“Seth material” search engine (Jane Roberts)

(Neither of us had any questions for Seth.)

(“Good evening, Seth.”)

I want, therefore, to reinforce certain points. I must always couch my material for you personally—the two of you, that is—according to your situation and understanding. And there are indeed multitudinous levels, each quite valid, that are involved.

(10:37. I thought since the hour wasn’t very late yet, we could get some information on other subjects. Jane had no questions. I speculated about my painting of the Italian woman, as I call her, and about a passage I read recently in Seth Speaks; in it, Seth had mentioned that he’d been a black in Ethiopia. Perhaps, I suggested to Jane, we could get some material on his life then.

(Jane wasn’t particularly interested, however. There followed a rather complicated discussion between us about the idea of questions for Seth—why I seemed to have them, but Jane seldom did. Much of Seth’s material to follow these notes deals with the topics of our discussion. Resume at 10:58.)

Often your detailed questions, however, will initiate new concepts that will themselves provide, by the way, the required answer. Your specific questions, however, also serve to give necessary ribs to the delivery of the material, so that many aspects are covered, and details not ignored. The two of you together then add to the entire psychological structure, and keep the delivery of the material in an excellent overall balance.

This balance is to a large extent responsible for the fact that the material reaches so many people, and your own joint characteristics in that regard are more obvious to your readers than to yourselves. The entire scope of the material of course reflects your joint questions—but Ruburt’s are often unformed, dealing with intuitive issues that he does not trust to verbalization.

The material follows its own flow: there are certain things I want to say, but how I say those things is colored and tinted by your own characteristics jointly, and your experience daily. Your different ways of working are obvious in your other creative endeavors, and your own questions and appliance to detail are highly important in your notes to our books, serving as important ribs, again.

(“Thank you, Seth.”