“Seth material” search engine (Jane Roberts)

[...] As I listened to the doctor talk, poor hearing or no, I could almost feel medical science starting up all of its gears, ready to go to work on my behalf—and I wasn’t ready to make any such decision right then. [...]

[...] (One can always claim that being able to walk for even four years is a lot better than not walking at all!) Jane and I also read that through experiments with animals medical designers are working to perfect an artificial knee joint with porous surfaces, to promote better bonding of bone to metal; it could last 15 years or more. [...]

If possible these discussions should end with the reassurance that you can work out the practical aspects of your life together, and that you are large enough to understand your fears and use them creatively. [...]

When he is in error he sees himself as an old hag, overly cautious with his psychic work, knocks himself over the head for not being freer about it, distrusts it, knocks himself over the head for distrusting it, fearful of emotional expression. [...]

[...] At first I understood little about the possible sources for their inspiration; I simply put my urge to paint them to work. [...] Few of the paintings are of Speakers, obviously, and in no case did I realize I was working with such a personality.

[...] She is quite aware, therefore, of his decision not to buy the [Markle] house.⁵ In her level of reality, she was aware of the fact that Joseph wanted the house strongly; that one portion of him thought of possessing a large home, even though this would require upkeep and attention that another part of him did not want to provide because he felt it would take too much time from his painting and our work.

[...] Book work was over for the evening. [...]

[...] When the inner ego responds in such a fashion, even the commonplace, ordinary, seemingly innocuous circumstances suddenly become charged with a new vitality, and appear to “work for” the individual involved. [...]

Parents and physicians believe, instead, that the child is a victim, ill for no personal reason, but indisposed because of elements attacking him — either the outside environment, or [something] working against him from within. [...]

[...] She’s worked each day at her third novel on the adventures of Oversoul Seven, and has heard often from Sue Watkins about Sue’s progress with her book on Jane’s ESP class: Conversations With Seth.¹ And with all of her other activities, Jane has held four sessions since the 14th: two personal ones, and two [842–43] on matters other than book dictation.

[...] As we sat at the kitchen table discussing her work, Jane felt that she could go into a trance state that was her own for a change, instead of being in “just” a Seth trance. [...]

[...] I wrote these notes on the morning of January 8; they came to mind while I was working on an ink drawing of a complicated tree bearing within it two birds’ nests. [...] I believe these thoughts came to me so easily because I had been making some conscious efforts to think in new ways, and they were triggered by my working on this particular drawing.

[...] All of this involves work, however—at least on my part. [...]

[...] The rest of the time I worked on Dreams. [...]

[...] The car worked fine. [...]

[...] The head, neck, and shoulders are being worked on to further strengthen the arms and fingers — hence the transient condition of the eyes.

[...] And Jane and I look forward with intense interest to the final version of Dreams, for as always this work will be as revealing and educational for us as it will be for anybody else. [...]

[...] These are highly important, and there were results, now, when you worked with them steadily.

[...] In a way, we are completely on our own, manipulating in a subjective environment, aware of the workings of consciousness when it is not soaked up or fastened upon objective specifics. [...]

‘This is how dreams work,’ you may think. [...]

[...] In a creative individual, some of this information might be symbolically expressed in a painting or other work of art.

[...] The excellent work of art recreates for the observer inner experience of his own, also, of which he has never been aware. [...]

[...] The therapy worked however.

[...] Jane at once interpreted this data as referring to the staircase she must climb in order to reach Peggy Gallagher’s office, on the second floor at the newspaper office where Peggy works. [...]

[...] Bill Gallagher’s facetious term for the local newspaper office, where he also works, is the Garden of Gethsemane—hence such religious connections in the poem used as object. [...]

[...] I won’t take the space to describe the series of mistaken efforts I went through in producing the work, except to say that finally I came to the rather simple conscious understanding that I was trying to paint a probable Jane. [...]

[...] I intend to do more work in this manner.

9. At once Seth’s material reminded me of a novel about dolphins that Jane worked on in 1963. [...]

[...] Ordinarily Seth would have used those sessions to deliver work on “Unknown” Reality. [...] And we told ourselves that Seth was perfectly capable of resuming work on “Unknown” Reality whenever we were ready to do so, whether the time lapse involved one week or six months.

(See Appendix 10 for a summary of Jane’s psychic work in connection with “the affair of the missing person,” as we came to call it. [...]

[...] You will work out your problems in the last group, and I will help you do so if you want me to. [...]

If he left himself alone work-wise there would be plenty of accomplishment, but he does not believe this. [...]

[...] I was working on Chapter 9 — just starting it — of Dreams. [...]