“Seth material” search engine (Jane Roberts)

I am beginning this material. Later you will see I am making it simple for you, but you will not understand it unless we begin in this manner. I do intend to explain their structure to you; now give us a moment.

These units then obviously change constantly. If you must speak in terms of size, then they change in size constantly, as they contract and expand. Theoretically there is no limit, you see, to their rate of contraction or expansion. They are also absorbent. They do give off thermal qualities, and these are the only hint that your scientists have received of them so far.

Now, this session also will not be a long one. Ruburt has been using his energy in his book, and I do not begrudge it.

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

(“Do you know which painting I was working on?”)

I would appreciate it, dear friend, if you let me continue for now, though I understand why you want to know. This is not a rebuke. (Smiling.) I simply did not want to be interrupted. Give us a moment. (Pause.) I do not know the specific painting, although a round object was involved. It was I believe one of the pieces of fruit. The idea flitted through your mind and you did not grab hold of it, but it worried you.

I believe the feeling had to do with the fear there was an overreliance upon structure, in this case, that could impede the sense of motion; that a particular piece of fruit (pause), seemed so perfect in structure that it somehow seemed to be frozen within it, and could not roll.

There is an old nursery rhyme (pause), that you heard as a child. I cannot get it clearly, something like Tom Tucker with his thumb, and the next line had to do with a plum. (Pause.) This was part of the association leading to the dream. As mentioned, Ruburt’s interpretation was correct. The climbing up was also connected with fruit, as you might climb a tree to pluck it. (Pause.) There were no health connotations to the dream, it did not have that kind of meaning. You recognized your fear when you saw it in the dream as objectified on your thumb, and then you allowed it to disappear.

(This time I had to work hard before resolving the problem after a couple of days. The painting is almost done now and appears to be successful. It is something of a new departure for me, and embodies a lot of the things I’ve learned doing my portraits for the past year or so. I hadn’t said anything to Jane about my concern with this painting; in fact, everyone who saw it in progress, even at the beginning, seemed to like it, remarking especially upon the form and composition.

The dream also shows that you are achieving good contact with your creative self, and that you were able to utilize the help available. Now do you have questions?

(“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.)

I do not mean a big issue, but a very unique contribution. If a particular person’s face was a landscape, what kind of a landscape would it be, for example? Even the planes of the face themselves can suggest mountains or valleys. But beyond this in deeper terms, how would that face be translated if it were not a face but a landscape? What time of day would it suggest? What kind (underlined) of landscape, desert or mountainous, and so forth?

Your treescape, for example: the other way around—what kind of face does it evoke? You see already to some extent that it evokes a portrait. Do you follow me?

Ruburt will do well on the rest of his book. I told him he was more relieved than he knew, and good evening.

(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.