“Seth material” search engine (Jane Roberts)

[...] Using this approach however, for ten days minimum, you drop the work you are doing. You drop the idea of work as work during your usual work hours. [...]

He has passed over the hump of early adulthood, that you passed through some time before, and you are both ready to give yourselves to your work. [...] Much work that we have done however in terms of the Philip (John Bradley’s entity area is Philip) readings, will be of great value, and serve to add to the authenticity, in other people’s eyes, of your adventure.

You will find that a creative, placid and yet fulfilling time is beginning, when you will both begin to do some of your best work. [...]

You are working with portraits, and portraits are of people. [...]

[...] You held back in your work, and in selling it, feeling that you must make up—not for Ruburt’s symptoms, but because you felt you were not relating as emotionally as you could, and realizing that this same warmth was necessary to your work.

So if you did not give it as freely as you thought you should to Ruburt, then you would also keep it to the same degree (underlined) out of your work. [...] You would be led to question why you were not pleased with your work as you thought you should be, and hence back to the original problem.

A good relationship between you frees repressed emotion on both of your parts, which then pours over into your work and illuminates all of your interior and exterior landscapes both symbolically and literally.

The Speaker manuscripts are in your future, and will involve as I told you considerable work—a labor of love. [...]

With the loving help of others I made several attempts over the years to publish various portions of Jane’s work, but with little success, for a variety of reasons. [...] Let alone the bulk of Jane’s other work: her poetry, novels both published and unpublished, her other published books, an unfinished autobiography, the records of her ESP class sessions, her journals and paintings, her singing in musical trance language, Sumari, her never-ending correspondence. My wife was—and is, I know, for I’m sure that she still lives—the most creative person I’ve ever met, and through her extraordinary abilities she’s left a body of work that I regard as a legacy of inquiry about our understanding of ourselves and our reality. [...]

[...] When she was close to death she asked me to publish all of her work. [...] I’m still working at it 12 years later!

[...] All have helped create the living psychic reality within which Jane’s and my work has been nurtured and grown. Our work is really dedicated to one and all, then. [...]

[...] From the start we felt that if our “psychic” work had value it should be presented as is, within all of its human connotations; not only its great successes, but with its gropings and mistakes, its questions and learnings along the way. [...]

You are on the edge of a discovery in your own work, and it makes you uneasy, for you sense it, yet have not grasped it. [...] Neither of you fully realize as yet the nature of the energies that are working with you, that give you meaning as individuals, hold you together, and form the framework of your daily existence, the balance of spontaneity and regularity.

Now you are dealing with emotions, working with your portraits. [...] You work within regular hours, yet within those hours you are dealing with unregularized emotions. [...]

In some respects your work is lonely, and in some respects Ruburt’s work is lonely, but you react to it differently. [...]

You need time to do your own work, but it is also true that the intuitions and emotions that spark your own work are not dependent on time, and exist quite apart from it.

[...] Doing this work and having the session made us both feel much better. [...] Jane got up at 5 AM to do some work, and also went for a walk around the block before calling me for breakfast at 8.)

[...] We want to have at least a session a week on personal matters, and two or three meetings a week for work on beliefs. [...]

We are working with his beliefs. [...]

We are starting at the surface and working downward.

The Magical Approach is a perfect example of a scientifically-unacceptable method of working with reality. Yet, The Magical Approach works. [...] At first it may not seem to be giving you the results you expect, but you are working within spacious time. [...]

[...] As was characteristic of us, also, we worked by ourselves for a long time as we attempted to learn more about what we were doing. [...]

Ever since she began studying Jane’s work fourteen years ago, my companion, Laurel Lee Davies, has been very conscious of the conflict between the rationalistic dominance so common in our culture, and the potential for greater development that she sensed within herself. [...]

[...] In some ways the Seth material has been given credit by the establishment; being taught as university course work, for example. [...]

(Long pause.) Your mother believed that a man should work so many hours a day in conventional ways, whether he owned his own business or worked for others—and also of course that he should have a family. [...]

Ruburt took on the bargain later, where the symptoms could be used as a backup system, preventing him from going out and working, so adjustments were made along the way. Later they prevented TV tours and so forth, keeping you both oriented at your joint works. [...]

[...] They represent her version of your life and work. If the granaries are gone, and if they provide no nourishment, then she looks to work like ours instead to provide a kind of idealized picture of human psychology. [...]

[...] You had that kind of background to work with and against, then, and this well before the sessions started. [...]

The more work you do the better I can help you. There will be seasonal and other variations in your own out-of-body work. [...]

[...] Ruburt attempted too much last evening for one night’s work.

[...] The alteration of consciousness involved will also enable you to make several distinct and advantageous changes of focus, in line with your own work. [...]

The alterations of consciousness would give you a rather unique freedom that I cannot put into words, a perspective and a viewpoint above reality, that would show in your work. [...]

What neither of you sufficiently (underlined) understood was the strong interrelationship between your personal lives and your work. You were aware of it but you did not understand, generally speaking, that your relationship must be actively and positively enjoyable on a daily basis, if both of you are to produce the work that you want.

[...] When the point is reached of which I had just spoken, your objectivity comes foremost in your work at the expense of spontaneity. [...] At such times you became more alarmed working with your oils and colors, and wanted a retreat, and sought for greater distance in your paintings.

[...] Incidentally, Ruburt read the chapter on which we are working, and was newly astonished. [...]

[...] I want to emphasize the importance of your personal relationship to each other, and mention the ways in which it affects your work. [...]

The ramifications of our work will be far greater than either of you usually imagine. It is only natural that the work which will bring so much to others will also serve you abundantly. [...]

Our work has given you additional purpose in life. Our work should also show you how to enjoy your life. [...]

Your good reverend was far more impressed after his visit, and he will speak about our work to many others. [...]

[...] If he now uses psycho-cybernetics as applied to his work and to the (Seth) book, and makes a definite effort with those methods to focus all of his energy into the book, the symptoms will simply fall away, and quickly. [...]

(9:43.) I felt that my work was being contaminated, and more, I was annoyed and disappointed by those readers who could apparently be so taken in by those other Seths. [...] And it is indeed that contract between him and me that always assures you of the authenticity of Seth’s work.

Concerning Jane’s understandable desire to protect her work, long ago she published some very clear statements about that. In Chapter Nine of The Seth Material (1970) she wrote: “Several people have told me that Seth communicated with them through automatic writing, but Seth denies any such contacts, saying that his communications will be limited to his work with me, in order that the integrity of the Seth Material be preserved.” [...]

(9:03 A.M. Last night Jane had pronounced her work finished on the introductory material for Dreams. [...]

In fact, all of those topics were so much on Jane’s mind that for the second time in three days she went to “work” right after breakfast. [...]

[...] There are periods of inner biological work, then signs of definite improvements. More inner work, and so forth, and another improvement shows. Enough inner work has progressed however so that very shortly the observable improvements will accelerate.

[...] The extremities are now better nourished—working muscles will demand this nourishment. [...]

This means that he is bravely and fully encountering himself, so if he comes up against worries for example about his work, tell him to be patient. [...]

[...] It seems morally wrong—not so much to work at night as to sleep till noon (as Jane did today; although she hadn’t worked last night). If natural rhythms were followed the greatest amounts of physical work would be produced to the greatest benefit for society at large. [...]

We are doing certain kinds of work that can be done by no others, as others are doing work we cannot do—but rest assured that you are adding your voices to those of history, making your contributions. [...]

[...] Any work, even inconsequential work, will be seen as beneficial, to “take up the self’s time.” [...]

Ruburt’s work with the contents of the mind, for example, is barely started, and I will include his exercises in my book (amused)—while giving him full credit, of course. [...]

[...] They will not seem to show your kind of work, but this is precisely why they will want to do so. They do not have anyone in their stable who can do good work with figures, or of an objective nature.

Many galleries therefore do not carry objective work because the defects are so clearly seen. They take instead planned distortions, which can cover up such inadequacies, or frankly abstract works.

[...] You will be doing I believe more work with fruit, of a different nature. I believe that this will involve a magnification of the work you have done with fruit. [...]

[...] In New York now, and across the country, it is difficult to find objective work that is not highly stylized or sentimentalized.

In Framework 2 the mind affects the physical brain in a more complete and effective manner than usual, and can spark images, thoughts, or correlations that exist in a context outside of the time that is happening in Framework 1. Time happens at a certain regulated rate, then, obviously, in Framework 1. A certain amount of time is needed there to do a certain amount of work, and according to scientific dictates a specific amount of effort is required to perform different kinds of work.

Framework 1, to some extent or another, however, is always influenced by Framework 2. There, the same correlations do not apply between the effort expended and the work performed, or the time required for such procedures. Very little effort, there, comparatively speaking, has an effect here in Framework 1—that is, a small amount of effort in Framework 2 can result in extraordinary work done in Framework 2, and with a foreshortened time effect.

Now: the small morning statement I gave you each to read (in the deleted session for August 17, 1977) has worked. [...]

Your house has been calm, Ruburt’s body has improved each day, and his work and yours have been productive. [...]

[...] Your sexual lives, despite what you may jointly think, did not suffer on the level in which both of you were working at one time. You were each agreeable to pouring sexual energy into your work.

A work schedule is necessary for your peace of mind, Joseph—you work well that way, and use the freedom it gives you. [...]

[...] When he had his last series of excellent improvements, he paid attention to the sessions I gave him on his ideas of work. [...]

[...] When he did so he not only produced excellent work on Aspects, but frequently felt the urge to write more. [...]

[...] Some definite decisions about guests, however, will relieve your minds, and allow you to work more freely. Remind yourself, again, of “Unknown’s” completed form, and if you do so its pattern will transpose itself upon your thoughts as you work, so that you will be tuning into its model in that respect.

They were also meant to show appreciation for your work, jointly, when it seemed you needed it, and therefore to revive both of your spirits. [...]

These were interruptions, and because of your attitudes you thought of them as troublesome interruptions: surely you would have sailed through your work otherwise, or performed chores that you wanted to accomplish; and so because you still do not really understand the effectiveness of Framework 2, those visits added to your sense of concern and hassles with time. [...]

[...] You have a right to refuse guests, of course, and yet if you learn to work with Framework 2 with greater faith you will find that other issues are usually involved than those immediately apparent.

When you tie these abilities to feelings of strong responsibility, serious work, too much, you limit them to whatever degree, and you limit your own expression of them. Ruburt’s held-over feelings about femininity make him try to be overly respectable in his work. [...] Your own seriousness about work in the past, your own attitudes, linger on in his. [...]

[...] Ruburt’s creative life follows rhythms in which he produces excellent works usually in great bursts of activity—then a quiet period. You work in more measured patterns, and this is largely responsible for your individual and joint feelings over “Unknown” Reality.

[...] Measured work of that nature is very difficult for Ruburt—hence the typing, for example of manuscripts, such as mine, that he cannot change as he goes along, is very difficult. When he types his own work he makes creative changes.

There are “evolutions” in our work and in your own work that are in the offing, and a new book for Ruburt if he remembers the playful attitude.

[...] I want those sessions read again that I gave about his attitudes toward “work.” They were designed specifically for him and his nature, for when he forgets about work, with its connotations for him, then he is at his most intuitively creative, and inspiration springs naturally and quickly at his beckoning.

(After lunch we discussed her own notes on the morning’s work, and stressed that she should use the word “flamboyant” as part of her own true nature, attaching only positive meanings to it, being proud of it, realizing that it gave expression to her abilities in a way that few could match. [...] This must be eliminated, and we intend to work unceasingly at the task until its accomplished. [...]

[...] All of them, recognized as a part of his nature, would basically work together in the most auspicious, satisfying, and fulfilling of fashions. [...]

[...] The painting is providing a mental rest, aiding in the coordination of hand and eye, and allowing him to work at certain inner challenges in a different way. [...]

[...] Ruburt was there working—just as the doctors and insurance men and dentists were. [...] The summer, with its implications of vacation, was added, however, as he knew it would be; so the structure of working was further evaded, it seemed particularly by warm weather, which inclination did not happen to fit his ideas of scheduled work.

[...] That approach had not worked with Ruburt’s mother, who recognized Ruburt’s writing ability at least, and tried to encourage it. [...]

[...] Ruburt expected her husband, the man, to show spontaneous love and affection, and to supply emotional richness, which she was willing to nurture—but she expected the artist—who happened to be her husband—to protect himself from any emotional response that might interfere with his work.

[...] Clearly, he saw that he worked or slept, and allowed himself little freedom between. [...]