“Seth material” search engine (Jane Roberts)

(So we’ve decided to simply go along with however Mass Events works out in terms of length, whether that length involves time or the number of sessions. We do not plan to ask Seth when the book will be done. We have asked him to discuss his Framework 1 and 2 concepts for it, though, and he’s promised to do so; he’s had a good deal to say about those structures in the nonbook material Jane has delivered since the 814th session was held.

(As of now: I’m practically through with the appendixes for Volume 2 of “Unknown” Reality — which means I still have a number of notes to write for the book’s sessions per se, as well as much work to do for the Introductory Notes and the Epilogue. Soon after Tam Mossman suggested in early October that she do a book on her dream about Emir,² Jane began work on that project with her usual enthusiasm. The dream became Chapter 1 of the book, and inspired the rest of it; she’s having great fun writing the story, and is sending it to Tam chapter by chapter as it comes out of her typewriter — a procedure she’s never followed before. She doesn’t know how long Emir will be. Late in October she signed her contracts for the publication of James, and delivered the finished manuscript at the end of November. Besides doing all of her own writing and newspaper work, Sue Watkins is close to finishing her part of the typing on the final manuscript for Seth’s Psyche; I still have to spend more time on some of the notes for it. Sue has also agreed that next year she’ll start helping me type my notes and appendix material for Volume 2 of “Unknown.”

Dictation. I do not want to shock you, but dictation — continuation of our last chapter (2: “Mass Meditations,” etc.).

(With some humor:) Ruburt and Joseph have recently purchased a color television set, so now their television world is no longer in black and white. I have used television as an analogy at various times, and I would like to do so again, to show the ways in which physical events are formed, and to try to describe the many methods used by individuals in choosing those particular events that will be personally encountered.

We will call the world as you physically experience it, Framework 1. In Framework 1, you watch television programs, for example. You have your choice of many channels. You have favorite programs. You follow certain scenes or actors. You watch all of these dramas, hardly understanding how it is that they appear on your screen to begin with. You are certain, however, that if you do buy a television set it will perform in an adequate fashion, whether or not you are familiar with electronics. Period.

(9:40.) Now for a moment let us imagine that physical events occur in the same fashion — that you choose those which flash upon the screen of your experience. You are quite familiar with the events of your own life, for you are of course your own main hero or heroine, villain or victim, or whatever. As you do not know what happens in the television studio before you observe a program, however, so you do not know what happens in the creative framework of reality before you experience physical events. We will call that vast “unconscious” mental and universal studio Framework 2.

On a conscious level, and with your conscious reserves alone, you could not keep your body alive an hour. You would not know how to do it, for your life flows through you automatically and spontaneously. You take the details for granted — the breathing, the inner mechanisms of nourishment and elimination, the circulation, and the maintenance of your psychological continuity. All of that is taken care of for you in what I have termed as Framework 2.

I will try to begin work on our book in a more predictable fashion, while still maintaining our own discussions, and answering any questions you may have. I do want to use our Framework 2 material, however, in a more general fashion for the book.³ You may use any of our [other] material you want, but the book itself will not rely upon that information.

“I have the simple, profound faith that anything I desire in this life can come to me from Framework 2. There are no impediments in Framework 2. Framework 2 can creatively produce everything I desire to have in Framework 1 — my excellent health, painting, and writing, my excellent relationship with Jane, Jane’s own spontaneous and glowing physical health and creativity, the greater and greater sales of all her books. I know that all of these positive goals are worked out in Framework 2, regardless of their seeming complexity, and that they can then show themselves in Framework 1. I have the simple, profound faith that everything I desire in life can come to me from the miraculous workings of Framework 2. I do not need to be concerned with details of any kind, knowing that Framework 2 possesses the infinite creative capacity to handle and produce everything I can possibly ask of it. My simple, profound faith in the creative goodness of Framework 2 is all that is necessary.”