years since we met in February 1954.” Seth agreed. Rather immodestly, I present below the first verse of a love poem Jane wrote for me on November 5, 1965. It’s in Section Two, which section bears the title of If We Live Again itself. Jane often reworks her poetry, but for the book she changed only two words and added one in this verse which she wrote over 16 years ago. She was 36, and we’d been married for 11 years:

5. It was inevitable that Jane’s images would remind me of the note I’d written well over two months ago, on re-creating the past, or updating it, through nostalgia. In Chapter 11 of Dreams, see Note 8 for Session 936. Her images led me to search out the collection of battered black-and-white snapshots of her that somehow, some way, she’d managed to save from her early childhood. Along with scraps of her youthful poetry, the pictures are the only physical remnants she possesses of her first years, and studying them anew I realized just how valuable they really are. I talked of having them copied and enlarged by a professional photographer; I speculated about eventually having some of them reproduced in a book. That idea may have to wait, however: For some years Jane hasn’t cared to be photographed—or have pictures of herself shown, no matter when they had been taken.

“i read over that chapter 1 this a.m. and thats about all i did and think about these ideas… and so far this is all i’ve done this afternoon, want to look chapter over again…

“Now after reading over rough chapter 1 again, this time it seems fine! so I’ll look over rest I have and see what I think….

7. Seth not only designed his material in this excellent session to help Jane and me, but others as well. In my opinion, he also answered my wife regarding the note she’d written earlier in the day (see Note 6, above). Aside from all of those points, however, I think it quite remarkable that despite her physical hassles Jane approached the rolling cadences, the inspired certainty of delivery, that she’d achieved over two years ago in some of her sessions for chapters 1 and 2 of Dreams.

(Long pause at 9:03.) “You do not have to worry in an overly strained way about putting the new principles of life into practical experience at once. You do not need to worry or deride yourselves for stupidity if it appears (very long pause, eyes closed), looking over the long annals of work that we have done together, that it should have been obvious that our ideas were leading in certain directions—for not only have I been trying to divest you of official ideas, but to prepare you for the acceptance of a new version of reality: a version that could be described in many fashions. It has been during the annals of history, but many of those fashions also indisputably, and with the best of intentions, managed to give a faulty picture: You ended up with your gods and demons, unwieldy methods and cults, and often with the intellect downgraded. I hope, of course, that our ‘model’ avoids many of those pitfalls.

Once in a while, Jane will sing to herself as she sits at her table in her writing room and looks east through the sliding glass doors at the side street rising into the woods to the north. Across the street is the white clapboard house of our neighbors, whom we love and who love us. Our friends have a large yard beside their house. It’s filled with trees and flowering shrubs—a view Jane cherishes, and one she has painted and written about a number of times. Indeed, she was looking out at that view at four o’clock on a foggy morning in June 1979 (over two and a half years ago) when she was inspired to name that certain part of her “that is as clear-eyed as a child” the “God of Jane.” Out of that insight she titled the book she had started a few weeks earlier The God of Jane: A Psychic Manifesto. In Chapter 9 of Mass Events, see the opening notes and Note 1 for Session 860.

15. Seth may think that his own term, “value fulfillment,” “is woefully inadequate to express the nature of life’s diversity, purpose, or meaning,” but over two years ago, in Chapter 2 of Dreams, he gave what I think is an excellent interpretation of that quality. In Session 884 for October 3, 1979, he came through very emphatically in one of Jane’s best sessions: