“Seth material” search engine (Jane Roberts)

[...] Jane has stacks of journals, poetry notebooks, manuscripts, and loose notes of all kinds, but neither of us could dig out what we wanted. [...]

[...] Because of her concentration on that hook she hasn’t done much on her book of poetry, If We Live Again, since late February; and as I mentioned in the Preface for Dreams, she laid aside her third Seven novel, Oversoul Seven and the Museum of Time, in May 1979 when she began God of Jane. [...]

(Jane talked about writing poetry or novels instead, for example, and I replied that she would offer those products to herself and the public in an acceptable way to her own psyche. [...]

With Ruburt of course it leads to work blockages, particularly along poetry lines where the emotions appear very clearly. [...]

[...] Actually, we’ve been quite aware of the potential of such an idea ever since Seth began that material a year ago.³ After supper this evening we went over the loose-leaf notebook of information Jane has accumulated for The Magical Approach to Reality: A Seth Book, and discussed how she could follow her outline in putting all of that material—on our dreams, psychic events and insights, her poetry and our essays—together with Seth’s private sessions on the magical approach. [...]

[...] 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.

[...] Jane has called the hospital each day to ask about him; she’s putting together for him a unique, evocative little book of poetry and paintings. [...]

(Yesterday Jane received from her publisher the galley proofs for her book of poetry, Dialogues of the Soul and Mortal Self in Time.¹ The story of that work’s creation is interwound throughout Personal Reality.

[...] Whether it would prove to be short stories, a novel or poetry, she did not yet know.

[...] Not only would the expanded format be something out of the ordinary in itself, but it meant that with two volumes I’d have the room I needed for notes and references; excerpts from Jane’s ESP class sessions, as well as from “regular” sessions dated before and after the production time of “Unknown” Reality; a little of Jane’s poetry; and appendixes — all of which I thought would add extra dimensions of consciousness to the books. [...]

[...] Jane’s early poetry, as I show in certain notes, clearly reflected her intuitive understanding of some of the concepts Seth came to elaborate upon much later. [...]

[...] These include works of poetry, fiction, and psychic matters as experienced from her own conscious viewpoint. [...]

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. [...]

[...] Jane wrote the outline for it in less than an hour, and says the process of intuition responsible for it was much like that which led to her production of the book of poetry discussed in the 227th and 228th sessions in Volume 5.

[...] Tam also told Jane last Friday that some other publishers of poetry have turned down Dialogues for paperback editions. [...]

[...] Ruburt never thought Tam had any great understanding of poetry; but what good did Eleanor’s “superior” appreciation do if the book was refused after such compliments?

[...] 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.

[...] Is it American to be a homosexual and love poetry or dancing or music or children? [...]

[...] Now I am no poet, and you know it. Rob laughed, because Seth likes to tease me about my poetry.

[...] I believe two poetry books will sell. [...]

[...] If it wasn’t a session night, after dinner and an hour’s poetry, we tried other experiments. [...]

[...] Jane and I have always made it a policy to have a carbon of any written material—prose, poetry, etc., in separate hands outside of our house, as a protection against loss by accident, fire, etc.