“Seth material” search engine (Jane Roberts)

[...] I added that we expected the Dutch translation of the same book to be published later this year, but that we didn’t know just when this would happen — so Jane and I were understandably surprised last Thursday to receive a letter from a reader in Holland, informing us that he’d just purchased a copy of the Dutch edition of Seth Speaks! [...] We’ve had no correspondence with the Dutch publisher, Ankh-Hermes, about a publication date. [...]

[...] You were not yet in the throes of your illness, and he felt that this represented the last straw to you—that it was not that good a book, not art as you thought your paintings to be, and yet it was published.

(“I’ve wondered about this before: whether we should look for another publisher for your book.”)

[...] He believes in our work, and that, I tell you, is the most important element of all as far as a publishing house is concerned.

[...] “Whatever happens, Bob, I’d like all of the material published someday, if it can be done. [...]

[...] I said I probably couldn’t publish all of the material by myself. [...]

My material will be published. [...] However, I believe that you will be my publishers. [...]

[...] Before the session I asked if Seth would discuss the Time Magazine cover story about Richard Bach in the November 13th issue, published November 6; and the various predictions made re sales, etc., in the recent deleted sessions.)

[...] For some months we’d known her death was coming, and so had arranged our affairs around that irrevocable event; I spent weeks preparing the final manuscript of Personal Reality for the publisher; Jane conducted her ESP class whenever she could, and worked on her two books, Adventures in Consciousness and Dialogues of the Soul and Mortal Self in Time. [...] We hope to publish it some day.

[...] Two years after we married, she published her first work of fiction, a short story about reincarnation called “The Red Wagon”: It appeared in the December, 1956, issue of The Magazine of Fantasy and Science Fiction [© 1956 by Fantasy House, Inc., New York, N.Y.]. [...] Within the next several years she sold a number of additional stories to the same magazine, as well as two short novels, and also published poetry and a little fiction in other markets.

[...] “The Red Wagon” is included in the collection Ladies of Fantasy/Two Centuries of Sinister Stories by The Gentle Sex, © 1975 by Manley and Lewis, and published by Lothrop, Lee & Shepard Co., New York, N.Y., 10016.

[...] It’s never been published, but she feels that all of her subsequent work is directly related to it.

The dream book incidentally (which Eleanor Friede now has) in different form—far different—will be published. [...] He did not want Dreams published. [...]

[...] In the beginning he did not want to publish the material, if you recall. [...]

(Yes, I recall clearly urging Jane to publish the material; most regrettable now, of course. [...]

Because of the temporary mother identification, he was open to the suggestion he had concerning his publisher, as the father of his book, you see. [...]

What he refers to as the shallowness, comparatively speaking, of his sexual response, had its beginning, again, when he knew the book would be published. [...]

Ruburt sees, and so do you, that other publishers would be glad to take our work—and you no longer feel “trapped” by Prentice, and “Prentice’s incompetence” in certain areas. [...]

In your world, however, and according to your beliefs, some “realistic” events had to prove out the practicality of the safe universe in publishing terms —so you have a creative conflict.

[...] At Ruburt’s level and your own, the events show you that the universe, as it applies to your publishing world is safe—with leeway for action—and also opens up creative relationships with people at Prentice that were latent before. [...]

[...] We’ve learned this is the case through various people who have written to Jane—they had written the publisher. [...]

[...] “But the publisher would want it organized according to subject matter, or presented in some orderly way,” I replied, whereupon she wrinkled her face at the work this might involve: “But you could do all that after we got the material....”

(Yet she easily agreed that this evening’s session, whether private or not, cast much light on the regular, or published material, adding depths of understanding and background information.)

[...] We want those books published. [...]

(Coupled with all of these things is the three-part article we’re reading in The New Yorker on the travails of publishing these days; the large sums involved, books being treated as “products,” etc. [...]

Do not insist that it be published in chronological order, in other words. Now, large portions of it will be published in chronological order, but not if you insist upon this now. [...]

[...] The uncorrected proofs, typeset in the actual page format in which the book will be published, arrived last Thursday. [...]

[...] She finished her first novel about Seven in July 1972, and within a month, long before it was published, she wrote the first five chapters for Seven Two. [...]

[...] Publishers don’t put disclaimers on novels or poetry, I said. [...]

[...] He managed to get some of his work published, however, so that as he reached his early 30’s he had some apprenticeship under his belt. [...]

He could have tried to publish the material in camouflaged form through fiction, and he was far more tempted to take such a line than perhaps you realized. [...]

(As if to celebrate our way of life and work in the house on the hill, we were visited last Saturday by Tam Mossman, Jane’s editor at Prentice-Hall, and a publishing colleague of his. One result of our meeting [as I wrote at the beginning of the Introductory Notes for Volume 1], was the decision to publish this long manuscript for “Unknown” Reality in two volumes.⁵

(We’ve largely finished correcting proofs on both the text and the drawing captions for Jane’s Adventures in Consciousness, which will be published in June. [...]

You have said you have but one publisher, where Prentice has many authors, and that is the point. [...]

Those feelings must be changed, for they will otherwise apply even if you changed publishers. [...]

[...] At first thought I didn’t know what to make of the session, which I suppose merely reflects my own indecisive state of mind about the hassle with foreign publishers, Prentice-Hall, money, art, writing, and so forth. [...]

(Tonight we started the sessions up again after a three-month layoff: During that time I typed the final manuscript for Volume I of Seth’s “Unknown” Reality, with Jane’s help, and we’ve just mailed it to her publisher, Prentice-Hall, Inc. [...]

(Seth opened the session by finishing his Introduction to Jane’s The World View of Paul Cézanne, which Prentice-Hall will publish later this year. [...]