“Seth material” search engine (Jane Roberts)

(All right. Another long period — 10 weeks this time — has passed following Seth’s last session for Mass Events. Since this is the third such break between book sessions, it seems that Jane and I would be used to the idea by now. Actually, I’m more bothered than she is by such long intervals. I like to follow an endeavor through from start to finish in a reasonably direct manner. When the sessions don’t work out that way I can feel somewhat uneasy, while realizing at the same time that a number of compensating factors may be at work. In this case two distinct notions, one factual and one philosophical, helped keep me at ease.

(First, during that 10-week break Seth-Jane held a series of 18 sessions — excellent ones — that once again did not constitute dictation for Mass Events. Second, if one keeps in mind Seth’s ideas about simultaneous time, that basically all happens at once [even considering Seth’s own acknowledgment that time “…is therefore still a reality of some kind to me”], then it hardly matters how long a break transpires between particular sessions; there is no real separation; dictation on any subject or project can be resumed whenever all involved — Jane, Seth, and myself — choose, and it will be as though the break never existed. For in trance, Jane will once again be in accord with Seth in that nearly “timeless” environment in which he has a large portion of his being.¹

(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.”

(While we’ve been busy with our endeavors, the shortening, brilliantly colored and often warm days of October passed into November and turned progressively colder through the month; we’ve already had more than a little snow since Thanksgiving; and now in a few days [about December 22] winter will officially arrive. I’ve raked leaves, stacked wood in the garage, installed storm windows, and made sure our hill house is otherwise all set for cold weather.

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.

There is no need in my outlining in detail the multitudinous events that must occur so that you can watch your favorite program. You flip the switch and there it is, while all of that background work is unknown to you. You take it for granted. Your job is simply to choose the programs of your choice on any evening. Many others are watching the same programs, of course, yet each person will react quite individually.

The inner mechanisms that happen prior to your experience will take place in the vast mental studio of Framework 2. There, all the details will be arranged, the seemingly chance encounters, for example, the unexplained coincidences that might have to occur before a given physical event takes place.

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.

Actors visit casting agencies so that they know what plays need their services. In your dreams you visit “casting agencies.” You are aware of the various plays being considered for physical production. In the dream state, then, often you familiarize yourself with dramas that are of a probable nature. If enough interest is shown, if enough actors apply, if enough resources are accumulated, the play will go on. When you are in other than your normally conscious state, you visit that creative inner agency in which all physical productions must have their beginning. You meet with others, who for their own reasons are interested in the same kind of drama. Following our analogy, the technicians, the actors, the writers all assemble — only in this case the result will be a live event rather than a televised one. There are disaster films being planned, educational programs, religious dramas. All of these will be encountered in full-blown physical reality.

Such events occur as a result of individual beliefs, desires, and intents. There is no such thing as a chance encounter. No death occurs by chance, nor any birth. In the creative atmosphere of Framework 2, intents are known. In a manner of speaking, no act is private. Your communication systems bring to your living room notices of events that occur throughout the world. Yet that larger inner system of communications is far more powerful in scope, and each mental act is imprinted in the multidimensional screen of Framework 2. That screen is available to all, and in other levels of consciousness, particularly in the sleep and dreaming stages, the events of that inner reality are as ever-present and easily accessible as physical events are when you are awake.

1. The basic simultaneity of time is the most fascinating of all of Seth’s ideas, I think. That “spacious present” holds all events side by side, ready to be interpreted in cause-and-effect fashion by the organizational abilities of our more limited physical senses. I wrote about reconstructing the past, simultaneous time, and dreams early in Note 2 for Session 801. Also see the material on Seth and his simultaneous time in the opening notes for the 806th session.

“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.”