“Seth material” search engine (Jane Roberts)

The human personality is far more open to all kinds of stimuli than is supposed. If information is thought to come to the self only through physical means, then of course heredity and environment must be seen behind human motivation. When you realize that the personality can and does have access to other kinds of information than physical, then you must begin to wonder what effects those data have on the formation of character and individual growth. Children do already possess character at birth, and the entire probable intent of their lives exists then as surely as does the probable plan for the adult body they will later possess.

There are bodies of events, then, that in a certain fashion you will materialize almost in the same way that you will materialize your own adult body from the structure of the fetus. In those terms the body works with physical properties — though again these properties, as discussed often, have their own consciousnesses and realities.

(“I took a nap, and awakened remembering this dream experience: First I was in a room asking a group of people about ‘the council’ — I wanted to know if there was such a thing. Instantly a white light came from the floor up through the ceiling, door width, with some symbols in or on it. I immediately whooshed up through the air into it, ascending out of the room at great speed. I became somewhat frightened and wished to return; I think I was afraid of being carried away too completely. I don’t know what I saw. I returned to the room at once, but forget how or the circumstances.

1. Speaking of books: Even with all of the help Jane has given me lately on Psyche and Volume 2 of “Unknown” Reality (see the opening notes for sessions 821 and 823, respectively), I’m still only too conscious of the work I have to do to finish the notes and other material for both books, and put together their manuscripts for the publisher. I often discover the overall commitment, or plan, lingering in my mind on a distant conscious level — a pressure toward accomplishment that seems bound to accompany these long-range projects. At times this feeling can beset me, and I may find myself trying to estimate the number of weeks it’ll take me to finish Volume 2 first, then Psyche.

But naturally, I told Jane recently — again — I chose to become involved with the whole Seth phenomenon in the most intimate ways. I did so because I knew from its very beginning (in late 1963) that this process of discovery with Seth was more than worth it. I still think so. I added that I’d certainly choose to do the same thing again, and that I hoped to stay involved with the Seth books indefinitely. Granted that Seth’s material may “only” be bringing into our conscious awareness knowledge we already possess and use on other levels, still it’s a fine thing that his material makes us aware of that inner comprehension — and so new dimensions of consciousness become available to us. I “drew” a rough analogy with painting (to make a pun): The artist may start working on a blank canvas, yet each physical brush stroke he or she delineates is built upon inner knowledge and experience; in the painting these qualities are objectified in new combinations, which in turn add further to the artist’s conscious comprehension. And when the painting is finished, the artist contemplates a new reality of his or her own creation.

I mailed the last chapter of Emir to Prentice-Hall just a month ago (on February 8). Because of various delays, Jane is still waiting for news of the book’s official acceptance, even though she knows that Tam and other executives there like it very much. Emir, however, is of an in-between length — shorter than a novel, far longer than most children’s books — and she wonders: Is that fact going to complicate Prentice-Hall’s presentation of Emir as a story for “readers of all ages”? There’s talk of publishing it in two shorter volumes. Jane doesn’t know what to think. In the meantime, see the opening notes for Session 814.

“Ruburt is, as you know, highly creative. What most artists do not realize is that the self is the first creation. They do not think of themselves as products of their own creativity. Because of Ruburt’s energy and creativity, he has always perfectly mirrored and even somewhat exaggerated the condition of the inner self, its activities and inner postures.”