“Seth material” search engine (Jane Roberts)

(Jane has been so busy finishing up the manuscript of her book on the Seth material, for Prentice-Hall, that we haven’t had a session since September 29.

(Before the session tonight I said I was curious about Seth’s interpretation of my dream of October 9. This will be given in the appropriate place in the text. Jane said that Seth was going to talk about the electromagnetic units discussed in the last session—she could “feel him buzzing around.”)

(“Good evening, Seth”)

(Here is my dream of October 9, that I asked Seth interpret: “Color. I dreamed that I had a cancerous wart or nodule right at the tip of my right thumb, where it bothered me to hold a brush or pencil. Had been there a long time. I believe a doctor told me it was cancer—not very dangerous, could be removed in his office. I had to climb up a long ladder set against a building wall to get to the doctor and even as I talked to him I had to stand below him and look up. He was dominant, round-faced with thick glasses. Wore a white coat, I believe, and peered down at me like an owl.”

(“What do you think of the book?” Jane sent the first 13 chapters of The Seth Material to the publisher Monday, October 13.)

(Shortly after I had the dream, Jane gave me her own interpretation of what the dream meant. I thought she did well, and agreed with her version since it appeared to be spontaneous. Since Seth’s own interpretation agrees with Jane’s— though more detailed—it isn’t necessary to give Jane’s version here, beyond saying the dream concerned my own artwork and related affairs.)

(I asked about which painting was involved because I wanted to be clear about the two most recent I’ve been working on. Seth verified that the little still life of fruit is the one concerned. The October 9 date would be, I believe, either the day I began this painting, or shortly after I started it. The data is very good, and is presented in a way in which Jane does not consciously—at least—think. I was concerned about form in this painting, and this concern, linked up with composition, gave me quite a little tussle in this painting. Form and composition usually are easy for me.

(“Just briefly: What do you think of that little painting of the trees I did?” This is why, earlier, I asked Seth which painting the dream referred to; I was just finishing up this painting while beginning the fruit still life, on October 9.)

(This above data is excellent on Seth’s part, full of evocative ideas and intuitive good sense. I have at various times entertained related ideas, but never put them in as concrete form. Because of this I know I haven’t discussed them with Jane, as such. The idea of thinking of a person’s face as a landscape is very good. I am already thinking of ways to put the suggestions to work on a conscious basis.)

(“Good evening, Seth, and thank you.”

(10:55. Jane’s trance had been good, her pace good, eyes open often, etc. See the 503rd session for September 24 for Seth’s comments re Jane’s relief at Prentice-Hall’s approval, through Tam Mossman, of Jane’s book on the Seth material. And Jane has been doing very well on the balance of the book.