“Seth material” search engine (Jane Roberts)

In this section, therefore, I have outlined various experiments or exercises for the reader. [...]

[...] In the beginning of this work I “warned” the reader that here in these sessions we would go beyond ideas of one god and one self.³ I stated that your ideas of personhood would be expanded. [...]

12. While reading those passages on identity, the reader might keep in mind the subject matter of Appendix 18: the complicated relationships involving Jane, Ruburt, and Seth.

[...] Perhaps that idea can give you some glimmering of the ways in which the daily events of your readers’ lives are changed as a result of our sessions. [...]

[...] Many readers of all ages write us, asking how they can develop their own potentials and also help bring about “a better world.” [...]

[...] Rob and I have been given a new, vaster philosophical structure through the Seth sessions, one that we share with our readers. [...]

(Continuing to trace such references back through the material, I’d like to direct the reader to several passages from the 683rd session for Volume 1 of “Unknown” Reality; in them Seth contends with variations on the counterpart theme as they’re developed in certain other probable realities:)

2. I’ve directed the reader to them before — but in Volume 1 of “Unknown” Reality see Jane’s information on neurological speeds in appendixes 4 and 5. As I wrote in Note 19 for Appendix 12: “My personal opinion is that although many may find it difficult reading, Appendix 4 contains some of the most important material in Volume 1.” [...]

8. A longer version of this material from the 657th session is presented in Note 3 for Session 683, in Volume 1; I wanted to tell readers a little about counterparts then — not only to get them interested in Volume 2 before it was published, but to show the direction in which Seth’s material was headed.

(My counterpart, Peter Smith, and I are both professional artists; we’re roughly of an age, with strong interests in other forms of creativity, such as writing, and in myth and fantasy.¹ A number of the similarities and differences between Jane and me should be obvious to our readers; she also does quite a lot of painting. [...]

[...] I can only point out the way, as I do for each reader. [...]

[...] At the moment, even the fragment she recalled is well worth trying: Seth instructed the reader to immerse himself or herself in an old photograph of a person — and then to look out at our current physical reality through that individual’s eyes. [...]

[...] In Volume 2, now, the reader can note the many events Jane was actually involved in before she began Politics (on October 23), and see just how objective her perception of her activities was — or see, really, the demanding standards of creativity against which she constantly judges herself

[...] “In ‘Unknown’ Reality the reader should focus upon the material from Seth’s viewpoint,” Jane said. [...]

[...] I’ve purposely refrained from mentioning earlier the rather extensive material that follows; perhaps the reader, coming upon it unexpectedly, will feel something of my own surprise as Jane started to develop it out of both the slow and rapid effects she’d already demonstrated:)

(I remind the reader that Appendix 3 also contains a reference to Jane’s extraordinary adventure with — and in — massiveness on April 4, 1973. [...]

[...] The reader can use the definitions below to make his or her own associations with Jane’s material. [...]

I remind the reader of a remark Seth made in the 702nd session for Volume 1, when Jane was delivering material for him on electron spin and related concepts: “Ruburt’s vocabulary is not an official scientific one. [...]

[...] Note that when he uses the pronoun “you” this evening he refers not only to Jane and me in particular, but to readers in general.)

[...] [And added later: I remind the reader to see her own much-longer account of the whole experience in Chapter 2 of Politics.] )

The concepts in “Unknown” Reality will help expand the consciousness of each of its readers, and the work itself is presented in such a manner that it automatically pulls your awareness out of its usual grooves, so that it bounces back and forth between the standardized version of the world you accept, and the unofficial⁷ versions that are sensed but generally unknown to you.

[...] The interested reader might compare the two accounts. [...]

[...] Maude wants to ask the readers of RC to help Jane and me pay for certain very large medical bills not covered by insurance. [...]

[...] And I’m sure that as the reader works his or her way through the essays, it will become quite apparent that I wrote them just as much for Jane and me as I did for others—all in our ceaseless attempts to better understand, to grasp a bit more firmly, those mental and physical adventures that we’re trying to delve into “this time around.”

[...] He is Jane to himself and to the universe and to you, and to his friends and his readers.

[...] I want you to understand that, for the reader does not have the benefit of my talking to him personally in this way.

[...] She finds herself in the odd position of envying future readers, who will be able to go through the finished work and make use of it as a unit.

The majority of my readers have come down with one or another disease usually considered very dangerous, and without ever knowing it, because the body healed itself normally and naturally. [...]

2. I underlined the word story (like this) in Seth’s material just to remind the reader that the Christ figure symbolizes our idea of God and his relationships. [...]

[...] Disease states, so-called, are as necessary to physical life as normal health is, so we are not speaking of a nirvana on earth — but we are saying that it is possible for each reader of this book to quicken his or her private perceptions, and to extend and expand the quality of ordinary consciousness enough so that by contrast to current experience, life could almost be thought of as “heaven on earth.”

[...] The word “abandon” itself may strike some readers as particularly strong, but each element of nature abandons itself to the lifeform. [...]

[...] The “story of your life” is written by you, by each reader of this book. [...]

I refer readers to Ruburt’s Introduction, in which he compares his own creative experiences as a writer to those he feels in our sessions. [...]

[...] Many of my readers find themselves in just such situations while they are sleeping. [...]

[...] We will be giving some instructions that will enable readers to experiment with the projection of consciousness at least to some extent. [...]

If it does for you, then it also will for the reader.

[...] If so, follow through on them — but to one extent or another each reader should benefit from some of them.