“Seth material” search engine (Jane Roberts)

(Once again Jane was quite relaxed, but she wanted to have the session anyhow. “Bleary as usual,” she said. “I’ve been so out of it the past week....”

(I was feeling somewhat better, but wasn’t clear as I wanted to be yet. I had a few questions I wanted to ask Seth if I got the chance, but hadn’t talked them over with Jane before the session. We’d celebrated Thanksgiving last Thursday with our first turkey in two years.

(For the moment I’d forgotten the notes I wrote concluding the last session, deleted for November 12, having to do with Seth suggesting we throw our hassles with Prentice and foreign publishers into Framework 2; I’d written that I didn’t know whether or not I was capable of doing that at this time. But the questions I’d posed in those notes furnished the background for tonight’s session, somewhat to my surprise.

(Pause.) All of our analogies taken together, you see, only hint at the true picture, but if I cannot describe clearly to you in your terms the interaction between Framework 1 and 2, then we will have difficulty with other later material. So we will try again this way.

Now: We want to publish the book—and I will here continue, for our purposes, dealing with a book’s production rather than a painting’s. Still, however, we will keep the idea of a painting for a different reason. Now think of the book’s production and everything connected with it as being part of the same kind of creative activity, but in an arena where events as you think of them become the medium. It is as if—forgive the crossing analogies—the production of the book (pause) is transferred to another level. A living peoplescape in which each person who plays a part in that book’s production now joins the creative act at this secondary level as far as you are concerned.

Now: When you concentrate mainly (underlined) in Framework 1 and its communications with Prentice, then while overall you do achieve results of a beneficial nature—the publication and distribution of the books in a largely adequate form—there are glaring discrepancies also: entanglements that you do not like because you have taken your intent from Framework 2, where the creative event began, and placed it into Framework 1’s communication system almost entirely. Obviously you need Framework 1, with its letters, telephone calls, and so forth—but Framework 1’s communication system, while physically handy, also is somewhat like a very poor telephone connection, with static at both ends.

They do not then move as faithfully as your fingers, following your own intent, not theirs, but everyone involved cooperatively agrees to aid that creative venture—not only because you want it, you see, but because for their own reasons they are involved in book publishing and want to play a part in that kind of activity.

(9:50.) Give us a moment.... When you have fearful thoughts about a book—or worse, about a future book—then you feed other people’s static. You increase to some extent their doubts as well as your own. Your thoughts have reality, but behind that statement is the apparently unrecognizable truth that your physical world is the exteriorization of your thoughts.

Mankind’s most majestic experiences, and his most unfortunate, still come from that same great creative force. I have been very careful in my use of the word love, because it is so bandied about and distorted—but all creativity, and any work of art, and any life, springs from love—a love that automatically brings all things into their own kinds of order. The artist paints because he loves to. His brain and fingers are able to produce a painting because they are themselves formed of love.

I am not speaking of some cold, idealized love, but of infinite, intimate expressions of it that help compose any physical form. That is the basis of existence.

(“I was going to ask about why I had those problems with the urinary tract when I got sick earlier this month. They’re better now, but they’re not cleared up completely yet.”

(10:10. “I had a funny feeling before the session,” Jane said. “That it was one of those times when he had to dribble the material down to me word by word. It made me feel real impatient—not on his part but my own. I also had the feeling that there are about five frameworks out there, but that everything has to come down to us through Framework 1 before we can understand it.”