“Seth material” search engine (Jane Roberts)

[...] So poetry lately, again, does not fit in, for he must have a certain number of pages to show “that he has used his time properly.”

[...] Poetry, painting, and out-of-bodies are quite as much a part of his “work” as anything else he does. [...]

[...] Techniques may improve, the work may become more polished, but the quality of the poetry itself is what is important.

[...] Now yours is, say, the poetry of painting. [...]

The creativity for which Ruburt was praised as a child—the writing of his poetry, for example, became more and more frowned upon by the church as he became older, and in particular when the poetry contained concepts that did not fit Christian dogma. [...]

[...] Ruburt’s very early poetry offended Father Boyle, who objected to its themes, and who burned his books on the fall of Rome, so he had more than a hypothetical feeling about such issues. [...]

[...] (Long pause.) Ruburt well knew even as a child that such structures had served their time, and his poetry provided a channel through which he could express his own views as he matured. [...]

Sumari, particularly in the beginning, and poetry in general were dubious from a work-sales standpoint, and therefore suspect in writing time.

Today he was afraid, for one thing, that if he left himself alone he would just write poetry that very well might not sell. [...]

[...] His poetry was largely mystical poetry, and though he did not dwell upon the fact, he realized that this vast inner reality of his was quite beside the point of living as far as other people were concerned.

[...] It might free her enough so she could write poetry at night, say, when she’s alone.

Now both of you were saturated with those beliefs — Ruburt because of his poetry and writing, and you because of your art. [...]

[...] This time the data concerned the reasons behind Jane’s years of training in writing poetry and fiction. [...] Seth explained how Jane’s poetry had always been “a creative offshoot of her desire to understand the nature of existence and reality, her way of probing psychically… into other realms… a method of investigation and a method of exploring the results.”

[...] Jane received from Prentice-Hall the first copies of her book of poetry: If We Live Again: Or, Public Magic and Private Love. [...] As I’ve shown in various notes in the Seth books, through the art of her first love, poetry, Jane presents her beliefs with an amazingly simple clarity, combining her mystical innocence and knowledge with her literal-minded acceptance of physical life.

[...] By the time I wrote the opening notes for Session 886 in Chapter 2, three months later, Jane had decided the book would contain “some of the poetry she has dedicated to me over the years since we met in February 1954.” [...] Jane often reworks her poetry, but for the book she changed only two words and added one in this verse which she wrote over 16 years ago. [...]

[...] She wrote a few notes and tried some poetry; her handwriting continued to be unsteady; she still made many errors typing. [...]

[...] Yet she was early subjected to the church’s rigid opposition to the whole idea of reincarnation because, strangely enough, even in her very youthful poetry she dealt with the forbidden subject (although not by name). [...] (As for myself, while growing up I knew nothing of reincarnation beyond its name.) But we’ll be the first ones to agree that in certain Seth sessions, and in her very evocative poetry, Jane has encouraged her intuitive and creative selves to seriously discuss reincarnation. This is very evident in her second and latest book of poetry, If We Live Again: Or, Public Magic and Private Love, which was published in December of last year (1981). [...]

[...] My version will mainly feature the dozen or so sessions Seth gave in August—September 1980, and the poetry Jane was inspired to write because of them. [...]

It can be seen from even this tiny quotation that Jane’s poetry reflects that same mystical, intuitive innocence before nature (and thus, ultimately, All That Is) that I tried to describe in the first essay. [...]

“When I write poetry I can often feel that translife focus, and catch the ‘real facts.’”

[...] She’s been painting, answering mail, and writing poetry. Jane would especially like to do another book of poetry, since she published Dialogues of the Soul and Mortal Self in Time way back in 1975. [...] [Personally, I just wish I had more time to sit quietly and reread some of her poetry.]

[...] Poetry and painting were both functional in ways that I will describe in our next book (humorously, elaborately casual), and “esthetic,” but poetry and painting have always involved primarily man’s attempt to understand himself and his world. The original functions of art—meaning poetry and painting here specifically—have been largely forgotten. [...]

[...] It is the same kind of energy he utilizes in his poetry.

[...] (Her eyes open, Jane gestured by clapping her upper arms; she has experienced muscle cramps and spasms in both deltoids recently.) He must now concentrate that same energy into three main fields or endeavors: poetry and the two books. [...]

[...] She’s managed to get her poetry book out to Prentice, and now is not at work on any writing. [...]

[...] (Long pause.) Some is difficult to explain clearly, because Ruburt wanted to make sure of the validity of the sessions from the start, and because of other material given in the past, he did not fully accept the sessions or his own psychic abilities as an integral part of his personality—since they appeared relatively late in life, where the poetry, for example, had always more or less been apparent. [...]

(9:02.) He felt a strong commitment to poetry and writing. [...]

[...] You speak to each other in symbols and writing and poetry. [...]

([Pat:] “Will Dick publish his poetry and can you give us more information about him?”)

[...] Will he publish his poetry or can he?

([Pat:] “Will Dick publish his poetry? [...]

[...] Even in that background and with Marie’s behavior, Ruburt received a grounding in poetry, you see. [...]

The priests introduced “good” music, poetry, and a high educational background, even if it was a limited distorted framework. [...]

“I plan to begin typing my poetry book final draft shortly,” she wrote in her journal on February 11. “The poetry itself doesn’t need a final draft—just the essays.”

Three days later, after a final checking, I mailed Jane’s book of poetry to Tam Mossman at Prentice-Hall. [...] She wrote more poetry. [...]

[...] Although Jane has had “particular difficulty” with the theory of reincarnation, both through Seth and in her poetry she’s always kept psychic windows open through which she can view and express reincarnational ideas and emotions. [...] We expect to receive from Prentice-Hall the page proofs for the book, for our review, any day now.) In her poetry the young Jane was using ideas akin to reincarnation before she even knew the word—subject matter that was strongly disapproved of by the Catholic priests who visited Jane and her bedridden mother at home.

As if manufacturing tiny, intensely personal counterparts to those large events, Jane and I finished checking the proofs for God of Jane; she resumed work on her essays, and some new poetry, for If We Live Again; I painted, answered a lot of mail, and helped her continue our private sessions. [...]

[...] This same intentness has shown up in her sessions and Sumari for ESP class — and it has been very evident in her poetry.

(Jane is still writing her book of poetry, Dialogues of the Soul and Mortal Self in Time.¹ Last week she taped some of this material. [...]

(Long pause.) “The church” was not a hypothetical entity, but was encountered through Ruburt’s experience with the priests who visited, their effect upon his life and his poetry, and with the entire fabric of a young intense daily life. If the church became upset with what Ruburt wrote or read, then Father Ryan burned one of his books, or argued with his poetry, for example, so all of that was living emotional content. [...]

The poetry served as a convenient and suitable substitute for sexual attraction here on Miss Price’s part. [...]

[...] The poetry is separate. [...]

[...] The symptoms are these: Poor memory, or none, of his dreams; no poetry; a consistent lower-than-usual level of exuberance. [...]

[...] Readjustment does not lie, in his particular case, in the present, with soaking his foot for example; but with a return to some definite poetry schedule, to finishing one book now at a time, to renewing the dream suggestions which he has discarded. [...]

[...] An emergency therapy will almost always bring immediate results: A week of time given to poetry, simply because this pursuit awakens in Ruburt the strongest aspects of his personality, and frees constructive energy from other layers of his personality.