“Seth material” search engine (Jane Roberts)

(11:37.) Now: that is the end of (book) dictation, and give me a moment. [...]

[...] Forget thoughts like “It has taken me so long to learn.” [...]

…Instream is due to join me soon, February at the latest. [...]

([Bill:] “What about your visit to me?”)

[...] You saw me and you did not see Ruburt. [...]

[...] I am simply not going to waste time by telling you that you have nothing to worry about financially, for neither of you believe me. [...] (Smile.) Were I in your circumstances I do not know if I would believe me either. [...]

Now I could and will whenever you wish, discuss your personal situation, whenever you want me to do so...

[...] Then this morning Dr. Tihansky called me from Schuylkill Haven, PA, to offer his sensible-seeming suggestions for Jane’s care. [...]

[...] Jane took but a few puffs when she told me to put out the cigarette. [...]

[...] Thank you for encouraging me to do it.” [...]

[...] Jane, let me know. [...]

“There’s nothing I can say,” she wrote, “except that the transformation is so smooth and natural to me now that later it’s hard — almost impossible — to pinpoint my feelings. I think that Seth’s energy propels me into Sumari when he initiates a song, as he did here. [...]

[...] [This sometimes happens in class: Seth will elaborate upon book information, or discuss it from a different viewpoint; this in turn makes Jane and me want to see such material used in the book.])

[...] And all of you who look upon me as a sign of great logical thinking (humorously), and therefore male-oriented, in your terms, then listen:

[...] Seth’s naming a good number of class members as counterparts came as no great surprise to Jane and me — but it did make us more than a little suspicious at first. [...] Then, in the 726th session, Seth named Jane and me as counterparts of each other. [...]

(My counterpart, Peter Smith, and I are both professional artists; we’re roughly of an age, with strong interests in other forms of creativity, such as writing, and in myth and fantasy.¹ A number of the similarities and differences between Jane and me should be obvious to our readers; she also does quite a lot of painting. [...]

[...] Peter and I had rather idly speculated that because of our common interests we could have reincarnational ties.² Seth’s naming Norma as being psychically affiliated with me was unexpected, however. [...]

[...] You simply do not realize what you are now, and as I’ve said before, when you ask me questions about life after death, you automatically transpose, if you will all forgive me, this lack of knowledge into the next realm and therefore, sometimes I am at a loss to answer your questions. [...]

[...] I expect at any moment anyone will get a ruler and measure it and then say to me that the couch is so long—how can you say it is not one couch? [...]

What so many want is a god who walks down the street and says “Happy Sunday, I am I, follow Me.” [...]

[...] Do you follow me? [...]

[...] Do you follow me?

I hope you will still talk to me when you are rich.

Again, my congratulations, and I expect you to congratulate me.

[...] I had just framed it, and it sat on the bookcase behind me now. [...]

[...] You simply do not realize what you are now; and as I’ve said before, when you ask me questions about life after death, you automatically transpose — — if you will forgive me — this lack of knowledge into the next realm. [...]

[...] I expect at any moment that someone will get a ruler and measure it, and then say to me that the couch is so long: How can I say it is not one couch?

[...] What so many want is a God who walks down the street and says, “Happy Sunday, I am I, follow me.” [...]

[...] Do you follow me? [...]

[...] This is very interesting to me personally; Jane also recalls these details. [...] This effect at once reminded me of reading that the quality of a black ink can be judged by its behavior when diluted: If a red color develops it means the ink is of inferior quality. [...]

(“Also let me add initials, or symbols.” As indicated on the copy on page 327, my initials, right hand designation, and the date were noted by me when I made the print. [...]

One of the reasons, incidentally, for Ruburt’s good performance for me is precisely his ability to use words well. [...]

Do you have a test for me, Joseph?

[...] Four books were featured, but none of Jane’s. I showed it to her, and it got as negative a reaction from her as it did me. Such instances always make me angry, almost at once.

[...] Let me here reinforce that validity. Let me reinforce faith in your innate ability to find joyful acquiescence, and to rise above any problems that you have.

[...] It was not delegated, if you will forgive me, to Parker’s “crackpot” catchall. [...]

[...] It was Tam who saw in Ruburt’s original manuscript the importance of his work, and the way in which Ruburt was trying to hide it by playing down his relationship with me.

The material Ruburt thought was from me, was. [...]

[...] Do you follow me?

[...] After she had gotten up to get her cigarettes, she sat down opposite me at the table again, and spoke from there until break. [...]

Do you have an envelope for me?

[...] At 9:43 Jane took the envelope for our 66th experiment from me without opening her eyes. [...]

[...] Our interpretation: Note that Leonard Yaudes addressed the object to Jane and me, after crossing out the name John. [...]

([Daniel:] “I think I understand that all of these different levels of my consciousness then are being communicated, not only by me consciously, but also through telepathic communication.”)

[...] Now, far be it from me, even in a fantasy, to accuse you of such an act, but you stand here and look at a slattern and this time you are out of your mind. [...]

([Joel:] “In the beginning, with the first example, before we filled and compounded the frustration, the charges, would you have recommended an action like saying, ‘come on, this is wrong and I have probably done this sort of thing myself, but this is wrong and it really bugs me and that we got to get up and get to work here, be honest with him at that level. [...]

([Joel:] “It seems to me there are two people we want to avoid making a brunt of the anger, he and myself. [...]

My eyes were closed, and something about my bearing or pose reminded the present me of my father in his old age. [...] I was sure that this old man was me, though, and no one else. [...]

[...] I couldn’t describe the expression, but it reminded me of the internal “vision” I’d had this afternoon when I lay down to sleep: I found myself looking at a very old, very probable future manifestation of myself in this life, who rested quietly in bed. [...]

[...] She held the half-empty glass of milk up to me, her Seth voice booming out:)

[...] It would also be interesting to see whether the same technique could help me tune in to my future in this life.

[...] A long involved dream; believe part of the beginning of it escaped me as I woke up. [...] I think my father was to give me the needle.

[...] Since the outcome of the dreams left me whole, however, it seemed their symbolic meaning concerned conflicts other than the physical, and I was interested in pinning these down.

[...] At the same time, Bill looked up at me and I thought he was smiling; or at least he didn’t appear to be worried.

[...] However, he told us enough tonight to make me feel much better.

[...] You come to class because you like me—you also come to class because it is your contact with this inner reality and you do not want to lose contact with it. [...]

([Rachel:] “You have taken me by surprise.”)

Give me a moment first while you are thinking. [...]

[...] Give me a moment. [...]

[...] She said “Seth really put me out. [...] He always does put me out strong when I talk about anything to do with you and paintings.”

Is he saying: “Let there be light,” or “My God, my God, why hast thou forsaken me?”

(The idea had come to me intuitively while I was at work at Artistic. [...]

[...] Yourself as mankind—this is the answer (pointing to me)—not to the original question but to the identification in art.

[...] I explained to her after the session that I wasn’t sure about the reference to purple or violet, which I seldom use directly because they are hard to integrate into a painting—at least for me. [...] The painting I am working on now features a cadmium red shirt on the subject, and has given me some trouble because of its tendency to turn purplish if not watched; since Jane has seen me at work on this portrait often, she may have picked this up, although I haven’t mentioned it to her. [...]

[...] Do you follow me?

[...] There is no contradiction between the two alternatives you gave me. [...]

(“That didn’t bother me any.”)

[...] Jane cried while telling me about them, and while we used the pendulum. [...]

[...] It also seems that this point coincides with a time of trial for Jane and me, as witness these deleted sessions.

[...] So I don’t believe comparisons between her selling her work, and me selling mine, mean much. [...]

[...] It took me years to learn that she regarded her work in the psychic field—and the time and energy involved—as aside from her main creative goal, which is to write “straight” literature that is also art.)