“Seth material” search engine (Jane Roberts)

(Jane was so relaxed yesterday and last night—as she has been often lately—that we held no session. At the same time she’s been extremely creative, working on her God of Jane, and the introduction to Mass Events—producing many pages of excellent material for those works. She’s been quite inspired. Even though she was again very relaxed today, she was also active writing. In fact, after supper tonight she produced two more pages of notes that she’d picked up from Seth on his new book: Dreams, “Evolution,” and Value Fulfillment. She laughed. “I keep trying to change that title, though.” She’d picked up the title as long ago as July 30, 1979—see the 869th session note. A copy is attached of her notes having to do with the new book. I’ve been expecting Seth to begin it at any time.

You identified primarily now, as a poet and an artist because those designations, up to that time, seemed most closely to fit your abilities and temperaments. Ruburt’s writing set him apart. Your painting set you apart. These were recognizable, tangible proofs of creativity. You therefore identified with elements, characteristics, and traditions that seemed to suit you best.

To some extent you had your own niches, recognizable by society even if they were relatively (underlined) unusual. You did not know that there was a deeper, older, or richer tradition—a more ancient heritage, to which you belonged, because you found no hint of it in your society. It seemed at different times since our sessions began that there were disruptive conflicts, for example: was Ruburt a writer or was he a psychic? Were you an artist, or weren’t you? What about the writing you did—both for our books, and the writing that you sometimes plan to do on your own?

Ruburt was correct in his introductory notes today (for Mass Events)—about the poet’s original, long-forgotten abilities, and his role. Ruburt has been a poet all of the time in the most profound meaning of that term. For the poet did not simply string words together, but sent out a syntax of consciousness, using rhythm and the voice, rhyme and refrain, as methods to form steps up which his own consciousness could rush.