“Seth material” search engine (Jane Roberts)

[...] His girth was extensive, and he read poetry to Jane and her mother, Marie, every Sunday after dinner, with a booming voice and a dramatic flourish. [...]

3. In Dialogues, her book of poetry, Jane explored several other “key” episodes in her psychic development; see her Preface, then these selections in Part Two: “The Paper and Trips Through an Inner Garden,” and “Single-Double Worlds, the Rain Creature, and the Light.” [...]

He would, perhaps, stick to a respect for small details if they were part of a creative concept, even perhaps the creative concept of another, as details are extremely respected by him in his poetry, where he transforms them into creative concept.

The poetry is also steadily improving, and this inner increased spontaneity, that are the results directly of intuitional powers, are flowing over even into his paintings, allowing him to use knowledge that had not been previously available to him.

Paintings, and for Ruburt’s benefit poetry—I certainly don’t want Ruburt to feel neglected—but paintings have their own vitality and exist independently of the artist, and are the result of a spontaneous, free, impulsive burst of giving that asks no return, and as such, because no return is expected, returns are given.

[...] Presumably Seth refers to the writings she has sent out recently. Her publisher, F. Fell, has written expressing interest in her book on the Seth material and on the poetry book described in the 232nd session, page 269. [...]

[...] On the same day, I sent out a book of poetry, The Sky Will Send Down Ladders. On March 12, I dreamed that both had been returned. [...]

‘In that probability, you, Rob, painted constantly and Jane had published a bunch of short stories, a novel and poetry even before this got started. Do you do this now?’

The poetry has always been the result of facility in use of the inner senses, but until lately he was unable to give this sufficient pattern in terms of unitary form. [...]

(Seth reiterated that Jane’s book on the Seth material would be published, and that the poetry book would be published. [...]

Please don’t ask me to recite poetry again. [...]

And as for books, early in August I returned to our publisher, Prentice-Hall, the page proofs Jane had corrected for her book of poetry: If We Live Again: Or, Public Magic and Private Love. Ordinarily that event would have delighted us, since it meant that before the year was out she’d have another work published. [...]

[...] But now I can return to my longer project — the 40 line drawings for Jane’s book of poetry, Dialogues of the Soul and Mortal Self in Time. [...]

[...] Valerie responded with some poetry relative to Jane’s passing, and my reactions to her death, that I interpreted at once as being very evocative of Jane and me. [...]

(Jane’s poetry and my paintings were good, and would achieve their own kind of immortality.

[...] Since in this appendix the focus is primarily upon the relationship involving Jane-Ruburt-Seth, however, I can only write here that many other developments of great interest to us [Jane’s Sumari songs and poetry, for instance], had their origins within the class framework.