6 results for (book:sdpc AND heading:introduct AND stemmed:creativ)

SDPC Introduction Valerie metaphor grief hospital death

Considering Rob’s and my relationship — the challenges, joys, hopes, strains and our own personality characteristics. Maybe the whole thing is — reacting to ourselves individually and to the other person — experiencing our own personal reactions and then reacting to them — then reacting to the other person who experiences the same processes in himself. We … creatively keep altering ourselves and our mates. We can’t be ‘perfect’ at the start because the processes include changing events. There’s bound to be some lopsidedness to our growth, as we form psychological ‘art’ throughout our entire lives — or learn to live … artistically. Each person in such a relationship changes constantly in relationship to himself and the other person, until — hopefully? — by death you’ve used the characteristics of your own personality the best you can. Merged them with your mate’s so that between the two of you, you get a new creative mixture in a kind of psychological multiplication … You try different ways of using your own traits, etc.

I don’t care for the term “channeling,” since I think it too all-inclusive and already trite. However, I liked both Jim’s ideas of my doing the Preface for Jane’s book, and of publishing a photo of her. And Laurel Lee Davies, the young lady who’s now helping me carry on my publishing activities, at once intuitively picked out from my files the one right photograph of Jane to us for Seth, Dreams … Jane’s father, Delmer Roberts, took the snapshot when she was on vacation with him in Baja, California in 1951. She was twenty-two years old. Jane and I didn’t meet until 1954. That little picture, then, was taken some twelve years before she began “coming through” with the Seth material. Yet, I find in it all of the ingredients that made up the Jane I knew — her great beauty, personality and creativity, her love of manipulating within her physical environment; I see her “steering herself” toward extraordinary accomplishments.

My own imperfect recollection following Tam’s request that I look for it was that Seth, Dreams … was an unfinished collection of records, ideas, and chapters that Jane had struggled with for several years, without selling it. Instead, what I found in a box in the basement was, to my amazement, a completed manuscript — a full book ready to go, one as fresh as it had ever been, and my wife had struggled with it. What emerged as Laurel Davies and I searched Jane’s and my records, including early Seth sessions, was a long story of our doubts and gropings in an area in which we had no guidance except for our own explorations. Seth, Dreams … was rejected by three major publishers while Jane worked on it during 1966-67. She was still an unknown in the field; by mid-1966 she’d had only one small psychic book, How to Develop Your ESP Power, published. Our subject of interest itself was largely denied validity by the social, psychological, and scientific establishments. We were still operating alone, then, even though Jane had been speaking for Seth for about three years. In spite of all of her questions, however, her strong creative vitality — her intuitive insistence upon using her most unusual abilities — kept her focusing ahead, and I helped her as much as I could. I’m still astonished when I think of what Jane was to accomplish in the next few years.

Jane began dictating Seth Speaks in January 1970. In March, Tam signed her to a contract for Seth, Dreams … on behalf of Prentice-Hall. The Seth Material was published. Jane was on a creative roll. She kept changing and adding to the portions of Seth, Dreams … that she hadn’t used in The Seth Material, while at the same time her new work kept crowding it out. Finally, in 1971 Tam converted her contract for Seth, Dreams … into one for Seth Speaks. Jane didn’t keep on trying to sell Seth, Dreams … Neither did I, and somehow that perfectly good book ended up packed away. Tam left Prentice-Hall for other employment in 1982; he became my agent after Jane’s death in 1984. When at his request I rediscovered Seth, Dreams … three months ago, and examined it, I couldn’t believe that that finished manuscript had never been published. I’m most pleased that Jim Young accepted it at once for Stillpoint Publishing — just as I know Jane is!

SDPC Part Two: Chapter 6 tree bark Malba Rob midplane

[...] Dissociation brings about a strong unity with the creative aspects of personality. It puts you back, or it puts your creative talents back, in the driver’s seat.

[...] The creative energies build up their thickly-dimensioned pseudo-realities of pain. [...]

When your own personalities are more or less in balance, you have no trouble at all looking out for these creatures and actually reinforcing their existence with residues of your creative and sympathetic powers. [...]

[...] I took what he said to heart and found myself opening up, becoming more free and creative. [...]

SDPC Part Two: Chapter 7 camouflage Malba instruments Decatur senses

Your own experience with creativity should help you out here. [...]

You are forced to transform this creative energy into another camouflage pattern because of your earthly situation. [...]

SDPC Part One: Chapter 3 cobbler Sarah village wires bullets

Suddenly, however, I entered a period of intense creative activity, ending a dry spell that had lasted for nearly a year. [...]

SDPC Part Two: Chapter 10 Mark Rob furniture arrangements bookcases

[...] I was doing twice the creative work I had done earlier. [...]

SDPC Part Two: Chapter 8 breathes Rob dishes Who admit

[...] I could reconcile a mental voice as a valid and quite safe mechanism of the creative subconscious, as I liked to call it — but an image next to me in the kitchen while I did the dishes? [...]