“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.”)

Their characteristics draw them toward constant interchange. Clumps of them—(Jane gestured; her delivery was quite emphatic and animated,) will be drawn together, literally sealed, only to drop away and disperse once more.

(10:10. Jane’s delivery throughout was quite emphatic and animated, even though with many pauses. Her trance had been very good.

(“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.

(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.

(I got the idea for this little landscape while driving through the country in Pennsylvania a few weeks ago, on one of the regular trips Jane, my mother, and I take to see my father.

(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.)

(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.