“Seth material” search engine (Jane Roberts)

[...] The money did not come by computing the number of hours worked on a project, for example, or the number of hours worked at a job, but instead accumulated because of the quality of creative work and the inquisitiveness of the creative mind. [...]

[...] I am feeling quite a bit better; I’ve been painting in the mornings and working in the yard afternoons, doing errands, etc. The only thing that’s suffered has been work on Mass Events, but now I’m gradually moving back into that endeavor also.

[...] Just what I expected, I told Jane, and added that it looked like we would end up stuck with mangled work distributed in Europe.

[...] This morning while working on the letter to Maude Cardwell, I guess I’d blithely took it for granted that the fund idea might supplement any insurance benefits. [...] I want to note that I have faith that all will work out, that I’m not running from one hope to another while deserting previous ones.)

(This morning, in between calls from my brother Loren and his wife, and Mrs. Austin’s son about delivering the laundry, I worked on the first draft of a letter to Maude Cardwell at Reality Change in Austin, Texas. [...]

[...] “According to the material, that’s the way things would work.” [...]

Your feeling (underlined) of need was picked up by those others who follow your work and career, and feel that they know you both, particularly through your(to me) notes. [...]

A definite strain therefore developed, particularly painful since it involved his work also, to which he has always been strongly committed. He recognized the value of our endeavors to his work. [...]

He did not want to use his work (pause) to place his work, at the service of a cause to which he was not indelibly committed. [...]

The muscles in the arms work against themselves. [...]

[...] In our work, if he allows himself this same freedom, the intellect will also be convinced of our validity.

[...] I was now simply trying to live each day, painting, working on the files, or in the yard, doing errands, and so forth. [...] I can already tell the difference in the work, and am very pleased with that. [...]

[...] I’m somewhat dismayed by the work that might be entailed – that is, if I carry through with the original idea of checking through all the material, putting it into notebooks that match the originals, and so forth.

[...] You have done well there, for the yard work is helping, and the change will naturally bring your creativity to flower if you leave yourself alone. [...]

[...] The good news is that Toni, the night aide, had suggested that Jane see if she could work the nurse’s call button. [...] She discovered to her pleasant surprise, however, that she can work it—while on her back at this time. [...]

(Jane was doing well when I got to 330; her catheter is working okay. [...]

The body will not have to use its energy very much longer in healing sores—thus freeing even more energy to set to work on the joints and muscles themselves, and the ligaments. [...]

[...] Ruburt also believed in his psychic work, you see, and was fully committed to it. He developed some physical symptoms, and following through with his beliefs he is working them out on his own. [...]

[...] You can find them through the approaches mentioned earlier (in the last session), working from your feelings or by beginning with the beliefs that become most readily available.

[...] She hadn’t heard the sporadic sounds of flood-repair work being done downstairs.

(Jane thought she was experiencing the results of her own work with bridge beliefs, since receiving the material in advance, so I asked her if Seth would say something about her personal reactions for this chapter. [...]

You put yourselves in the position, where if you valued your own work, you expect to receive no recognition, and the greater the work, the less recognition. [...]

(Jane said her eyes were feeling much better, although “full of moisture,” and that the copying work she did on James, following Seth’s suggestions in the last session, went well. [...]

Again, his condition does represent the one area where both of you have felt cowed, often hopeless, and as if your abilities worked in all directions but that one. [...]

[...] To some extent now, you applied discipline in your work and lives to protect yourself against response to a world that you felt was insane, in direct conflict with artistic pursuits, and in which you felt quite alien —both of you, that is, as a unit.

[...] I work more. [...] Go back to work; then—suddenly move my right foot and it moves up and down quite a bit more—and feel easier and... [...]

Stopped writing these notes; getting some more good ideas for my preface— but the good feelings in my leg and foot continue; I want to call out to Rob and tell him, but feel constraint; he’s working on Unknown; I’ll disturb him ... [...]

Psycho-Cybernetics worked well for a time, because at that stage the book served to break up body beliefs, though he hadn’t tackled the reasons behind them. [...]

[...] Working with body beliefs. [...]

[...] But in a working framework, even if a vacation is involved. [...]

(For example, she spent Monday and Tuesday reading poetry she’d written before the sessions began [in 1963], wondering why she didn’t have the impulse to work on Heroics instead. Finally, last night she made her intuitive connection: She had been working on the book the entire time. Heroics isn’t to be on how to reach some unattainable superself, but on the barriers that stand in the way of practical self-realization. [...] I’m going to work out those beliefs for myself and for our readers.”)

[...] She’s become especially conscious of impulses while working on her new book, Heroics, for, strangely, she’s found herself confronting a series of seemingly contradictory impulses to do other things, such as paint, or reread her old poetry.

[...] I’d told Jane this morning that I knew the dream was quite significant in connection with the work we’re doing with the Seth material, but that I was unable to adequately decipher it. [...]

(Late last week Tam Mossman called Jane to tell her that he’s begun work on her contract for the publication of If We Live Again. [...] [That total includes Mass Events, God of Jane, and the poetry book, all of which are yet to be issued.] In the private session for September 22—one of his series on the magical approach to life—Seth had told us that our work is “protected.” [...]

[...] The form represented (long pause) the personified, accumulated positive energies that were working to his advantage at that time, that provided him protection, but that also automatically worked to the benefit of his life and projects.

[...] Your work is protected.

[...] It was not necessary for Ruburt to see the form again—merely to sense the reality of that powerful energy, and realize that it worked on his behalf. [...]

[...] Your daily environment is very important to your work, and to Ruburt. The money in the bank is helpful, but if your daily environment is not conducive to your work and peace of mind, then the money security is meaningless. [...]

[...] You both do need privacy for your work and because of your natures, but if you try to find a home with no dogs or children within miles, then in another way you are doing what Sam Levine is trying to do, only in your own way. [...]

In the Foster house you would find yourselves having to open the place up, and you would find triumphant joy when the windows worked. [...]

[...] That formality, oddly enough, will encourage Ruburt’s spontaneity, for he would find it a challenge to work with the house and yet in counterpoint.

(We returned home on Monday after a heavy snowstorm in Pennsylvania, and I did not return to work until Thursday. [...]

When you were ill and not working part of Ruburt’s money went to them, and he was ashamed at resenting this, and furious at you that you would allow them to do this to him. [...]

[...] He feels as if his mother is getting your mother to do her dirty work for her, and when your mother said to him “You are a phony,” it was also his own mother for the thousandth time putting him down.

[...] Since your reaction when Rebellers was published, he feared that you would grow to hate him for any success, if you did not succeed, since his success he felt was largely at your expense—you bought him the time in which to work.

[...] In my school days I did not have a drawing table, but worked bent over at a card table in the front upstairs room, with a small drawing board in my lap, resting on the edge of the card table. [...] Jane has been in the room many times of course, but did not know the particular circumstances of my working just described.

Both you and Ruburt, in your dream states, have already to some degree become acquainted with what your work will be. [...] Shortly I will tell you what this work will involve.

[...] It is interesting to see how association works in such cases.

[...] You will have far more material to work with. [...]

[...] Jane and I had heard of this association in a remote way, but it had no meaning for us until we committed ourselves to the hill house; the agency concerned is but one of many we’d contacted; yet also involved is our friend Debbie, who works for another real estate firm, and who had first called our attention to the hill house. [...]

[...] I’ve deleted certain portions of his material about us while leaving other parts for presentation here, since they do extend his recent work for “Unknown” Reality.)

Your psychic work will also help them question the values of their lives. [...]

[...] You will also have another kind of freedom: Your psychic and other creative work will be easier simply because you will not have others so close to contend with in terms of thought patterns.³

(Our daily pendulum work continues, and continues to get good results. [...]

[...] That, plus your pendulum work, prevents fears from going underground again. [...]

[...] The new viewpoint, with its new attractions—helping with work, helping with house chores—these automatically take his mind elsewhere, and act as further stimuli. [...]

Yesterday Ruburt received some excellent ideas for Seven, which shows that he is beginning to change his attitude, and he should continue to read those work sessions.

[...] I worked on mail. [...] I need to use the suggestion for a few days in order to give my creative self time to put it into effect; that’s the way suggestion usually works with me.

[...] She is a great organizer, and is at work at several plans.

[...] The changes are in the works, and Seth has given many encouraging bits of information that they are having, and will have, an effect.

Tuesday, August 2, I did enough physical work to more than make up for walking the house three times; vacuumed living room, bedroom, john; and cleaned some woodwork. [...]

[...] Am working on preface though. [...]

[...] My work is in a way more direct than Ruburt’s. It appeals to many levels of the psyche at once. [...] From the comic book reader to the scholar, each will find a point of contact within my work. [...]

[...] You enjoyed the work. [...]

[...] Some people purposely will not read his works. [...]

[...] I do not restrict my words or my works to those who in any way or terms may be considered stupid, or dumb, or greedy, or incompetent or silly. [...]

[...] The fact that you were not making much money in the framework the two of you accepted, led him to work the harder, determined to publish his work.

[...] Ruburt feared that the psychic work conflicted with the writer, and detracted from you in your focus as an artist. [...] Did Ruburt feel like making love during your working hours in earlier years, you actively discouraged him, and told him through actions and words that displays of innocent affection turned you on sexually, and disturbed you when you wanted to paint.

[...] The psychic work, which is a natural extension of both of your creative abilities, could not be fully utilized by you, individually or jointly, while you maintained such a rigid, specialized focus. [...] Not realizing, either of you, your financial contribution through the works, you felt and so did he, after Artistic, that he carried the brunt financially.

[...] Again, it is important that since the works were published—even for example the ESP book—neither of you understood your (my) financial contribution. [...]