“Seth material” search engine (Jane Roberts)

She was of course very familiar with the spontaneous role her creative self enacted when she was writing, especially in her poetry. But this? We were to learn that the conscious yet intuitive pace of her realizations was carefully meted out by her psyche: just so much at a time. For the first few days after I finally got it through my head what Jane was really saying in her essay I couldn’t accept the idea that each one of us literally, really, creates our own reality. Conventional thinking simply couldn’t, wouldn’t accept that, I said, although I didn’t regard myself as a conventional thinker. But her breakthrough had set the agenda for our lifetimes-to-come: idea construction, all right!

Nor did I brush aside my deep concerns about her symptoms because of the excitement stemming from the appearance, then the steady growth and complexity, of the sessions. Instead we became involved in a long process of trying to understand my wife’s impairments as they fluctuated over the years, and then finally did not leave her completely at all. Seth told us a number of times that Jane did not have arthritis, like her mother Marie did, but had instead started to develop deep self-protective defense mechanisms at an early age as a result of her chaotic and fatherless upbringing.

For example: In Session 510, on January 19, 1970 in Volume Nine of The Early Sessions, Seth remarked: “Now. I have been helping Ruburt. The energy that I would put into sessions has gone into some private talks to him while he slept. These have resulted in necessary insights on his part that will themselves cause the release of energy from the inner self.” And my notes follow: (For the last several days Jane has been telling me about a string of insights and revelations she has been experiencing, both asleep and awake. She feels these are very beneficial and has been putting them to immediate use. She feels she has lately realized a group of truths that she hadn’t understood before, etc.)

I do admit that in recent years I’ve wondered more and more why artists don’t deal with at least their own past-life images. Surely these would be as original as any conventional self-portrait. Surely the artist could have, would have, insights into such existences but for a number of reasons—fear of ridicule, for example—choose not to investigate them. Especially in public ways! Yet artists are supposed to be uninhibited to express their feelings and knowledge. An incredibly rich and very nearly untapped, psychic and psychological field lies open for exploration, I think, waiting, waiting. I also believe that opening up past-life fields would enrich us all. In my naiveté I can see a whole genre of art growing. My own projected portfolio of art will include at least several past-life images of me. I’ve already painted them (but can always add more). Recently I finished a past-life portrait from my vision of a friend Jane and I had known years ago. Jim hasn’t seen it; we lost touch with him before moving to the hill house in 1975. Why did that past-life image of him come to me in 2002? I painted my image of Jim with tiny crosses in the pupils of his eyes, and with his eyes themselves brimming with tears. I wrote: “Always very religious in his lives, Jim cried with compassion for his fellow human beings.” The resultant oil is one of my best.

I also described to our guests the great Seckel pear tree that had grown so beautifully in the back yard, with some of its branches—and fruit— within my reach from the windows of the studio. It must have died years ago, as did its companion, the apple tree I had drawn to illustrate Jane’s poem, “The You-ness of the Universe,” in her book of poems, Dialogues of the Soul and Mortal Self in Time (1975). At the Sayre house I have the large oil painting I did of the sunlight streaming through the windows of the studio on a certain day early in August: the only day in the year that the ever-moving sun casts that particular intriguing pattern of light and shadow across the bare wooden floor.