“Seth material” search engine (Jane Roberts)

I am the one who should do the psychological study from inside—

(“Okay, why don’t you do it?”)

There would be unity, of course, and this would take care of the organization of our material. Do you see?

Such a book would do much to explain how the medium is led, wherever possible, to make those correct statements that add up to almost what your parapsychologists like to call a hit—for she is almost literally hit with them.

All of this of course would be explained in detail. (Pause. Jane’s pace had slowed considerably by now.) Ruburt could if he chose, add his own notes and comments, for his experience in our sessions is vastly different from mine. (Pause.) Such a book would have nothing whatsoever to do with Ruburt’s writing, which should progress at its own rate.

J A B. These letters simply come to me. I do not know if they refer to the man.

Alice. (Pause.) The name Grossman also comes to mind, but I do not know the connection. (Cecile Grossman was an editor at Prentice-Hall then.) Mossman has an uncle, I believe, of whom he is fond, or was fond. The name Albert comes to mind. A 1962 engagement or marriage.

A fragment from the past, pertaining to a child. An initial encounter with the business world that was unpleasant. (Pause; one of many in here.) Mr. Mossman has a tendency to go overboard. A grandmother and a connection with a star. I do not know the connection—perhaps her name was Bright.

Two brothers and something wrong with one leg. (Long pause.) A disagreeable, I believe, family situation in 1953 for him. (Long pause.) A mild astonishment or surprise for him, having to do with something French or foreign. (Long pause.)

Brown chair and orchids. Something about the lower right-hand desk drawer; we do not have clearly. Someone who visits her office seems to smoke cigars, and place them in an ashtray on her desk.

When you are bothered by noise and tumult, by traffic and the sound of neighbors’ voices, by lawn mowers and other irritating sounds, try this: do not fight them. Purposely plunge into them; go along with them as action, and they can refresh you.

(“I was thinking about that today.” After doing a lot of griping last night.)

Do it as an act of will, and your intuitions, oddly enough, will be refreshed. They need not serve automatically as inhibiting factors unless you allow them to. But it is not enough in your case to ignore them and despise them. Let them work for you.

You do not have to be afraid of going along with what these sounds represent. You will not lose your sense of isolation nor your individuality. This is basically behind your reaction, having to do with your early life. You felt your mother’s liveliness and vitality threatening, for it was not disciplined in any manner, but erratic.

The exercise will do much to override this, for you are strong enough and you need inner freedom. There is behind such seemingly undirected, abstract tumult and energy, direction that cannot be intellectually perceived, but can be intuitively sensed. And this is the force that is behind your own art and all creativity. (Pause.)

I have given you a few examples simply to clarify my remarks. But these evidences of action, apparently chaotic and undisciplined, are parts of inner frameworks that do have both purpose and reason.

Used, they can help you fulfill yourself to the utmost. There is no coincidence that it is the left ear involved. You have used the symbolism of right and wrong. The right ear, the wrong ear, bothers you for you do not want to hear what you consider the bad sounds. The left ear and the left portion of the body generally also are connected with the unconscious. And the sounds are somewhat connected with your feeling toward oil paints. Do you see the connection?

(“Yes. I’ve been doing a lot better with oils.”)

Crystallization follows crystallized experience. Art comes from raw emotion, within your system at least, that is then crystallized and disciplined. The seemingly chaotic is recognized, felt, and then put into patterns. What is not generally understood however, is that the seemingly chaotic experiences do have purpose. The state of your inner physical organism, viewed from another perspective, is a chaotic one, but it works to find purpose.

Do you have any questions?

Realize also, and I am sure that you do (smile), that the sounds penetrate the matter of your body. Imagine their realities in other than auditory ways.

One note: Within your system sounds do form structures, that your eyes do not perceive. It would help you to think of painting these structures, for in some other systems voice is perceived in this manner.

You can do this in the opposite manner, building up from sounds visual frameworks that are completely original portraits, created from the sound of voices. Even landscapes, elemental but fragile, built up from the ebb and flowing voice of traffic as it passes by your door. As an artist use everything.

(“Do you have birthdays?”)

Very many. I could hardly keep track of them all. (Smile.) I do not have birthdays now, but I have had many. I had many death days, but I do not have those now either.