“Seth material” search engine (Jane Roberts)

Jane had been a devoted Catholic in her youth. [...]

[...] They were exuberant, energetic, and filled with youthful idealism. [...]

Youth is full of strength, however, so he very well may find a way to give his own abilities greater expression, and hence to increase his own sense of power. [...]

[...] Now that was in many of my youths. I was quite a pious old man and woman in many of those lives and completely forgot or justified the errors in course of my youth. [...]

[...] This applies to some of you more than to others, according to how thoroughly you are accepting and utilizing the ideas, for the inner youth and vitality is not primarily physical but only materialized in physical ways. [...]

(Long pause.) The best thing Frank has done so far was say “Your back feels youthful,” and at another time “Her hips pivot like a dancer’s.” [...]

[...] Seth’s reference to my parents stemmed from an insight I expressed earlier today—that is obvious once thought of: that often as a youth I deplored my parents’ constant arguing and disagreements, thus judging them, but never gave a thought to how they felt on a daily basis while living such lives. [...]

[...] The young and the old, the conventional and the unconventional, had small skirmishes, where some of the city fathers objected to the long-haired youths in a city park — quite trivial incidents, and yet indicative of splits of values and misunderstandings between the generations.

[...] They realized the relative unimportance of belongings, and felt within themselves the stirring of a freedom they had not experienced since youth.

The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.

[...] Some of those same individuals may be convinced that love is wrong, however, or that sex is debasing, or that children mean the end of youth. [...]

You had negative ideas but youth was strong enough to hold you up. And as soon as early youth left, then you allowed the negative ideas to hold sway. [...]

[...] While we were in a local bar, two youths stole the car, which was parked nearby, and went for a joyride. [...]

Exuberance seems to be a quality belonging only to childhood or early youth—yet exuberance is instead the mark of healthy vitality. [...]

[...] She came up with a number of memories new to me — like going to the youth center on Saratoga Springs’ lower Broadway on weekend evenings to dance and socialize, and so forth. [...]

[...] Don’t speak to me of youth and age. [...]

(This attitude also fit in with that which Joe had expressed to me during last fall’s World Series in baseball: Looking at the ballplayers with their long hair, mustaches and beards, Joe had asked me where the youth of America was. [...]

I am here to tell you that your joy [is] not dependent upon your youth, for I am hardly young. [...]

[...] He must show that for all of his youth he is world-weary, not easily taken in, that he is objective—and only then can he allow his creative abilities to flow. [...]

[...] You sit here with new youth and new vitality—new, but ancient—for there is no newness that does not have an ancient heritage. [...]

You wanted to express ideas in paintings that do not come in youth, and to merge a particular kind of understanding with a particular kind of form. [...]

Now what does youth mean to many? [...]