“Seth material” search engine (Jane Roberts)

[...] But also that discussion resulted in some later insights on Jane’s part, and I believe turned up in some of her poetry, which has been excellent lately.

Both of you—to some extent, now, following this evening’s discussion —felt that with two books and perhaps even the poetry book coming out in one year, people would think it was easy enough for you to write your pronouncements from the hilltop, even though in those books you made certain that you mentioned any and all difficulties that came your way, collected your stories of hassles with scientists or publishers, and so forth. [...]

[...] Ruburt should definitely now concentrate on his book during the night hours, perhaps thinking of poetry toward dawn.

(See the notes on page 269, Volume 5, of the 232nd session, dealing with Jane’s recent poetry book and the request by Jane’s publisher, F. Fell, that she send it to him along with a tape of some of the poems, also by Jane. [...] Playboy Press has also rejected the poetry book. [...]

[...] However, the poetry book will indeed sell.

[...] A continuity that Ruburt overlooks, having to do with his continuing interest in religious matters from the time of childhood, echoed in the poetry and in the science fiction. [...]

In the meantime, early in August Jane had laid Seven Three aside once more and returned to the book of poetry she’d had in progress for a year.⁶ And on August 15 she happily announced that she’d come up with the complete title she had been searching for all that time: If We Live Again: Or, Public Magic and Private Love. [...] Two days later, Jane began writing the first of the three essays she had planned for the book: “Poetry and the Magical Approach to Life.” [...]

[...] Some of those lay in her poetry, both for her book and outside of it. [...]

[...] Jane kept at her poetry and essays right into that first week in October, while her physical improvements continued to show in a modest way. [...]

[...] “Sometimes what I get down — even when it’s good poetry — can’t come close to what I feel — it’s too weak. [...]

(Here Seth refers to Jane’s book of poetry, High, Low and Psycho. [...]

[...] She rests in bed mid-morning and mid-afternoon for a half hour or so, working part of the time on notes, poetry, etc.

[...] Nevertheless if you can believe it this siege is about over, the energy itself finding much more beneficial outlet in the poetry which comes with a splurge at the end of March as a rule.

[...] That ability now is channeled into his excellent facility in rhythmic poetry.

[...] I tell you that no agency in the environment brought about that change (intently), because, Ruburt’s earlier romantic poetry to the contrary, that change did not occur. [...]

Creativity often deals with material that is not known, not cut-and-dried, not even immediately useful, perhaps—so Ruburt would feel, for example, sometimes at least, that poetry was not responsible, or even that his own spontaneous activities were not responsible unless they were immediately useful in practical terms. [...]

(I should add that after reading her the poetry and her new dictation, I read her the last three sessions for Seth’s The Way Toward Health, given on June 24, 26, and 27. [...]

[...] When Rob and I moved here in 1960, she had already spent a quarter of a century in her three small rooms, surrounded by books of poetry and drama. [...]

[...] That night I sat down to write poetry for an hour as usual, and, suddenly, the small rift that had opened so slightly with the first dream now yawned wide open.

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.” [...]

She was of course very familiar with the spontaneous role her creative self enacted when she was writing, especially in her poetry. [...]

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. [...]

It wasn’t too long however before Jane, already writing rudimentary poetry, began to have creative conflicts with the doctrinaire priests. [...]

[...] Such experiences may be translated into poetry or art or whatever, but initially they involve a spiritual encounter with reality. [...]

(This afternoon Jane and I outlined a “credo” for her that we hoped she could follow back to the productive endeavors she loves so much: writing, poetry, painting, the sessions, the mail, cooking, feeding our cats, Billy and Mitzi, and so forth. [...]

[...] It always has been and it always will be; she has expressed her way over and over again in her deceptively simple poetry, as well as in the sessions. [...]

[...] These include the thousands of pages of the Seth material, regular and deleted [or private]; Jane’s and my own journals and other miscellaneous manuscripts, written records, and notes; ESP class tapes; some of Jane’s poetry and art, and some photographs of each of us. [...]

[...] These were the poetry book and the first section of her book on the Seth material. [...]

[...] The object is the insurance slip for the manuscripts of Jane’s poetry book, and the first section of the Seth material, mailed to her publisher on February 10,1966. [...]

[...] I was surprised to hear her say that she’d never read any of her poetry to him.)

Painting and poetry, cleaning the house, seeing the tax man, doing chores —these are all expressions of being. [...]

[...] Shortly after 8 PM, as she was writing poetry after supper, she began to get impressions that made her quite uneasy eventually. [...]