“Seth material” search engine (Jane Roberts)

(At the end of last Saturday’s session, I thought of two questions for Seth. They were based upon his discussion of the Cézanne book, and our changed attitudes, as demonstrated by our sending the books out. Jane suggested I write them down for tonight.

(1. Was there any connection between Jane’s Cézanne, and the New York City Cézanne show appearing at practically the same time? Did this have Framework 2 connotations? Both projects had been underway for a long time before surfacing to the public. See the note about William Rubin and the Museum of Modern Art, at the start of the last session.

(2. Did Cézanne “himself” have any sense of awareness, or of completion, connected with Jane’s book and the New York City show happening at the same time? Seth had said that William James did, in connection with Jane’s book about him, and his interest in gifted mediums. My own thought at the moment was that something different, or at least not the same, was involved with the Cézanne events—less personal.

(Last night we watched on television Alan Neuman’s show on the paranormal. We liked most of it quite a bit. See the clipping on file. His secretary wrote Jane on October 13. After the show, Jane wondered about Framework 2 immediately responding to the efforts shown by some of the gifted people on the show—those doing the firewalking, moving objects, fogging film, etc. The results were obtained without delay, evidently from Framework 2. Of course, Jane wanted these results for herself, also. She wondered if Seth might comment on this question, as well as the show itself. She wrote Alan Neuman a letter; this morning I mailed him a copy of Cézanne.

The Cézanne book, the show, your own interest in Cézanne, and your own painting abilities are also connected in Framework 2, along with the fact that Cézanne himself had a secondary interest in writing, that fell by the board, so to speak. Your own art interests have always attracted artists to our books in general, through Framework 2’s constant communication. There are individuals who go through many lifetimes with one main interest or desire, attaining finally a culmination that they have sought for. Cézanne was such a one. In those terms, his interests are now the same, but he no longer looks upon his historically known works, but considers them as background pieces, so to speak. He paints in another reality to which his own intent has led him, except that his creativity has opened up so that he no longer feels the same need for isolation.