“Seth material” search engine (Jane Roberts)

In January we obtained an unlisted telephone number, because we could no longer handle the 600-or-so calls a month that were coming in. Later in the month, Jane started writing James. In February 1977 we received from Prentice-Hall the copyedited manuscript for Volume 1 of “Unknown” Reality. (Copyediting is one of the earlier editorial stages a book goes through on its way to publication, and is meant to study all of the work that Jane and I and her editor, Tam Mossman, have already done on the manuscript: Before it’s set into type, a reader who works independently of the publishing firm carefully checks the manuscript for grammar, contradictions, facts, consistency, and so forth, and makes suggestions for whatever changes he or she thinks are desirable. Jane and I are free, of course, to reject any alterations we don’t agree with.) In March we checked the copyedited manuscript for Cézanne. Seth finished dictating Psyche early in April. A few days later we began correcting page proofs for Volume 1 of “Unknown.”

If I catch anything amiss in Seth’s delivery I’ll ask him about it. He may omit a word, or I may misinterpret what he says while I’m concentrating on my notetaking. In these cases Jane always spots the error at once when she reads my typed session transcript. But except for such minor alterations, or in the case of personal information, which we may delete, Seth’s material is presented as received, and we never arbitrarily eliminate any of it — occasionally to the pain of others, I’m afraid. We think it important that these sessions be given just as Jane delivers them, for after all the manner of that presentation, and its organization, are vital parts of the whole Seth phenomenon. So is the speed of delivery, for that matter. I want to remind the reader that the Seth books are spoken books rather than written ones, and that ordinarily Seth has no chance to revise his copy.