Results 581 to 600 of 1139 for stemmed:book
[...] Also, Jane’s hip and foot had bothered her a good deal, and she told me that she had not been consistent yet in demanding the energy available to her, and in channeling it upon her books as suggested by Seth.
The energy must be directed toward the personality’s main work, the two books at hand, if the personality is to progress along its chosen lines. [...]
[...] She is back at work on her dream book.
(“Do you have a title for Part One of your book?”)
[...] Yet obviously you do not feel that you are dead, and you are quite able to read this book with the eyes that are composed of completely new matter. [...]
[...] Those of you who do not have such faith may gain it in a different way, by following through in the exercises I will give you later in this book; for these will enable you to extend your perceptions to these other layers of reality if you are persistent, expectant, and determined.
One episode in particular is funny in retrospect — looking back it was certainly undisciplined — but at least it was not overshadowed by superstitious fears about demons; and it led to the episode with which I will close the first portion of this book. [...]
[...] In the next moment, a fascinating series of events occurred that were to culminate in the third dream-state experience mentioned earlier in this book. [...]
Rob asked me to read the small print on the inside of a match cover and a few lines from a book — all held out much farther than I could usually read — and I was able to do this quickly and without effort. [...]
(Ever since she began dictating Mass Events for Seth, Jane has felt like having book sessions but once a week — on Monday nights — and doing other things in between. So she’s been working on her own James, writing poetry, painting, and helping me out with Seth’s Psyche by doing some of the work I usually do when he’s finished a book: typing sessions for the manuscript, checking my rough notes, rewriting some of them and making suggestions about others. [...]
[...] As you read this book you most probably lounge on a chair or couch or bench — all quite sturdy and real. [...]
2. Seth and Jane have both referred to faster-than-light effects in earlier books. [...]
(This afternoon Jane called Tam Mossman, her editor at Prentice-Hall, and told him: “I’ve got my next book.” [...] Already she thinks of it as another aspect psychology book, a sequel to Adventures in Consciousness.1
[...] Involved with Politics is her perception of another version of herself in a psychic “library,” from which, evidently, she is to acquire a significant portion of her new book.
[...] “I’m getting two things: The session’s going to be book dictation, which surprises me, but it’s also going to be on what’s happening to me now…. [...]
[...] You will believe the psychic tour books and go hunting for demons instead of tigers.
[...] These contacts will grow out of our seeing the following people: Don Wollheim, an editor Jane has previously published with; her present publisher, Frederick Fell; Eileen Garrett; and Dick Roberts, a senior editor at Dell Books with whom Jane has published. We should set up appointments to see these people, and should make the trip whether or not publicity for Jane’s ESP book, to be published this spring, is involved.
[...] The conversation among the four of us touched upon many things, including the news Jane received from her publisher that her ESP book is set for publication on May 16,1966. [...]
(Jane has in her files a family record book going back to the mid 1800’s. Consulting this after the session we found that Seth was correct, that her grandfather had been 67 when he died March 12,1948. [...]
As a matter of fact, however, many futuristic books and novels fictionally contain elements of such future knowledge. When people form even dreams about other lives, they often draw upon the picture books of history, and there is no such heritage of a cultural nature with which they can flesh out any dreams of future lives.
[...] The whole nature of your independent and joint creativity involved a retreat from the world that you both enjoyed, followed by, in the case of books, an expression in the world—in which, however, the books appeared in your stead: a way of life that involved usual publicity—lectures and so forth—seemed to threaten that kind of existence to Ruburt, in which he feared expression itself would be diverted, simplified, so that the message that finally did get through would not be the same message at all as the original one. [...]
(We wanted a session tonight on Jane’s problem, although we’d settle for something from Seth each time, along with his other book dictation, or whatever. [...]
He fears the books will not sell, because he is afraid, as in childhood, that if you do not toe the line your sustenance will be taken away. [...]
Now, this is not dictation [on Seth’s own book], but it is some material that Ruburt can use in his dream book. [...]
On Friday, October 9, 1970, I received a letter from a reader, Peg Boyles, about my book The Seth Material. With it she included an excerpt from Living Time by Maurice Nicoll, and another from a manuscript by Alice Bailey. [...]
The next morning I typed up the material and went to check the title of the Nicoll book. [...]
[...] He was halfway through his own book, Seth Speaks: The Eternal Validity of the Soul which he is completing now and in which he gives further methods that can be used to experience probable realities.
[...] (The new threats being the death of my mother; our freedom to travel, now that we have finished Personal Reality; the absence from home and the interruption of routine, etc., as we talked about tonight.) Reading our book however kept some improvements alive, and it was but a matter of time before he would read again the sessions of work that I gave him (as Jane did today). [...]
[...] How about part of day working on whatever book I’m doing and part on poetry?
8. Book ideas were to give R. alternatives if he wanted them.
[...] Is there a correlation between my conflict between poetry and book contracted for, and Rob’s attitude toward art and money?