“Seth material” search engine (Jane Roberts)

[...] A A obligingly built up the pressure again; pressing down, Carl saw that he used a hand pressure of 70 pounds, as measured by the scale, to get all three legs of the table back on the floor, whereas usually gravity would effortlessly draw the legs back to the floor when our fingertips were removed.

[...] Drawing upon this energy in one area also releases it on other areas. [...]

(Pause at 11:34.) The loved one draws your best from you. [...]

(We’ve largely finished correcting proofs on both the text and the drawing captions for Jane’s Adventures in Consciousness, which will be published in June. [...]

[...] That is, they are able to draw upon energy more easily. [...]

[...] Jane said this reminded her of a fish; she had the hilarious image of Margaret’s gulping mouth sending her calls out in physical ripples through the air, to envelop Susy and draw her home.

[...] The nature of identity is strongly dependent upon the innate ability to draw upon, utilize and direct psychic energy.

Now however, the sooner you move the better, taking your drawings, et cetera, into consideration. [...]

Now: Churchmen of the Middle Ages could draw diagrams of various portions of the human body that were afflicted as the result of indulging in particular sins. [...]

The seemingly unconscious portions of yourself draw atoms and molecules from the air to form your image. [...]

(Long pause at 10:23, eyes closed.) I make recommendations now and then, and now and then you see fit to follow them … ¹⁰ Considering Ruburt’s challenges, he has done extremely well as he cleared away the debris that literally surrounds the lives of most people … In a way his progress has been dependent upon the state of his learning, so that he has been trying to stretch the abilities of normal consciousness by drawing in other “strands.”¹¹ Yet because he was the one so involved, he had to test each strand; and in the meantime he still had his “old” consciousness, with its habits, to contend with.

[...] Jane had admired it at once, even from the first drawing, and insisted all along that it pictured Seth.

[...] The two of you — for you are both involved — have not only initiated a new framework from which you and others can view the nature of reality more clearly, but you also had to start from scratch, so to speak, to get the material, learn to trust it, and then to apply it to your own lives — even while ‘the facts were not all in yet.’ At no point did you have all of the material to draw upon, as for example, your readers do at any given point. [...]

Beginning in June 1974, then, while writing notes and appendixes for Volume 1 of “Unknown”, and taking Seth’s dictation for Volume 2, I spent eight months producing the art work for Jane’s Adventures in Consciousness and for her book of poetry, Dialogues of the Soul and Mortal Self in Time; I finished all of those drawings in January 1975. [...]

Locally you had a depressed region not yet in the kind of crisis situation that would draw great federal funds, and highly unstable social and economic conditions coupled with a sense of hopelessness.

These various stages of the subconscious represent what was once the conscious ego of an individual, left now almost like living archeological heritage, from which the present individual may draw both knowledge, psychic continuity and balance.

[...] When such contacts occur, say between Ruburt and myself, then I draw upon those connections and activate certain common pathways.

[...] But if you ignore the feeling or pretend that it does not exist, then it is repressed within you and it draws to it all those other repressed violences; minute, insignificant details, seemingly, that gain charge until they fill you and must be expressed. [...]

[...] You knew he would insist upon drawing you out in precisely those ways that you desired and feared, so both of you were quite aware of what was going on.

[...] You are already drawing upon other reservoirs, but this too is an ability in which you are being trained. [...]

[...] See Jane’s very evocative passages about him, as well as my drawing of him in old age, in Part Three of her book of poetry, Dialogues.