“Seth material” search engine (Jane Roberts)

Yet every so often in this series I’ll be including sessions that are also of more outgoing subject matter—more like the sessions in Jane’s published Seth books. Later volumes of The Personal Sessions will also include a whole book that Jane delivered for me on the great l7th-Century Dutch artist Rembrandt Harmensz van Rijn. This book has never been published. It’s not a Seth book, but one of the three “world view” books from highly creative people in the arts that Jane tuned into on her own as gifts for me. The other two are The World View of Paul Cézanne (1977), and The Afterdeath Journal of an American Philosopher: The World View of William James (1978). When we get to the Rembrandt material in this series I’ll offer my interpretation of Jane’s very interesting world-view material.

Would Seth have cooperated in such a venture? It didn’t occur to Jane and me to even ask. We moved beyond Frank Watts’s “Timidity has roots of rage.” Seth announced his presence in the next, fourth, session: “I prefer not to be called Frank Watts. That personality was rather collarless (as spelled out on the board).” Also: “I was Frank Watts to learn humility.” So with our obvious consent and the great variety of his very intelligent and fluent discourses, Seth became the discarnate entity who spoke through Jane for the next 20 years and eight months. That “energy personality essence” did his best, always honestly, I’m sure, to help my wife, both as far as he was able to but also, as I came to believe, as far as he was allowed to. Not only because of Jane’s intense early fears in this lifetime, I felt, but also because of past lives, as Frank Watts had indicated. How unusual, I thought as I recorded the sessions in my homemade shorthand, that the conflicts displayed between the two main portions of her immensely creative personality were so open, even while she had the potential to help so many others. And did. Jane was living her challenges just like each one of us does, and her efforts were inextricably bound up with the world even as, I was sure, we were creating our human versions of the earth and its own reality. This taught us that even with Jane’s talents there was more, always more, to create and to learn from. How exciting and frustrating at the same time! In all modesty, there seemed to be much that we could do, feel, want, offer to others. Our mail alone began to speak written volumes, almost always approvingly, that we had never anticipated. How could we have known that would happen? As with other details of our experiences to come, many were still unknown to us on conscious levels—we’d have been incredibly wise to have known it all in advance! Like each one of us, Jane as a physical creature still had to travel her literal paths to experience and knowledge.

A year later Jane made the naive mistake of seeking comfort in a marriage to a new friend, Walter Zeh, who was having his own difficult life with just one parent. By then both were attending Skidmore College in Saratoga Springs. Jane was on a liberal arts scholarship awarded to her because of her gifts and work in writing; her husband, a World War II veteran, qualified under a government program and majored in philosophy. Skidmore suspended Jane’s scholarship at the end of her third year because she’d attended an all-night party with three professors and three other students; along with discussions of philosophy there had been drinking and smoking, but very modestly on her part. Her marriage was in the process of breaking up when we met early in 1954. I made no judgments about that relationship. Walt and I got along well.

And how did Jane and I meet? I too am a World War II veteran; after three years of service in the Air Force Transport Command I was discharged in 1942. I spent several years freelancing as a commercial artist in the Sayre, Pennsylvania area while living with my parents, Robert Sr. and Estelle (my father called her Stell). They were, I could see, getting older. I felt protective toward them; both of my younger brothers had left home, and one had married. I preferred the small-town life, but had about exhausted my professional options after doing medical illustrations for the local but well-known Robert Packer Hospital (some drawings won prizes in traveling exhibitions), working briefly in radio, painting signs, and so forth. Then I went back to doing comic-book art by mail for various New York City publishers. Finally I decided to return to the city indefinitely to go into advertising illustration, a field that paid much better. I told myself that I had to get back into the world out there.

I packed my suitcase and art materials the day before I was to leave Sayre. At suppertime that night I received a telephone call from Ed Robbins, an old friend I’d gone to art school with in Brooklyn, New York before World War II. The results flowing from that call, which was so of-the-moment, were to change my life forever—and Jane’s too! Ed offered me a job as an artist in his upstate hometown of Schuylerville, some 11 miles east of Saratoga Springs and on the Hudson River. He was writing and drawing the Mike Hammer daily and Sunday comic strips for his friend, Mickey Spillane, and was having trouble meeting those remorseless weekly deadlines for the syndicate that distributed the feature to newspapers coast to coast. Ed knew I’d done comic-book work: would I be interested in helping him get his strips to the syndicate on time? The pay would be good. I could live with him and his wife Ella and their children until I found a place for myself if our arrangement worked out.

By the age of three I was already drawing—scribbling, experimenting—and began writing stories in grade school. Many of them were fantasies involving cowboys and Indians and detectives and world adventurers that I crudely illustrated on my yellow school pads. I still have a collection of those: strangely innocent but moving. (I was especially fascinated by horses, but have yet to ride one!) While a sophomore I wrote a novel that I typed on the same kind of yellow paper and bound into a book, I even tried—unsuccessfully—to sell it. I still have that book, also.

It was no accident, Jane and I often said, that we were so quickly attracted to each other. Not only because of our simple love for one another and our mutual interests—but even then, I came to understand, because we could intuitively sense the fine creative adventure in consciousness that was to become the Seth material. (We didn’t give a thought, however, to anything like reincarnation, let alone to such connections involving us.) Even now, 18 years after Jane’s death in l984, I’m as committed to our work as ever. I have no reasons or motivations to present myself as being really cautious or asking my wife to be careful as she began to unleash the great flow of creativity that was to follow. I welcomed it after my first hesitance at accepting her themes in Idea Construction, and as it created its many-faceted path through our lives. On November 26, 1963, when Jane and I received those first incoherent “messages” on a borrowed Ouija board, our world views began to change, to enlarge. And more and more the Seth material became as deeply intertwined with my visual art as it did with Jane’s written art.

Even her early intuitive connections with her grandfather, “Little Daddy,” helped only so much. Add to those early fears her later fears of rejection not only by the mainstream publishing world because of the “psychic” nature of her work, no matter how good it was—but also by most of the world in general because of her chosen and unique way of expressing her great creativity: the Seth material. Seth also told Jane that her mother was “an old enemy,” thus implying a reincarnational relationship, but we didn’t demand details at that early stage. Nor did Jane want to. Once again, I felt there were more such hidden conflicts.

Jane was still productive during much of that last stay, however. With Seth she dictated, if slowly, The Way Toward Health. For herself she dictated poetry. I read to her the fan mail I brought each day, and between the two of us we kept up with answering it. She had periods of modest motion improvement, but they didn’t last. Various medications helped a little (with side effects at times), but the medical establishment had no cure to offer. Jane obtained her greatest relief from the daily baths that were given her so lovingly by staff members. We became friends with a number of them; they helped us celebrate birthdays and holidays in 330. At no time did we tell anyone what we were writing about, or its sometimes nonphysical source, so to speak. Staff knew only that Jane dictated to me often, that we got a lot of mail, and that I kept copious notes. We had a few visits from local friends, but it didn’t take us long to learn that many people avoided hospitals as much as possible. We could hardly object to that: after all, for whatever strong personal reasons Jane had done her best to stay out of the hospital, and I had acquiesced to her decisions. People out there in the world had their own challenges.

Jane and I were very surprised at the initial reception of The Seth Material, then Seth Speaks and Personal Reality (our shortened terminology for those first two Seth-dictated books.) Since we had no experience with “fan mail,” for example, we had no expectations, but as the Seth titles and Jane’s own books were published she came to spend many a weekend answering that most welcome mail. I helped out when I could after typing sessions, often doing commercial art at least part-time, and trying to paint. The mail rapidly became a quite humbling education in itself. The writers of those letters opened up in specific terms worlds that we’d have never known about otherwise, and, eventually, they did so not only from this country but also from abroad. Seventeen language translations as I write this. How interesting to see that each one of us was indeed creating our personal reality within the overall reality of the universe that all of us were also creating, uniting all—everything—in complicated fashions far beyond our ordinarily accepted understanding. Time travels for sure; travels not only through the psyche but through time—even if Seth did call that quality we were so used to “camouflage time!”

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.

My parents lived briefly in Elmira, and then moved to Sayre in 1923 after having traveled to California. Hardly strange, then, that I found work as an artist in Elmira, and that Jane and I moved there in 1960, five years after our marriage. I still have third-and-fourth generation relatives in Elmira, although I’m not close to them. This is as much my fault as anyone else’s. Jane and I became so wrapped up in our own little worlds that we didn’t try to reach out. I tell myself that I should try to do that, even now, however.

When Jane entered the hospital for the last 21 months of her life, I could run all I wanted to. I usually spent the morning typing the session she had delivered the afternoon before for The Way Toward Health, answering mail, running, and running errands. I went to her room at noon and stayed until the evening, seven days a week, every week. I still remember asking myself as I trotted along on my 65th birthday on June 20: “Should I still be doing this?” My answer was yes, for that action, free of any other personal responsibility, helped me stay connected with the outside world in my own way. Jane died later that year. John Bumbalo did me an enormous favor in the hours following Jane’s death. When I came home from the hospital for the last time in a year and 9 months, John went to Jane’s room 330 and very carefully gathered up all of the belongings and artifacts we had accumulated there and brought them to me in 1730: my paintings and drawings, the letters from readers that I had put up on the walls (the hospital never complained), the session notebooks for The Way Toward Health, our books and magazines and newspapers and clothes, the flowers and other gifts from readers and from some of the nurses—all of those things that seem to accumulate almost by themselves as one seeks to create a home wherever that may be.

Perhaps he or she was a magical symbol of the powerful natural universe coming to visit, in the driveway of our Pinnacle Road house, along with individuals from the television industry, the power industry, the arts and financial worlds. At the same moment a large hawk or small eagle decides to drop by and say hello!