“Seth material” search engine (Jane Roberts)

In Note 1 for Session 939, in this Chapter 12, I quoted myself as telling Jane last December 1 that she hadn’t walked for “two weeks over a year now, I think it is. Not even with your typing table.” In the opening notes for that session, I quoted her as writing on December 7: “I do feel a blockage of expression; my ass hurts typing—a sweet soreness of joints I sit on that brings tears briefly; yet it is a stretching sensation.” At the finish of Dreams, her span without walking has increased to 14 months and 22 days. She is still uncomfortable sitting—more so, even, and I fear that her flesh will break down from the constant pressure; I’ve seen what I interpret as signs of that happening.

Some ideas came to me as I was taking a walk late one evening during the days I worked on this note. “We don’t want it thought,” I wrote when I got back to the hill house, “that the overall consciousness of Iran is playing with the individual consciousnesses of its people, say, as with toy soldiers, setting its citizens up against the world only to have them knocked down. Nor would this be true of any other country. Rather, we want to relay to the reader that the great consciousness of Iran is made up of the individual consciousnesses of its people—that within that chosen national context the individual does have whatever freedom of creativity is possible. The mental and physical freedoms available will vary widely, according to time, nation, and history, but they will always be chosen. This is hardly new thinking. Indeed, it’s quite obvious, but it’s the best way I can put it into words at the moment….” Once again, I refer the reader to Seth’s excellent material on violence as quoted in Note 2 for Session 933.

The ordinary violence involved with these events leads me to comment upon the theological concept of privation theory, and the military one of perception theory—for again, I think the two are closely related, not only to each other but to the points I’ve made in this note. In mundane terms, both represent longstanding distortions in perception of the great basic creativity of All That Is. I suggest that the reader review Seth’s material on the basically creative use of violence as I quoted it in Chapter 10; see Note 2 for Session 933.

7. I last quoted Jane about Seven Three in the opening notes for Session 920. I also referred to the very slow-moving production of a motion picture based upon Jane’s first Seven novel: The Education of Oversoul Seven.