“Seth material” search engine (Jane Roberts)

Jane regarded all of these works as being science “fantasy” rather than “straight” science fiction. Her fictional themes especially were extensions of much of her earlier poetry, and contained the same kind of thinking that had led to her breaking with her church. She had no conscious intimations that within a decade she would develop the Seth material. “My mind just worked that way,” Jane said of her stories. “I was concerned with those themes so I wrote about them.”

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 From Seth and ourselves we’ve accumulated much unpublished material about Jane’s symptoms and attendant matters.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.

You see his joyful potential, and he knows that you do. Sometimes he feels lost, however, as an emotional human being, groping toward that potential, and he needs to be comforted. As you know now, comforting him can be frightening to you, because it returns you both to deep emotional realizations and feelings that you sublimate in your paintings, and even to mystical experiences that you also channel through your work.

You would make your creativity real, in sense terms. Linden would not. He would keep it safely inside a “play” structure — not play necessarily in basic terms, but a structure in which he would work with models, cleverly, never applying his creative abilities in certain ways to a practical reality. They would be outside, safely, in that context.

[...] 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. [...]

Even in his poetry, before our work, Ruburt’s energy led him way beyond “himself” at certain times. [...]

[...] That is reflected through his poetry as well as our specific work. [...]

(The night before I’d been working on these notes, and we talked about mysticism, among other things. [...]