“Seth material” search engine (Jane Roberts)

I know very well that there were evenings when I “should” have held our regular Seth session, but didn’t, for reasons also forgotten. Perhaps I didn’t feel up to par, or sat at my desk, involved in my own writing. Perhaps an unbidden guest dropped by, or holidays intruded. Actually, I was quite concerned with the quick passage of time, and the pressure to prepare manuscripts for publication. During the period that Seth was dictating this book, Rob was typing the two volumes of Seth’s previous work, The “Unknown” Reality, and adding innumerable notes that correlated Seth’s material with that of his earlier books. I knew that on session nights, Rob “lost” his work time on that project, and he still had to type up the latest book session on the following day, while all I had to do was … what? Turn into Seth.

Many correspondents write, commenting on the dramatic element of the sessions, and surely the entire affair is a richly evocative psychological drama. Most people, however, don’t realize the time or work required to keep up with Seth’s seemingly endless creativity: the sessions to be typed, the various stages of manuscript preparation, or the simple persistence necessary, so that the sessions continue despite life’s normal distractions.

Rob typed Seth’s other books, Seth Speaks: The Eternal Validity of the Soul, The Nature of Personal Reality, and the two volumes of The “Unknown” Reality, added his own notes, and did almost all the work of preparing them for publication. He was still working on The “Unknown” Reality when Seth finished this present book. Then almost immediately Seth began another, The Individual and the Nature of Mass Events.

In Psyche, Seth addresses himself to the matter of human sexuality for the first time in his published works, discussing it as it relates to the private and mass psyche, and connecting sexuality with its spiritual and biological sources.

Actually, while getting the book, I felt like a secretary taking mental dictation. But what dictation! For this manuscript not only presented a fascinating picture of a genius at work, but gave specialized knowledge of a field — art — in which I am at best an amateur. Seth himself did the Introduction, first dictating his own material on Psyche, then switching over to the Cézanne Introduction during the same sessions.

According to Seth any of us can tune in to such “extra” information, but we would receive it in accordance with our own desires and intents. My own interest in art and Rob’s appreciation of Cézanne’s works helped trigger the Cézanne book, for example; and my own curiosity about William James and Rob’s appreciation of his work helped bring about the James manuscript.