“Seth material” search engine (Jane Roberts)

(I’ll preface the workaday notes for the first session of Mass Events with the following comments, just to briefly summarize the lifetime endeavor that my wife, Jane Roberts, and I are involved in with the Seth books. Seth is a highly creative “energy personality essence,” as he calls himself, who speaks through Jane while she’s in a trance or dissociated state. These notes, then, are written shortly after Seth finished dictating Mass Events in August 1979. I’ve discussed some of the same points while introducing earlier books in the series, of course, although on each occasion I did so in a different way for variety’s sake. At the same time, Jane and I want each book to be complete in itself, so that the “new” reader can begin to understand what’s happening from the very beginning. Details about some of the subjects I’ll mention here can emerge as this book proceeds, or others are referred to. And these notes will also free Jane to deal with other matters in her Introduction for Mass Events.

(“Think of yourselves, in important ways, as almost having been born in 1963 [when these sessions began]. The two of you — for you are both involved — have not only initiated a new framework from which you and others can view the nature of reality more clearly, but you also had to start from scratch, so to speak, to get the material, learn to trust it, and then to apply it to your own lives — even while ‘the facts were not all in yet.’ At no point did you have all of the material to draw upon, as for example, your readers do at any given point. So tell Ruburt not to judge himself too harshly, and in all of this have him try to remember his sense of play….”

(“All creativity is basically joyful. It is play in the highest sense of the term, and it is always alive with motion. The sessions and our work can help bring about a new mental species of men and women. Ideas change the chromosomes, but the sessions and Ruburt’s books, and so forth, must first and foremost be joyful expressions of creativity, spontaneous expressions that fall into their own order…. You paint because you love to paint, and forget what an artist is supposed to be or not to be. Have Ruburt forget what a writer or a psychic is supposed to be or not to be. Ruburt’s spontaneity lets all of his creative abilities emerge. It is foolhardy to try and apply discipline, or secondary order to a spontaneous creativity that automatically gives you the finest order that nature could ever provide.”

(“There really isn’t anything else like the sessions going on in the world today. Even now, while I’m thinking about how to put Mass Events together for the reader, last night Seth came through with new material that he said will be part of another book. I should always remember that each time Jane and I sit for a session, it’s a unique event in the world.

(“That isn’t nearly as conceited a statement as it seems to be, of course, for each thing each person does is also unique in the world. Yet, at the same time I mean that the sessions are truly original and significant, with their contents offering new creative insights and hope to the human species in a way that most endeavors do not do. In that sense the Seth business is a remarkable achievement on Jane’s part. I do believe that prolonged study of the Seth material would yield great results toward our understanding of ourselves….”

I have thus far stayed clear of many important and vital subjects, involving mass realities, because first of all the importance of the individual was to be stressed, and his power to form his private events. Only when the private nature of reality was emphasized sufficiently would I be ready to show how the magnification of individual reality combines and enlarges to form vast mass reactions — such as, say, the initiation of an obviously new historical and cultural period; the rise or overthrow of governments; the birth of a new religion that sweeps all others before it; mass conversions; mass murders in the form of wars; the sudden sweep of deadly epidemics; the scourge of earthquakes, floods, or other disasters; the inexplicable appearance of periods of great art or architecture or technology.

(10:19.) Now, no person becomes ill unless that illness serves a psychic or psychological reason, so many people escape such complications. In the meantime, however, scientists and medical men find more and more viruses against which the population “must” be inoculated. Each one is considered singly. There is a rush to develop a new inoculation against the newest virus. Much of this is on a predictive basis: The scientists “predict” how many people might be “attacked” by, say, a virus that has caused a given number of deaths. Then as a preventative measure the populace is invited to the new inoculation.

(“Now just who in the heck is up to what?” I asked her. We laughed. “How can I use this material as an appendix or note in ‘Unknown’ if it belongs in a new book? I thought you and your boy were up to something not long after the session started.”

(“My mind works in sneaky little ways,” she said. “I don’t tell you everything. I was thinking of something like a question-and-answer format for a book, if we did a new one.” Even that idea was a revelation to me, since she hadn’t mentioned a book, period. Seth returned briefly as we talked:

(“But I’m really surprised. I had no idea of this tonight,” Jane said as soon as she was Jane again — thereupon emphasizing anew some of our endless questions about the Seth phenomenon: What portion of her personality, or entity, whether that portion might be called a Seth, or whatever, had been busy planning — organizing — this new endeavor? And how could such a creative process take place without her having at least some conscious intimations of it? What were the limits of human accomplishment?

(We had something to eat while we talked about the new book. I read Jane the title for it several times. She didn’t seem to be very taken with it. “I don’t know whether I’m going on with the session or not,” she finally said. “I’m just waiting. So far I haven’t gotten anything….” Resume, eventually, at 11:25, with many pauses.)

At this time, I’m still working on the notes and appendixes for Volume 2 of “Unknown,” even while Seth has begun Mass Events. Jane and I have already planned our approach to Psyche (which Seth has just finished), and it’s to be published shortly after Volume 2 is. To top off our activities of the moment, we’re having the front porch of the hill house rebuilt — with a new raised floor and screening all around, so that Jane can write there in the summertime. The workmen swarming around all day, and the noise involved, are both exciting and distracting. But I have a feeling that the front porch affair isn’t the end of our construction odyssey: Jane has a certain speculative look when she notes that we have but one car — she doesn’t drive — to occupy the large two-car garage attached to the rear of the house. What better idea than to convert half of the garage into a writing room, with sliding glass doors, and add a screened-in porch there also? After all, she commented recently, the porch would protect our back door, too, especially from all of that winter weather….