“Seth material” search engine (Jane Roberts)

(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.

(9:19.) The artistic acts always directly involve strong direct interactions with Framework 2. In the production of our book we want, say, people we may not even know to come together in certain fashions to make certain decisions that will be in direct agreement with our own creative intent. They each have their own lives and their own interests and intents, their own problems. We cannot move them around like toy people on a game board. When you continue to think of events—and publishing is one—as multidimensional creativity, involving many people instead of one, then you have some leverage to help you understand. In Framework 2 each person is connected to each other person. I have given you a good deal of material explaining how information is communicated both on a cellular basis and on a mental one—how it is communicated through the dream state, and I have explained the importance of impulses as direct nudges from Framework 2.

(Pause.) This is still very difficult to verbalize. (Pause.) The main, driving, clear, emotional intent in such a project is the author’s. The book is his baby. Remember, we are dealing with emotional intensities—and it is because of emotional intensities that our books are in so many homes. That intensity has its own force and vitality.

(A note: I think Seth inserted his remark about the books being in so many homes because our mail has rather strikingly reminded us lately of that fact; we’ve been talking about it.)

I have one other point to mention, apropos: our session regarding the two men (see the deleted session, for me, of April 18, 1979). You get in trouble only when you identify too strongly with the socially inoculated man, so that you can say “With my beliefs, I do not think I can learn to put Prentice in Framework 2.” (See my closing notes for the last deleted session.) The “my” there, in that sentence, refers to the socially inoculated man. The other man has no difficulties at all in that regard, and that man is you, too. You could at least ask his opinion.

(Pause.) In a capsule, comparing yourself to what you think you should be, and largely because of troubles with communication. You wanted to communicate love of our work, and instead you felt that you could only communicate resentment at what you felt had been done to it. You felt like a victim.