“Seth material” search engine (Jane Roberts)

As Seth continued dictation I was fired by his purpose to make the unknown elements of human life at least partially visible — an audacious goal, I thought — and I tried to do my part in recording all such disclosures as they appeared in our lives and were reflected in the experiences of our friends and students.

“In Seth Speaks I tried to describe certain extensions of your own reality in terms that my readers could understand. In The Nature of Personal Reality, I tried to extend the boundaries of individual existence as it is usually experienced … to give the reader hints that would increase practical, spiritual and physical enjoyment and fulfillment in daily life. Those books were dictated by me in a more or less straight narrative style. In ‘Unknown’ Reality I went further, showing how the experiences of the psyche splash outward into the daylight, so to speak. I hope that [in those two books] through my dictation and through Ruburt’s and Joseph’s experiences, the reader can see the greater dimensions that touch ordinary living, and sense the psyche’s greater magic. ‘Unknown’ Reality required much more work on Joseph’s part, and that additional effort in itself was a demonstration that the psyche’s events are very difficult to pin down in time. Seemingly its action goes out in all directions…. As Joseph did his notes, it became apparent that some events … seemed to have no beginning or end.”

I also felt that the chronology of presentation for both Seth’s and Jane’s books was being distorted: Because I was so slow in finishing my work on Volume 2 of “Unknown” Reality, Jane published her Psychic Politics first, for example, when the reverse order should have prevailed. After all, I told myself innumerable times, these were Seth’s and Jane’s books, not mine. I wasn’t hesitant about recognizing my own role in helping Jane’s psychic abilities show themselves in a consistent way (as, say, in intuitively devising the session format for the presentation of the Seth material). But that recognition didn’t make me feel any better.

It seemed that each time I searched through all of those unpublished sessions (covering well over a decade) for just the right supplementary material, I found something new. More often than not, this made me redo my own notes in unanticipated ways — always a creative challenge that was most enjoyable, and yet, paradoxically, one that at times was very frustrating. Such episodes often caused me to take much longer to produce finished work. I learned a patience that I hadn’t suspected was possible for me. For this patience, employed in conjuring up thoughts and images through words, was objectively and subjectively quite different in quality from that which I was so used to using in producing painted images. I could feel my mind and abilities, using either words or pictures, stretch as a result.

Questions, questions, questions — why do Jane and I have so many of them? First, the very nature of her abilities leads to hosts of them, in ways that would have been entirely unexpected earlier in our lives. A second group stems from what Seth says, and what we’ve come to believe about what he tells us. A third set arises from the reactions of others to the first two, through the letters and calls we receive and the questions of people knocking on our doors. In spite of all this, we’ve found that any one group of questions amplifies or adds to those related to the other two categories — i.e., like energy regenerating itself, the questions automatically proliferate. Many times I’ve had the idea that a good analogy here is furnished by Seth’s concept of the “moment point.” As he told us in the 681st session for Volume 1 of “Unknown” Reality:

“In your terms — the phrase is necessary — the moment point, the present, is the point of interaction between all existences and reality. All probabilities flow through it, though one of your moment points may be experienced as centuries, or as a breath, in other probable realities of which you are a part.” Thus, just as a moment point can be explored indefinitely, so each newly arising question results in an ever-widening pool of inquiry.

In my notes introducing Volume 1, I wrote about placing the basic “artistic ideas” embodied in the Seth material at our conscious, aesthetic, and practical service in daily life. That’s really what Seth’s work is all about, in my opinion. Such an endeavor essentially involves the pursuit of an ideal, and represents our attempts to give physical and mental shape to the great inner, creative commotion of the universe that each person intuitively feels. Of course Jane and I want Seth’s ideas and our own to touch responsive reflexes within others; then each individual can use the material in his or her own expression of that useful ideal, letting it serve to stimulate inner perceptions.

What Jane has to offer results from the study of consciousness itself, as it’s expressed through her own experience and abilities. By choice, she has no buffers between herself and the exterior world — no assured status, for example. She doesn’t enjoy the protection a scientist does, who probes into a particular subject in depth, then makes a learned report on it from an “objective” position that’s safely outside the field of study. At the same time, I know that Jane feels a responsibility to “publish her results,” and make them available to others. She’s tough in ways that science, for instance, doesn’t understand at all.

And in one form or another, Jane carries all of those books with her from reality to reality. During an ESP class, Seth called them her “beloved paraphernalia,” or symbols, then continued:

I hope these Introductory Notes have prepared the reader to take up “Unknown” Reality in the middle, more or less, with the 705th session. But as I wrote in introducing Volume 1, whatever comments I make along the way will explain Jane’s trance performances from my view, as best I can offer them — her behavior while she’s “under,” the varied, powerful or muted use of her voice as she speaks for Seth, her stamina and humor in sessions, the speed or slowness of her delivery. But above all I try to help the reader appreciate the uncanny feeling of energy and/or intelligence — of personality — in the sessions, as exemplified by and through Seth; conscious energy, then, taking a guise that’s at least somewhat comprehensible to us, in our terms of reality, so that we can understand what’s happening.

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.

The appendix idea worked out well in The Seth Material and in Seth Speaks, and in both volumes of “Unknown” Reality each excerpt or session in an appendix, with whatever notes it might carry, is usually fairly complete in itself. These pieces can be read at any time, but I’d rather the reader went over each one when it’s first mentioned in a footnote; just as he or she ought to check out all other reference material in order throughout both volumes. I think it especially informative to compare Jane’s Psychic Politics with Volume 2 of “Unknown” Reality, for she produced large sections of both works concurrently; there are many interesting exchanges of viewpoint between the two.