“Seth material” search engine (Jane Roberts)

“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.”

[...] There is no such thing as a chance encounter. [...] 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.

(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

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. [...] Your job is simply to choose the programs of your choice on any evening. [...]

Actors visit casting agencies so that they know what plays need their services. [...] 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. [...] 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. [...] All of these will be encountered in full-blown physical reality.

(All right. [...] 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. [...] 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. [...]

[...] 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. [...] 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.”

[...] 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. [...]

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. [...]

(10:40.) It is as if Framework 2 contains an infinite information service, that instantly puts you in contact with whatever knowledge you require, that sets up circuits between you and others, that computes probabilities with blinding speed. Not with the impersonality of a computer, however, but with a loving intent that has your best purposes in mind — yours and also those of each other individual.