“Seth material” search engine (Jane Roberts)

[...] She’s included a selection of Sumari prose and poetry in the Appendix of her novel, The Education of Oversoul 7, which Prentice-Hall is to publish this fall.)

An artist or writer, believing such selective nonsense, will of course find all of his or her other creative abilities a distraction, a bother, a temptation that is bound to detract from the main genius, rather than add to it, deepen its application, and add an orchestration to its subjective moods that would otherwise be quite lacking (all intently). [...]

[...] In your enthusiasm you send out messages to all kinds of guests ...but you should be selective, and be careful of the company you keep.

[...] While your religions are built around an enduring kernel of truth, the symbolism used was craftily selected by the inner self in line with its knowledge of those root assumptions you hold as valid in the physical universe. [...]

[...] Say, for example, that you have three choices and it is imperative that you select one. [...]

(Gnosticism was a selected system of religion and philosophy, uniting features of Platonism, orientalism, Christianity, and dualism. [...]

[...] Surely Jane feels the necessity to turn aside from the selected dogmas of our time. [...]

([Joel:] “In one of the stories that Jane wrote, the guy went down to the beach with the wind chimes and (words lost) tree and he selected atoms and that somehow absorbed them through himself into another system until there wasn’t any physical world that we know of left at all, and then as I recall at the end he popped through his whole universe and isn’t that somewhat the same kind of thing? [...]

[...] She discussed her “own” works in her Introduction to Personal Reality. I mention them in various notes in that book, and selections of poetry from Dialogues itself are presented in chapters 10 and 11; in the latter chapter Seth used one of those excerpts in connection with his own material. [...]

[...] I thought he could pick from this selection. [...]

(During break, I wondered aloud if she might have selected the book because she intuitively knew Seth was going to discuss its kind tonight — or did Seth use the incident, once it transpired, to make his points in a fresh way? [...]

[...] The idea of selfish genes also implies plan on the part of such entities — and so comes dangerously close to contradicting several basic tenets of science itself: among them that life arose by chance, that it perpetuates itself through random mutations and the struggle for existence (or natural selection), and that basically life has no meaning.

[...] Certain arbitrary dates can be selected, any dates, for necessary letters to editors; and these letters should be written as automatically as possible.

(I’d temporarily forgotten the dreams about Bill and Sue, although I have them selected for inclusion in Through My Eyes; they’re on file in that notebook. [...]

[...] In general, you might select animals to play the part of the enemy, or members of another religion, or political parties.

[...] Her material is presented, with the appropriate selection of poetry from Dialogues, in the notes at next break. [...]

[...] The intellect is discriminating and selective. [...]

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.” [...]

(Jane and I wonder about the coincidence involved in my selecting, by the blind method on page 158, a newspaper page that features an article about religion, and the Catholic religion at that. [...]

13. In retrospect we can see how the mystical Jane has always tried to intuitively penetrate the nature of reality through her art; I’ve illustrated that learning process by presenting selections from her early poetry at apropos times throughout the two volumes of “Unknown” Reality. I also gave some background information on Jane’s nature (with a poem) in Appendix 1 for Volume 1.