“Seth material” search engine (Jane Roberts)

It’s taken us some years to understand that behind Jane’s symptoms lay her efforts to understand and express the very strong creative energy she’s sensed within herself since childhood. Yet the conflict that developed between her writing self and her mystical self, as explained by Seth in Personal Reality, was only one facet of her intuitive drive toward that expression: As Jane matured, she realized that there were other challenges for her to contend with too. Among them were the resolution of some old family relationships — and nowhere in this note am I talking about past lives or probable lives, but just the working out of hard questions rooted in this present physical reality. From Seth and ourselves we’ve accumulated much unpublished material about Jane’s symptoms and attendant matters. The bulk of it is often applicable to others, and eventually she may write a book about the whole subject. Should she do so, it would certainly be a history of one person’s long efforts to grapple as fully as possible — and not always successfully — with her own human qualities. But I also think that in many ways it would be her most illuminating work. She fully accepts the idea that she creates her own reality.

10. I gave up my commitment to commercial art in 1953, when I was 34 years old. My intuitive desire to do so had been growing slowly for several years. The act of separation finally became conscious and deliberate when I moved to a small community near Saratoga Springs, N.Y. (where Jane lived), to temporarily help an artist-writer friend produce a syndicated “comic” strip. This was the last commercial work I was to do for some time; I finally understood that I was simply more interested in painting pictures than in doing anything else. Since I believe that each of us creates our own reality in the most precise terms, it can hardly be a coincidence that at this time of decision my friend introduced Jane and me — for she was just as devoted to writing as I was to painting.

(To me, both photographs had a certain mysterious quality that I’d often found intriguing — an aura due partly to their being old, personal, and so irreplaceable, I suppose. But for a long time I’d been aware of other feelings connected with them. Jane had begun delivering the Seth material late in 1963, and soon afterwards Seth started developing his ideas on probabilities.¹ Many times while looking at the snapshots since then I’d found myself speculating about the probable realities surrounding their two young subjects. I told Jane now that I understood the course of action each of us had chosen to make physical, or “real” in our terms. But what of all the other paths our probable selves had embarked upon since those pictures had been taken? By now, did those photographs actually depict the immature images of us, the Jane and Rob we knew and had always been, or from our standpoint did they show a probable Jane, a probable Rob — two individuals who long ago had set out upon their own journeys through other realities? I wasn’t clear on what I wanted to know, and had trouble expressing myself to Jane. Maybe I just wanted Seth to comment on probabilities in a more personal way. [And added later: At the time, I had no idea that my questioning would trigger a new Seth book.²]

(I reminded her that I hoped Seth would comment on the old photograph of her in connection with probable realities, although now I could see that it would take him longer to develop answers than I’d thought it would. I didn’t think we’d get any material on my own picture tonight.

[...] As events worked out, Seth was halfway through Volume 1 of “Unknown” Reality before I realized that these supplementary notes would work well as the first appendix in the first volume. The notes may have their own kind of order, but unlike most appendix material aren’t presented in a chronological sequence. As in the Introductory Notes, I want to stress Jane’s role as the creative artist, disseminating her personal view of a larger inner reality, and her intuitive and conscious comprehension of at least some aspects of that reality; for such understanding can easily elude our Western-oriented, materialistic, technological outlook.

2. The mystical way is one of the natural feedback systems that operate between the body and the psyche, as Seth reminds us in Chapter 10 of Personal Reality. See the 640th session for February 14, 1973: “Natural ‘mystical’ experience, unclothed in dogma, is the original religious therapy that is so often distorted in ecclesiastical organizations, but it represents man’s innate recognition of his oneness with the source of his own being, and of his experience.”

(My own point in all of this is that Jane was different from her contemporaries in more ways than she realized. It was obvious to her in her youth that none of her friends wrote poetry, or talked about the subject matter of much of her own poetry.³ Jane intuitively felt her own nature, without trying to define it. [...]

He never forgave his own children for growing up … Yet he related his own body, at least until the very end, very well with nature. [...]