“Seth material” search engine (Jane Roberts)

(Jane received about 50 letters, forwarded from Prentice-Hall today. Among them was one from a Dan Curtis production company, who wants to option her life story for a possible movie for television. Their credits seem very good. Jane didn’t want to feel that she had to get material tonight from Seth on such a project.

(While looking for a private session for Sue Watkins yesterday I came across the one dated April 12, 1971. A line in it stayed with me, so that I read it over this afternoon. I ended up discouraged, I’m afraid, for much in it about Jane’s symptoms, and our joint reasons for allowing them to linger, still applied. Jane read it before the session. Some of it concerned her holding back on her own success for fear that my lack of success would be painful to me, compared to her achievements. I asked her if she thought such thinking could still play a part in her hassles. She didn’t think so. I certainly hoped it didn’t. The session contains an excellent opening line or two that I want to use in a note for Mass Events.

Specific creativity is but one important aspect of the psyche’s vast, almost incomprehensible productivity, for it produces your lives. You had parents and brothers, a family. Ruburt has no one in that same manner. He had an unfortunate marriage behind him when you met. When he fell in love, it was wholeheartedly, and he was determined to merge his creativity and his marriage.

The apartment house was one thing, a mixture of various classes of people. When you came here (to Pinnacle Road), to a more lucrative kind of middle-class America, Elmira-style, you wondered what people thought, that you were home all the time. To some extent (underlined), and again, only as part of the picture, the symptoms have been a social device that to varying degrees, now, suited your purposes, both of you. Beside that, the session given recently on the creative state, is vital, for you became hypnotized, of course, by the materialized situation. So reread that session with this one.

Ruburt’s work, as far as his symptoms are concerned, rests primarily in his mental attitudes, and they are indeed changing for the better. The state of creativity is one you both know intimately. In it there is a kind of mental or psychic plasticity, where the evidence of the normal world loses its hard edges, becomes less real, and yet is touched by the psyche’s creativity so that it can (underlined) in a moment be literally transformed.

A civilization must avoid either extreme, as of course each individual should. So we will to some extent provide alternatives. Your letters show such alternatives are needed. (Pause.) If you are mentioned in an unfavorable light by people who are fanatics in one way or another, then it shows that you are (underlined) making inroads, and that our books are (underlined) being read enough by the followers of a particular doctrine to make the leaders of such doctrines uneasy.

(Seth probably refers here to a letter Jane received today from a fan in Ohio, who enclosed a copy of a letter he wrote defending her to Jacques Vallee, who evidently had mentioned Jane in one of his books. The letter is on file. Vallee had his facts wrong, it seems, ascribing Jane’s work to automatic writing, etc.

(Pause at 10:25.) You must again realize that you chose your situation, and because it is a valuable one you sought it out. If Ruburt understands that, then he will realize he does not have to protect himself privately or socially, for all of his characteristics are meant to help him deal successfully with the challenge he has chosen. The same applies to you.