“Seth material” search engine (Jane Roberts)

(Last night, Jane spent an exhausting couple of hours trying to get through to a young man, Stuart, who called on us unannounced at about 9 PM. He suffered from the attacks of “magicians” who were stealing his energy: “Plates” of energy were being stripped away from his chest in layers, until he feared his inner self would be exposed. He was also stalked by people in vans with antennae—they wanted to clone him.

(At 8:30 this evening we got our answer. Stuart was back at our front door. I refused to let him in. He’d washed his face and looked fresher. He told me that within the last five hours something had happened that he’d feared all his life: he’d lost the last of his energy. His inner self was exposed and vulnerable. Yet he’d walked the two miles and more to our house from the YMCA, I thought ironically. His tale showed that Jane’s efforts of the night before had largely been futile. I told him she couldn’t help him, that we didn’t have the time. He accepted docilely, and gave me his address in San Francisco. He left, and Jane still had the impulse to have me call him back in another effort to help him. I said no in any event. Stuart didn’t know when he’d leave town, so I said he should return to his friends in California. He said he probably would.

Give me a moment.... A novelist, being himself or herself writing a book, will nevertheless imaginatively live the actions of all of its characters—the villain, the hero, the madman, the saint or whatever—and a true creative gestalt is involved. Then in the author’s mind the characters will interact. The author may know the book’s end, or allow the characters themselves to work out their own solutions. Here we will call the author the whole self, and the characters are real. They are themselves. They follow their own unique intents. They are not coerced, say. The plot is left open, but in the deepest terms the whole self, through its personalities, probes deeply into the meaning of life in all of its manifestations.