“Seth material” search engine (Jane Roberts)

There are many later-appended references in the Bible, such as the fig tree story, in which nature is played down. [...] The story of the shepherds and flocks comes much closer to Christ’s intent, where each creature looked out for the others.

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. [...] Seth discussed the Christ story in various passages in The Seth Material and Seth Speaks, and has at least touched upon it in all of his succeeding books.

[...] You see in such stories examples of meaningless deaths, and further proof of nature’s indifference to man. [...]

[...] Many years ago his experience with different editors, in his short-story publishing days, led him to see that a story that hit one editor might not hit another, that his work would be much more easily accepted by some editors than others, and that some, it seemed, regardless of long enthusiastic letters, would not buy a thing. [...]

Therefore his relationship with Tam Mossman was quite valuable to him, for it took a good deal of the unpredictable nature out of free-lance writing; particularly where projects like books were concerned rather than short stories, and particularly in an area that was itself controversial. [...]

(Long pause.) As a child, with no preconceived ideas in normal terms, you drew and wrote stories. Ruburt wrote stories or poems, and drew. [...]

(Pause.) Because of his beliefs he considered himself somewhat of a failure, and the rich, evocative nature of his own stories did not meet with the approval of his academically attuned mind. [...]

[...] Their stories have been greatly romanticized to fit the picture, if you will forgive the pun. [...]

[...] (Lunch, call Peg for story on Unknown—call Tam— we talk 3/4 of an hour.

[...] There is a difference, however, between a story told to children about forests, and a real child in a real woods. Both the story and the woods are “real.” [...]

(Yesterday Jane and I read the Time magazine cover story for November 13, 1972, featuring Richard Bach and his book, Jonathan Livingston Seagull. [...]

(It isn’t necessary to go into dates and other details here; but several days before we were told that the Bach story’s originally scheduled appearance in late October had been postponed, Jane had a vivid dream giving her that literal information. [...]

(Monday night, Jane had another vivid dream involving the Seth material, herself, and a certain kind of magazine story. [...]

[...] It’s a powerful story, although evidently written by Wallace in the contemporary genre of popular fiction these days. We thought the television adaptation contained many fine things, though—a number of excellent individual performances, although the story line was hard to follow over four episodes. [...]

Now, however, the story becomes trickier. [...]

[...] For that matter He didn’t treat His son too well either, as the story goes. [...]

[...] Through telling my own story and presenting the material, I hope to throw some light upon the nature of such experiences and to show that human personality has abilities still to be tapped, and other ways to receive knowledge than those it usually employs.

[...] Yet my own work continues: since the sessions began, I’ve written two books of nonfiction (not counting this one), two of poetry, and a dozen short stories. [...]

[...] But the main emphasis will be on the story itself, from the first Ouija board experiment through the first instance when I startled Rob and myself by speaking for Seth; and the changes in our attitudes as further developments occurred. [...]

[...] Jane was very intent in her delivery.) The story of the fall, the rebellious angels, and the leader Satan who becomes the devil — all of this refers to the same phenomena on a different level. Satan represents — in the terms of the story — the part of All That Is, or God, who stepped outside of Himself, so to speak, and became earthbound with His creatures, offering them the free will and choice that “previously” had not been available.

[...] Eve, rather than Adam, for example, eats of the apple first because it was the intuitive elements of the race, portrayed in the story as female, that would bring about this initiation; only afterward could the ego, symbolized by Adam, attain its new birth and its necessary alienation. [...]

[...] Some kind of a missionary connection, and a two-story house that gives the impression somehow of another story. [...]

[...] There has been a mix-up over a period of almost a year, concerning a story of Jane’s that was almost printed twice, and for which she has yet to be paid. Topper promised payment within a week.)

(Long pause at 12:25.) But through the years the story itself lost its meaning for people. [...]

[...] In addition, a NYC station is running a serialized story called Golda, with Ingrid Bergman. [...]

This tale, I admit, is far more difficult to understand than a simple story of God’s creation of the world, or its actual production in a meaningless universe through the slippery hands of chance—and yet my story is more magnificent because elements of its truth will find resonance in the minds and hearts of those open enough to listen. [...]

(All with a rolling intensity:) I must of necessity tell this story in serial terms, but the world and all of its creatures actually come together like some spontaneously composed, ever-playing musical composition in which the notes themselves are alive and play themselves, so that the musicians and the notes are one and the same, the purpose and the performance being one, with each note played continuing to strike all of its own probable versions, forming all of its own probable compositions while at the same time taking part in all of the themes, melodies, and notes of the other compositions—so that each note, striking, defines itself, and yet also exists by virtue of its position in the composition as a whole.

[...] A gray-haired man telling a story, with a red sweater or shirt, speaking to the Jesuit. [...]

[...] A room four stories high, where they stay.

The Garden of Eden story in its most basic sense refers to man’s sudden realization that now he must act within time. [...]

“By the time” that the Garden of Eden tale reached your biblical stories, the entire picture had already been seen in the light of concepts about good and evil that actually appeared, in those terms, a long time later in man’s development. [...]

[...] One note further: The sale has developed at this time, and future sales have been set into motion through stories. [...]

Future sales having to do with stories will result in the near future. [...]

Communications, not physical, have been established through elements of energy both within the stories and between certain individuals and Ruburt, although Ruburt is not physically acquainted with these persons.

[...] An office with a modern red leather chair, small room, stories high, not at all elegant. [...]

Both varieties of books allow the reader a built-in distance that provides a cushion against cultural shock: the story is, after all, secondhand. Castaneda told his own story, but it was still secondhand, because his own opaqueness added the necessary distance that protected the reader.

[...] A writer, free-lance, will do the life story of so-and-so, because the “psychic” himself is considered too erratic, too out of it, and too untrustworthy to honestly record his own experience.

[...] The story must then be authenticated by someone else. [...]

I cannot promise you that you have been a king, or that you will be one (humorously), nor a story reading in which you are a hero... [...]

[...] Stories of events, a musical newscaster.

[...] (A smiling gesture to Tam.) It would make a lovely story. [...]

SEQUEL TO THE FRED CONYERS STORY

Dictation: Now: To some extent the development of consciousness as you understand it follows the development of the gods through the ages; and in those stories appear the guises that man might have taken, as well as those that he did.

[...] This includes stories of fairies and giants, for example. [...]

[...] A circular formation surrounded by flowers I believe, with closely-crowded, old, at least second-story structures to the left side of the street, or close to the street and nearly identical in rows.

[...] Two story houses were to the left, in rows.)