“Seth material” search engine (Jane Roberts)

(“I’m beginning to get a cluster of images. They’re of islands,” Jane said at 9:40. “I don’t know why, but I’ve been doing things that way lately. Then Seth uses what I get in the material … Okay: I guess I’m about ready.” She lit a cigarette.)

(11:04. “I knew we weren’t going to get a break until we finished that goddamn analogy,” Jane laughed after she’d come out of a good trance. “I do think we’re going to lose readers along the way, though — this book’s getting too hard to follow. I also think it’s going to be in two volumes. I haven’t had the guts to see how much material we’ve gotten so far.”

(Nor have I checked up on “Unknown” Reality’s bulk. This was the second time in three weeks that Jane had mentioned a two-volume work; see the opening notes for the 721st session. I wondered aloud whether she might be getting herself used to such an idea. I added that I didn’t think she need worry about readers following Seth’s material — that certainly many others are just as curious as we are about where “Unknown” Reality is going.

(An aside: Jane said that toward the end of her delivery she’d been bothered by traffic noise. It was a warm if snowy night, and we had a kitchen window open for fresh air; all through her delivery I’d been aware of the traffic ceaselessly negotiating the intersection just west of “our” apartment house, of course, and had asked her to repeat a number of words. We do intend to move out of our two apartments early next year, as soon as I finish the illustrations for Jane’s Dialogues — that is, we’re going to start looking for a house we can buy.

(1. It not only incorporates Seth’s “island” analogy, but Jane’s and his information in the last [725th] session on strands of consciousness.

(5. I think the application of tonight’s material to Jane and me is neatly summarized in the last paragraph of the session.

5. In Volume 1 Seth described the role a nonphysical Stella Butts played in Jane’s and my house-hunting activities in Sayre, Pennsylvania, last April: See the 693rd session, with notes.

6. From her viewpoint my mother was, indeed, quite baffled when I turned away from a well-paying career in commercial art toward a very risky one in “fine art,” or painting. The year was 1953, and I’d just met Jane. My mother was 61 years old, I was 34, and Jane was 24. See the few additional details in Note 10 for the 679th session, in Volume 1.