“Seth material” search engine (Jane Roberts)

(Yet even producing the Seth books — along with a great amount of unpublished Seth material — doesn’t call upon all of Jane’s abilities, for she’s also written 10 books “on her own.” These include works of poetry, fiction, and psychic matters as experienced from her own conscious viewpoint. She has several more books in progress. It’s safe to note, however, that now all of her work bears upon that unique, still-growing view of consciousness expressed by Seth and herself. And so does mine.

(“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.”

The vine of experience in this analogy is formed in quite a natural fashion from “psychic” elements that are as necessary to psychological experience as sun, air, and water are to plants. (Loudly and humorously:) I do not want to get too entwined (underlined) in this analogy, however; but as the individual’s personal experience must be seen in the light of all of these issues, so mass events cannot be understood unless they are considered in a far greater context than usual.

(Pause at 9:57, one of many.) I said there are no closed systems. This also means that in world terms, events spin like electrons, affecting all psychological and psychic systems as well as biological ones. It is true to say that each individual dies alone, for no one else can die that death. It is also true that part of the species dies with each death, and is reborn with each birth, and that each private death takes place within the greater context of the existence of the entire species. The death serves a purpose species-wise while it also serves the purposes of the individual, for no death comes unbidden.

(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.

Inherently, each individual knows that he or she must die physically in order to survive spiritually and psychically (underlined). The self outgrows the flesh. Particularly since [the advent of Charles] Darwin’s theories,⁵ the acceptance of the fact of death has come to imply a certain kind of weakness, for is it not said that only the strong survive?

That progression in Jane’s endeavors (and in my own to a lesser degree) may reflect her strong writing and psychic abilities, but it also reveals the way we constantly work with her work, and how we go about presenting it in the form of physical books so that we can show others what we’ve been up to.

Beginning in June 1974, then, while writing notes and appendixes for Volume 1 of “Unknown”, and taking Seth’s dictation for Volume 2, I spent eight months producing the art work for Jane’s Adventures in Consciousness and for her book of poetry, Dialogues of the Soul and Mortal Self in Time; I finished all of those drawings in January 1975. In the meantime Jane completed Adventures in August 1974, and started Psychic Politics that October. In March 1975 we took time out to move from the apartment house in downtown Elmira to our “hill house” just outside the city. Jane finished dictating Volume 2 of “Unknown” for Seth in April 1975, and I started my notes and appendixes for it. In July 1975 Seth began The Nature of the Psyche: Its Human Expression, and in December of that year Jane initiated work on her own The World View of Paul Cézanne: A Psychic Interpretation. She finished Politics in February 1976, and Cézanne in September; Politics was published that September also. I completed my own writing for Volume 1 of “Unknown” in October. Our 16-year-old cat, Willy, died early in November, and two days later we obtained a kitten, Willy Two (or Billy, as we soon came to call him), from an area humane society. I finished typing the manuscript for Volume 1 late in November, spent December checking it, and mailed it to Prentice-Hall early in January 1977.

Jane’s ability and training as a writer are obviously responsible for the form the sessions take. As she’s said often: “I’m a writer who’s psychic — not a psychic who’s a writer.”