“Seth material” search engine (Jane Roberts)

[...] Now, in the operation of probabilities this has great significance for this means that you change and affect all events, and that your history books are a delightful fiction that tell you only your current ideas about the past. [...]

Descriptions of important individuals were changed to insure their safety, and backgrounds were often fictional for the same reason. [...]

[...] The previous beliefs in himself as a writer, however, clashed with these new urges because he did not consider anything but fiction as the work of a writer, except for poetry.

[...] He wanted her agreement to an interview next Saturday at 3 PM, for a radio show about science fiction, for half an hour. [...]

Fiction, again, puts a lovely distance between the reader and experience. [...]

[...] (People might even have to change their marriage vows!) Science-fiction ideas abound. [...]

My goal, then, has come to be the publishing of all of Jane’s work, or at least as much of it as I can, including not only the Seth material but her poetry and fiction and notes and journals—to finally be able to offer it as a great whole for study in what we call the “future.” [...]

During her journey (and mine) I helped her publish 19 volumes of the Seth material, fiction, and poetry, and since her death in 1984 I’ve added 12 more so far, including this first volume of The Personal Sessions. [...]

They were also the forms, with the addition of fiction, that she worked within for the first nine years of our marriage on December 27, 1954. [...]

Jane made her first sales of short stories—science-fiction fantasies. [...]

The ego indeed is a fiction, but a highly useful one. [...]

His own writing underwent its own kinds of transformation, however, and indeed it began those translations years ago, even before the sessions, so that for example even the science fiction could no longer contain or camouflage the larger intuitive framework that he was developing. [...]

I simply meant that at times you still worried as to whether or not he was a subconscious fiction in the writing sessions; but you did not feel this as strongly in your psychological-time experiments, because of the mental activity of your own that they provided.

Hopefully Ruburt will finish his other Seven, for beside regular readers he will pick up readers of fiction, who again will be led where otherwise they would not travel. [...]

[...] Her first book-length fiction, The Rebellers, had been published (as a paperback) that summer, and she was experimenting with several new ideas. [...]

[...] He is also a ham radio operator and a science-fiction fan; thus the three of us got along well from the beginning, when we met Jim as he called to service our TV. [...]

(8:56.) You did not think you were dealing with fiction. [...]

Now: Actors playing parts are obviously alive, as actors, but in a fictional play, for example, the characters portrayed by the actors are not alive, in your terms, in the same fashion that the actors are. [...]

[...] Now this could be fiction, or a historic account (pause), but mention of a disease.

[...] Remember my first published short story, “Red Wagon,” in Fantasy and Science Fiction? It was based on reincarnation. [...]

[...] This in no way implies that I am a spirit, nor does it imply that I am some weird sort of granddaddy longlegs of science fiction. [...]

[...] In the past he was so bound to the conscious ego that in fiction he found it difficult to write anything that was not strictly autobiographical.

(Pause.) I must be, as Seth, true or false, fiction or nonfiction, personality essence—spirit, if you prefer—or Ruburt’s own psyche in definitions usually accepted, playing at best a dubious role. [...]