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UR2 Introductory Notes by Robert F. Butts 5/59 (8%) Volume Unknown reader ideal sections
– The "Unknown" Reality: Volume Two
– © 2012 Laurel Davies-Butts
– Introductory Notes by Robert F. Butts

[... 1 paragraph ...]

Let me quickly recap a few more facts about the production of this work. Seth himself always referred to “Unknown” Reality as one unit until we reached the last session. He divided the manuscript into six sections of varying lengths. There are no chapters per se. As Seth explained in the 743rd session: “This book had no chapters [in order] to further disrupt your accepted notions of what a book should be. There are different kinds of organization present, however, and in any given section of the book, several levels of consciousness are appealed to at once.”

[... 4 paragraphs ...]

Seth’s Preface is in Volume 1, of course, and it too should be studied again; to me, such acts of referral between the two volumes help the reader mentally unite them.

[... 19 paragraphs ...]

It seemed that I should have finished my part of both books long ago, even though simultaneously I was working on several other projects with Jane, as well as painting a few hours a day. Finally, the disparity between the time Seth-Jane had spent producing Volume 1 alone (around 45 hours), and my own commitment in ordinary time, became so great in my mind as to be almost overwhelming.

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.

[... 24 paragraphs ...]

“In a way, with [this] book and with your art, your purpose is the expression of the ideal, and that expression must be physically materialized, obviously. Your joy, your challenge, should be in the manifestation of the ideal as you see it, whether or not you can in your terms count the consequences or the impediments — whether or not the expression comes to fulfillment in your terms — and even if it seems to fall on ground on which it will not grow.

[... 5 paragraphs ...]

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