“Seth material” search engine (Jane Roberts)

Seth also presented the entire work in such a way that the events of our daily lives were intimately connected with his material, serving as personal examples of how his theories actually work in everyday experience. He hadn’t been delivering “Unknown” Reality for long, then, before I realized that I’d have to devise a system of presentation that would handle his material, my own notes (which I could see were going to be considerably longer than they are in Seth’s other books, Seth Speaks and The Nature of Personal Reality), excerpts from Jane’s ESP classes, appendixes, and anything else that might be included.

After I touch upon the contents of Volume 1, I’ll have the freedom to move into some other topics that occurred to Jane and me as I put Volume 2 together — subjects regarding the Seth phenomenon itself, for example. I also want to present a few passages from both regular and private (or “deleted”) sessions that were held before, during, or after Seth-Jane’s actual production of “Unknown” Reality in its entirety. At least some of Jane’s other books will be mentioned occasionally.

I used that information of Seth’s many times while working with “Unknown” Reality. Even so, I learned that on such a long-term project it’s easy to lose that acute sense of what one really wants to do and show — but I also learned how to constantly renew my focus. This presented me with what seemed like an endless series of challenges, yet I discovered again and again that I enjoyed them: Each time I sat down to work, whether on the most routine short note or the most complicated appendix, I searched for that particular, personal sense of intense concentration on the matter at hand. And each time I achieved it I experienced once more that complete inner and outer, mental and physical, involvement in which time was often significantly negated. These were actual, felt episodes during which I rose above those frustrations mentioned earlier. (I’ve often wondered how much one’s ordinary bodily aging processes are either slowed or superseded during such periods of great focus.)

In important ways, Jane’s work is outside of society’s accepted frameworks — scientific, “occult,” philosophical, or whatever. Not that we dwell upon that comparative isolation much, but we are aware of it. And I know that Jane sometimes misses the kind of camaraderie enjoyed by professionals who fit more comfortably into accepted structures. Actually, though, we consider many of our correspondents as friends, even though we never meet most of them, and despite the fact that Jane can only reply to their cheering communications with Seth’s dictated letter (as well as our own), or with notes scribbled quickly on postcards. We’ve become quite aware of that kind of support, for which we’re very grateful. Many such people are somewhat like us — refusing to accept any kind of dogma.

“As an artist alone your purpose is expression, which involves disclosures, the difference between the ideal and the actual. Be reckless in the expression of the ideal, and it will never betray you. Treat it with kid gloves and you are in the middle of a battle.”

As in Volume 1, notes are presented at session break times as always, but I’ve indicated the points of origin of what would ordinarily be footnotes by using consecutive (superscription) numbers within the text of each session. Then, I’ve grouped the actual notes at the end of the individual sessions for quick consultation. All such reference numbers are printed in the same small type throughout both volumes. Footnotes will be found “in place” only when they’re used to call attention to a specific appendix in the same book. For the most part, then, these approaches keep the body of each session free of interruptions between break designations.