“Seth material” search engine (Jane Roberts)

(This morning I mailed to Prentice-Hall the eighth and last chapter of Jane’s book, Emir’s Education in the Proper Use of Magical Powers.

(At lunch today I suggested to Jane that she put together a short book on the Frameworks 1 and 2 material Seth has given us since he introduced that concept in a private session last September 17, 1977. We’ve had 31 private or nonbook sessions since then, and a number of them contain information on Frameworks 1 and 2 — much of it relevant to that presented in Mass Events. I thought Jane might consider such a book project along with her other work. In a way the suggestion was my idea of trying to do something about Seth producing books within books, as I discussed in my opening notes for the 814th session; but Seth is so prolific that it seems we’ll never get all of his material published at this time.

To some extent the material on Frameworks 1 and 2 is of course an example of the entire idea, for you receive a good deal of information in sessions not given to book dictation — simply because, while our books are extremely free, still they must be colored by your ideas of what books are.

Even your concepts of creativity are necessarily influenced by Framework 1 thinking, of course, so our sessions do indeed follow a larger pattern than that, giving you certain perspectives from different angles in book dictation, and in other material. To some extent the larger creative pattern of the material, which does exist and is sensed, is nevertheless not directly perceived, for you are bound to perceive it piecemeal.

Each of our books adds to the others. That includes Ruburt’s as well — and that also includes of course books not yet written, in your terms, so that the future books also influence what you think of as the past ones. Again, while appearing in your time, the contents of the books come from outside of your time.

When you are writing a regular book you draw upon associations, memories, and events that are known to you and others, that perhaps you had forgotten but that suddenly spring to mind in answer to your intent and following your associations. When an artist is painting a landscape, he might unconsciously compare hundreds of landscapes viewed in the past in multitudinous, seemingly forgotten hues that splashed upon the grass or trees, or as he seeks for a new creative combination. Art is his focus so that he draws from Framework 2 all of those pertinent data that are necessary for his painting. Not just technique is concerned, but the entire visual experience of his life.