“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.

(Jane was getting more and more relaxed as we sat for the session. “But I didn’t want to miss a session,” she said sleepily. Then: “I feel him around now, at least—I guess I’ll be ready in a second....”)

He believed that his creativity was highly specifically oriented to its artistic expression only. He did not understand that the spontaneous self knows its own order (gently), or that the spontaneous creative self had any notion of his conscious needs and desires. He believed that often creativity expressed itself at the expense of other portions of the self, and that if it were allowed to spill over the edges (with gestures) from artistic productivity into normal living, then it would lead to all kinds of disruptive activity. This is obviously not the case.

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.

Because of his cultural beliefs, he was also determined that his “womanly nature” would not impede his progress as a writer, or yours as an artist. He considered it his duty to help you succeed as an artist, believing fervently that such was your primary desire.

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.

(“Jane got her first letter from Germany today.” I meant of course that it was her first from a reader of the German edition, of Seth Speaks. It was written in English, and was amazingly typical of some she gets from this country.)

(“You know, he was quite different in trance,” Jane said. “I know there was something different going on. I know I did.” But she didn’t explain, or couldn’t.

(“I don’t know. I remember I was talking as Seth, and I looked over and Billy was giving me an entirely different look than he’d ever given me before. I just know it. He just looked at me like I was an entirely different person—either that, or I perceived him differently in trance.”

(For perhaps fifteen minutes after he’d jumped up in Jane’s chair, Billy had descended from that spot and curled himself up against me as I sat taking notes on the couch. He’d remained in that position until the end of the session. This too was a little unusual for him to do.)