“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!

Given our situation, I took care of my wife as best I could. As the years passed our lives became more and more restricted physically. It became increasingly difficult for Jane to walk in public. When we went food shopping, for example, she would sit in the car in the parking lot, perhaps reading, while I pushed the grocery cart up and down the aisles. We gradually gave up on vacations, in the usual sense of traveling. Strangely, the traveling aspect of the symptoms bothered us the least: we were too immersed in our daily lives with either full-time or part-time jobs (in the beginning), but always with writing, painting, the Seth material, ESP class, seeing friends, and so forth. Jane did conduct several quite successful long-distance experiments with the Gallaghers when they vacationed in the Caribbean Islands. We made dated notes and times of her impressions so she could check them when our friends returned. Interpreting the impressions was sometimes quite difficult. Jane did have direct hits listed, but for other impressions Peg and Bill couldn’t agree on the accuracy and/or timing of certain activities. And sometimes they said the impressions were just wrong.

Reading these private sessions, one can legitimately ask: “Well, if Jane Roberts was so smart and Seth was so great with all of that personal stuff, why did she come down with the symptoms to begin with? Why couldn’t he cure her, or at least help her?” My answer right here is that those questions were and still are answered to the best of the abilities of Jane, Seth, and myself in these private sessions, even while I keep in mind Frank Watts’s references to Jane’s “Timidity has roots of rage.” from “Previous hates unresolved.” These sessions will detail in many ways and times why my beloved wife, even with all of her creative dedication to her chosen path, ended up with what finally came to be her intractable physical impairments. Part of the answer, as I’ve already noted, is that because of her strong fears from early childhood on, Jane did not allow Seth to tell us all he could have. Not that she was consciously aware of why she refused, and not that the elimination of that barrier alone would have magically wiped away the challenges the two of us were creating. But again and again I felt, I knew, that reincarnational factors were involved, concerning not only Jane, Seth, and me, but a number of other “past” personalities and influences from any of the three of us, and in various camouflage time frames. And what about that influence from the “future,” since Seth maintained that all is now? I didn’t berate Jane to open up more psychically. I saw her struggles (and had plenty of my own). I sensed walls, barriers, and complications there. Some of them arose from the very uniqueness of her position. After all, here she was, speaking in trance for a personality who told us he’d last lived on Earth in Denmark 300 years ago—even if there is no such thing as time!

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.

As I’ve written, Jane’s two short and fruitless stays in the hospital had left her deeply skeptical about the value of conventional medical treatment in her case. She was still most reluctant to return to St. Joseph’s, but when her symptoms became so severe that I could no longer care for her at 1730 she went back into the hospital in April 1983. For the last time. For one year and 9 months until her death. In all of that camouflage time I missed spending several hours a day with her in room 330 just once. The Elmira area was hit by more than a foot of snow. I couldn’t get my car out of the garage; the streets weren’t plowed, businesses remained closed. Radio bulletins advised all except emergency workers to stay home. I couldn’t get through to my wife by telephone. Sometimes I would call her late at night to offer reassurance.

Of the two of us I was supposed to be the artist in the conventional sense, yet I’d always felt that I couldn’t rival Jane’s amazingly simple but brilliantly colored art that was so true to her innate psychic knowledge—while seemingly ignoring it! But she didn’t ignore it at all, I learned along the way, for she created and explored a spontaneous and innocent reality that freed her from all other concerns. Her art contained our origins, I felt, by strongly calling attention to her obviously creative and intuitive knowledge. She painted a tree rising out of the earth with brilliantly colored apples, for example. It was, after all, an epitome of what our reality has led us to create and enjoy. What could be better? She wasn’t bound by the mundane rules of perspective, with its everyday limits that most of us never surmount or subsume: she created her deceptively childish world each time she painted. I could go on and on. Jane’s work is not large-scale by any means. One of my goals is to see her art, all of it, reproduced in color in 81/2” x 11” portfolio style at a modest price. Susan Ray of Moment Point Press used three of Jane’s paintings as cover art for her books; God of Jane, Adventures in Consciousness, and Psychic Politics.

The door to Apartment 5 was closed. Locked? Was anyone home? I didn’t try to find out as all of us stood there. Seth had first come through Jane in the living room of that apartment, in Session 4 on December 8, 1962. Thirty-nine years ago. I couldn’t believe it....