“Seth material” search engine (Jane Roberts)

In 1931 in Saratoga Springs, New York, Jane’s father, Delmer Roberts (or Del) chose to exercise the probability that he would leave his wife Marie and their daughter Jane, who was not yet three years old. Marie’s mother, Mary Finn, called Minnie, lived with the family and often served as Jane’s nanny. Jane was a second child following her mother’s earlier miscarriage. Already Marie was showing signs of arthritis. Jane and I came to believe that it was hardly accidental that her mother quickly became bedridden—for life—following the departure of her husband. Minnie Finn was killed by a hit-and-run speeding motorist one icy winter day on her way to the corner store to buy the young girl some shredded wheat for supper—a tragedy that Marie never stopped blaming her daughter for. The two went on welfare. A series of housekeepers, of varying abilities and temperaments and staying powers, were provided for them over the early years. The young Jane spent almost two years in a Catholic orphanage for women while her mother was hospitalized. Some of the housekeepers had been—and some still were—prostitutes, Jane told me. They took care of Marie’s physical needs—tasks that in her later teens Jane would often take care of herself. With welfare’s help Marie set up a telephone answering service for local doctors that she ran from her bed. The two women’s Catholicism became even stricter: it was often bolstered by the head of the local church coming to Sunday dinner at the old two-family house at 92 Middle Avenue, in one of the lower-income sections of Saratoga Springs.

I also feel that now, years later in earthly time, Jane and Seth are free of each other yet more closely knit than ever before. And me? Yes, I chose to be creatively involved (as I still am, obviously) for my own intuitive reasons—not only as an intensely interested observer and recorder, but as an artist too. Much of my art is rooted in the Seth material, in ways I couldn’t have anticipated before Jane and I began our work together. Seth once said that without my steadying influence Jane may never have developed the sessions as we know them. That may be true, but I’m also sure that she would have expressed her innate creativity in other surely literary ways—and maybe in psychic ways, too! Why not? Look at her The Physical Universe as Idea Construction. But those more acceptable ways, like her “regular” essays but like her poetry most of all, were the ones she had worked in and with from a very early age.

And guess what: I finally understood as Jane’s symptoms began to slowly grow that her choices were her right, and stopped my innuendos that it was perfectly all right for her to be open to outside help—so why wasn’t she? Seth was way ahead of me. I don’t recall that worthy ever suggesting to my wife outright that she seek medical help, let alone insisting that she do so. Was this because Jane wouldn’t allow him to say that, even if he wanted to? As noted, at times I’d felt that that was the case. It’s easy to proclaim that we human beings live short of our potentials in those terms—for if such potentials didn’t exist, how could we sense or aspire to them? But I’m hardly being original when I insist that each life is so intensely real that it seems most difficult to truly believe that we can have it any other way—let alone have more than one! Our challenges in this physical/nonphysical existence reign supreme, regardless of other possible long-term influences like reincarnation or time travel, for example. Or—yes—even religion: a subject I would like to explore in depth if ever I can create the several years of camouflage time necessary to do so. So even if Seth did help, still Jane chose to live her own life within the face and force of her own very creative present personality. Seth did offer insights, excellent ones of certain very creative depths that we more than welcomed, while all the time being quite aware, I think, that the beautiful young woman through whom he spoke—who let him speak—had her own agenda at the same time. And even though we agreed with Seth’s reincarnational material involving the three of us, and our families, still it was also intensely personal for my wife in this life that she go her own way.

If they chose to do so together, how did Jane and Seth explore the new reality they were committed to? Could I have briefly joined that reality, and perhaps recorded a few aspects of it in my own dream reality, aside from the afterdeath paintings of Jane that I was to produce over the next several years? What, I could ask, did Seth really think of the portrait I’d painted of him way back in June 1968? I had envisioned him as portly, middle-aged, and bald.