“Seth material” search engine (Jane Roberts)

The more he valued your work the more concerned he became. He often in the beginning resented the psychic work precisely because it took time from your painting for transcripts. Therefore behind all of this is his high estimation of your abilities and work, and his refusal to see you trapped so that you do not have full time to use them.

[...] For whatever reasons, he never planned to marry a man who would go away to work each day, but saw you both involved in a jointly-shared comradeship of work and love. [...]

[...] He felt that when he had initiated action in the past that it had not worked, and he was then afraid of initiating new action, so he kept waiting for you to do so. [...]

[...] He felt also, in the past, that if he told you to leave the job, and it did not work out as you wanted, that you would blame him, as he thought (underlined) you blamed him for the move from Sayre.

[...] While waiting for the next session to develop, then, I’d busied myself working on her intro and my notes for Seth’s Dreams. [...] But it’s a unique piece of work, and as I told her, we can use it to lay the foundation for much future work. [...]

[...] [Soon the grass, which is turning green, will need cutting, too.] I became quite concerned over the time element this afternoon when I saw that it was 2:45 before I could get back to the typewriter, when I’d quit work at 11:30 AM. By the time I could go back to work, I was in a half-angry, dejected mood. [...]

(This information came through because Jane’s doctor, Marsha Kardon, had told her in the hospital that tests showed Jane’s thyroid gland had quit working altogether—with the concomitant fact that Jane would have to take a synthetic thyroid extract—Synthroid—daily for the rest of her life.)

[...] It is one he can work with. [...]

[...] You do not want anyone else to have a hand in your own work—that is in your paintings. [...]

[...] Use the model, but let it be a flexible one, in which your ideals work with the material at hand, molding it. [...]

[...] I received the answer that I felt guilty over the conflict: when I wanted to do one, I thought I should be working on the other.”)

[...] But my reluctance was based, I thought, on my resentment at Prentice-Hall over their handling of art work; I really didn’t want to let the photos in question out of the house, for fear they’d be lost, etc. [...]

[...] There will now be a synthesis of dream and waking activity, and a greater physical release, but he must also work through his beliefs on Rich Bed and the material begun today. You can help him, but he must do the work. [...] He must work through the feelings and beliefs and today was an important breakthrough.

[...] The addition, however, brought with it a new sense of responsibility—not just to make money, but as his writings continued he wanted his creative work to be “responsible” and he began to discover that others, so it seemed, were all too ready to latch upon what he almost considered magical inspirational productions, and to follow them with very literal minds. So then his creative endeavors not only had to bring in money, but they had to be good, moral, responsible, for they were becoming part of a body of work.

(Before the session we talked about some questions we’d written down for the pendulum work tomorrow morning. [...]

You both felt that the development of those abilities must be protected, lest the need for financial security lead you into full-time work on a long-term basis. [...]

[...] You may sometimes forget now how vehement your joint ideas were in those years, against the ordinary individual’s prospect of working eight hours a day, year after year, in the same place, doing the same thing. [...]

[...] In my frustration, I told Jane over the weekend that I intended to go back to painting, starting this morning, but it didn’t work out that way. We’ve even considered withdrawing Mass Events from publication, although Tam reassured Jane this morning that things would work out all right. [...]

[...] (With amusement:) It does not know if our work is fact or fiction, in the deepest of terms. It knows the work is not forged. [...]

[...] The textbook division represents the workings of the intellect in the usual terms of rational thought, and in those books the qualities of the imagination, of the psyche, of poetry, of creativity, are quite lacking. [...]

[...] He can indeed express great enthusiasm over work that is highly intuitional, while on the other hand he has a great respect, in his own way, for established learning and education.

Now many beliefs that are unfortunate, in your terms, are worked out through creativity at other levels, so that dreams, intuitions, and mental processes work together with bodily expression toward a resolution. [...]

[...] Thoughts of work, however, do not work. [...]

[...] Almost immediately after your chair suggestion, and with the work you are both doing, Ruburt’s mind and body began to respond. [...]

[...] I am going into this material because it shows how desire works in any area. [...]

You felt that commercial art would work financially, because it belonged to the times, yet even then the comic book market, you felt, was falling beneath you as the public’s ideas changed, and (Mickey) Spillane’s comic strip fell beneath censure. You simply would not, later, curry the world’s favor with your paintings—even if, through hard work, financial success might follow. You did not trust people to know good work when you produced it.

Now you are exceptional people, and exceptional people in your work are quite simply exceptions. [...] Often they cannot discriminate between good work or poor work, artistically. [...]

(We’ve learned a good deal about Jane’s symptoms, working with the pendulum since Monday’s session. [...]

This is the same person who on the other hand used to put up barriers of bookcases at one end of the living room to protect himself from any neighbors or miscellaneous callers; who objected when Mr. Gottlieb dared to cross into his private working area and glance at a paper. [...]

[...] The dog’s desire for food led him to walk magically through the door, for the desires of the natural creature are satisfied (pause) with an ease that has nothing to do with your ideas of work. What I am getting at is the introduction of the concepts of a different kind of work — very valuable, vital work that is performed at another level and in a different fashion.

(9:48.) A prime example, of course, is the “work” done to keep each and every creature alive and breathing, the “work” done to keep the planets in their places, the “work” being done so that one evolutionist can meditate over his theories.

[...] Certain approaches worked in one area, and others worked in the inner reality.

[...] It would, again, help considerably if you thought of your work more as an adventure, an exciting creative adventure, than of work in your old terms.

[...] Now with this work taken care of, Jane was eager for Seth to resume work on his book.

[...] Any successes in this life, any abilities, have been worked out through past experience. [...] You worked to develop them. [...]

In the next life you will be working with those attitudes that are now yours. [...] On the other hand, those sparks of truth, intuition, love, joy, creativity, and accomplishment gained now, will work for you then as they do now.

If you form a guilt in your mind, then it is a reality for you, and you must work it out. [...]

[...] It’s almost impossible to describe the creative frustration I sometimes felt — for no matter how fast I worked to record the sessions themselves, noted our day’s activities, hunted down the references pertinent to a given discussion, I couldn’t truly keep up: Reality kept splashing over the edges of my notes. [...]

[...] Then Seth’s work will fall back upon the timeless quality that always illuminates it.

In any case, I feel that the entire production, Seth’s dictated work and my running commentaries and references, adds up to extra dimensions of creativity that can be sensed, if not described. [...]

[...] So along with Seth’s work, we tried to share our reality with the reader, and to provide a platform in time for knowledge that must basically straddle our ideas of time and reality alike.

(As of now: I’m practically through with the appendixes for Volume 2 of “Unknown” Reality — which means I still have a number of notes to write for the book’s sessions per se, as well as much work to do for the Introductory Notes and the Epilogue. Soon after Tam Mossman suggested in early October that she do a book on her dream about Emir,² Jane began work on that project with her usual enthusiasm. [...] Besides doing all of her own writing and newspaper work, Sue Watkins is close to finishing her part of the typing on the final manuscript for Seth’s Psyche; I still have to spend more time on some of the notes for it. [...]

[...] When the sessions don’t work out that way I can feel somewhat uneasy, while realizing at the same time that a number of compensating factors may be at work. [...]

[...] I know that all of these positive goals are worked out in Framework 2, regardless of their seeming complexity, and that they can then show themselves in Framework 1. I have the simple, profound faith that everything I desire in life can come to me from the miraculous workings of Framework 2. I do not need to be concerned with details of any kind, knowing that Framework 2 possesses the infinite creative capacity to handle and produce everything I can possibly ask of it. [...]

(So we’ve decided to simply go along with however Mass Events works out in terms of length, whether that length involves time or the number of sessions. [...]

[...] I hardly thought it a coincidence that my side began bothering me—as it had years ago—just when we’d finished our work on the page proofs for Volume 2 of “Unknown” and Psyche, and I was free of that work load for the first time in a long while. [...]

In the second dream (on April 4, 1979), Bill Macdonnel, whom you do not consider an excellent artist, reflects your own sometimes confused feelings about what might have happened had you devoted your work primarily and exclusively to art, or played the artist, as Bill does. The work, however, would not have been right for you, but upside down in a fashion, because with your knowledge before, say, our sessions, your particular blend of psychic abilities and writing abilities would not have developed; your painting would have lacked, in a way that would be quite noticeable to you. [...]

[...] You do have a kind of prominence now, and your work is on a different kind of public mural.

2. Jane referred here to the deleted part of tonight’s session, and Seth’s discussion therein of the work we are to do in translating early Speaker material: “The Speaker manuscripts are in your future, and will involve as I told you considerable work — a labor of love.” [...]

[...] But then she quickly realized that this is to be a work of my own.

[...] This work can be followed by one utilizing sessions concerned with art mainly but covering some other artistic areas as well, such as the nature and origin of inspirations.

[...] For this will short-circuit some of your hang-ups as far as painting is concerned and will lead to new spontaneous painting power (humorously). You will also consider it a work of merit, and you will be doing your own thing with your experience. [...]

[...] Now he is free to work joyfully on Aspects, without the old “poisoned drive”—that is, he will be working because he wants to, and not because he feels his existence is dependent upon it.

For a while he did not want to work as often as usual, while those old patterns were being broken. [...]

[...] He is working alone, with only you to give him encouragement, so try at least to provide it when he needs it.

(I told Jane that I’d had a half-remembered dream of my own last night, involving my going back to work for Stu Komer of the old Artistic plant. I was working on a new kind of greeting card that could, I think, actually be quite successful. If I had time I’d make a dummy of one to show Jane how it works, for it utilizes two pieces of embossed paper and messages to deliver its import. [...]

You should not insist, however, or demand, that a given suggestion take root—for then you might be disappointed if it did not, rather than realize that perhaps it was not time for that particular suggestion to work. Simply allow that mental flexibility, overall suggestions for motion and healing are of course excellent, since they leave it up to the body to do the inner work involved. [...]

[...] As I began working with the mail she told me to get my paper ready. [...]

[...] Two minutes later Jane began to work her lower jaw up and down and around in an almost grotesque way, so that she couldn’t speak, only make guttural sounds.

Your own symptom, the hand, representing uncertainty in your work. [...]

To paint paintings for joy was an act of defiance against your mother, and so you have punished yourself in several ways; by being overly concerned with their quality, insisting upon perfection, and by not making strong efforts to sell them or to work for recognition in that field.

[...] Your father would not have worked as a photographer. [...]

[...] This also affected your work itself to some degree, in that you sometimes inserted qualities in the paintings to hold people off, a remoteness.

(10:10.) The dream state provides you with a preliminary stage in which working hypotheses can be creatively formed and tried out in a context of playfulness. [...] To follow yourself into your own dreams is a fascinating endeavor, and there in the dream context you can become aware of the working of your own consciousness. [...]

Again, in your dreams you work with probabilities and decide which ones will become your physical “true facts.” [...] Here each man works out his own destiny, and with the use of this dream information quite consciously chooses which episodes he will physically materialize and experience.

[...] Actually, though, we won’t have any extra time; the finished manuscript of this book is due at Prentice-Hall in October, and will require much work in order to get it done by then. [...]

[...] just this afternoon in her own theoretical work, Aspect Psychology; she had also written about ideas very much like those Seth presented at 9:15.

[...] On June 22 the pendulum told me that my stomach bothers me not because I don’t spend enough time painting, but because I feel guilty at spending the time I do, in view of all the other work with Jane that I feel I should be doing: working on sessions, “Unknown” Reality, etc.

You do not expect the world to understand good work. [...] Your own hopes rise despite those beliefs, and have worked for you. [...]

[...] Why did I choose to do notes for that work, let alone publish it in two volumes? [...]

[...] [This decision leaves Jane free to do fresh creative work—whatever she wants to do. [...]

[...] I will work on one book one night and another one the next, if you prefer, or discuss private material or other questions of a general nature, or work twice a week on our present material—whatever suits your fine fancies (with much humor). [...]

He learned something important, working with his attitudes this weekend in the bathroom, when he realized that he held back his weight when he put his feet on the floor. [...]

[...] Those notions, and that attempt, signaled that he wanted more activity, and the body began new work in that direction. [...]

[...] He knows when he has poor habits in that regard, but have him work with one, say, just one a week, rather than take on several at a time. [...]