The Magical Approach: Seth Speaks About the Art of Creative Living

«What magicians we all are, turning darkness into light, transforming invisible atoms into the dazzling theater of the world,» — Jane Roberts abre el volumen con un poema fechado en 1979 que llama magos a todos: el verso pasa de la oscuridad a la luz y de los átomos invisibles al teatro del mundo

«pulling objects, (people as well as rabbits) out of secret microscopic closets, turning winter into summer, making a palmful of moments disappear through time’s trap door.» — en el mismo poema, Roberts enumera los actos del mago cotidiano: sacar objetos y personas de armarios microscópicos, volver verano el invierno y desaparecer momentos por la trampilla del tiempo

«We learned the methods so long ago that they’re unconscious, and we’ve hypnotized ourselves into believing that we’re the audience,» — Roberts sostiene en el poema que los métodos se aprendieron hace tanto que son inconscientes, y que el aprendiz se hipnotizó a sí mismo para creerse público

«so I wonder where we served our apprenticeship. Under what master magicians did we learn to form reality so smoothly that we forgot to tell ourselves the secret?» — el poema cierra con la pregunta por el aprendizaje y por los maestros bajo los cuales se aprendió a formar la realidad sin decirse el secreto

«I know what happened, and yet consciously I’ll never grasp all of the psychic ramifications involved.» — Robert F. Butts, en el foreword, distingue entre saber lo que pasó y captar conscientemente sus ramificaciones psíquicas

«Even though it’s simultaneous, according to Seth, I needed “time” for my long journey of recovery.» — Butts consigna la simultaneidad del tiempo como doctrina de Seth y a la vez declara haber necesitado tiempo entrecomillado para recuperarse: el desacuerdo queda dentro de su propia frase

«Looking back from my position within the framework of simultaneous time, I’m amazed to see that another ten years passed before the publication» — Butts habla desde dentro del marco del tiempo simultáneo y aun así se asombra del paso de otros diez años

«I know that my wife lives within me now, as I do within her “where she is now” — just as we shared ourselves with each other throughout the nearly twenty-nine years of our marriage.» — Butts sostiene que su mujer vive dentro de él y él dentro de ella, con el mismo verbo con que describe los veintinueve años de matrimonio

«Each one of us is an immortal portion, a spark of endless perception and beauty and feeling — and yes, of conflict and denial at times — within this probable reality that we’re all creating together, even when we don’t know we’re doing it!» — Butts enuncia lo que sostiene sobre la persona: porción inmortal y chispa de percepción dentro de una realidad probable que todos forman sin saberlo

«I watch with awe as within this reality each one of us expresses as best we can our creative understanding of this wonderful mystery.» — Butts cierra el foreword con lo que dice ver: cada uno expresando como puede su comprensión creativa del misterio

«Life goes on, then, only it’s different. Of course my feelings, while being unique in that they’re my own, are intimately bound up with those of everyone else. How could it be otherwise, since no one can live in true isolation?» — Butts niega el aislamiento: sus sentimientos son propios y a la vez están ligados a los de todos los demás

«In our case though, Rob and I usually have no direct audience (not that we can see anyhow), and those few hours spent in trance have an impact on my husband and me — and upon the world — out of context with the actual time expended.» — Jane Roberts, en la introducción, declara que las sesiones no tienen público visible y que su efecto sobre ella, su marido y el mundo no guarda proporción con las horas empleadas

«These beside my own twelve books. Seth doesn’t answer mail though, or do any typing, and so as a result of those trance hours Rob and I spend a good deal of our conscious energy dealing one way or another with the effects of that trance life.» — Roberts distingue esos libros de los doce suyos y describe el reparto: Seth no contesta cartas ni mecanografía, de modo que la vida de trance consume energía consciente de los dos

«In the summer of 1980 I missed Seth sessions for nearly two months.» — Roberts fecha la interrupción de la que arranca el volumen: casi dos meses sin sesiones en el verano de 1980

«I asked for some ideas from my “natural spontaneous self,” and on August 5, 1980, I dreamed that a moving van with me in it was itself being moved by a larger vehicle ahead of some planned time. There was a squabble over seating arrangements which was finally resolved.» — Roberts cuenta que pidió ideas a lo que llama su yo espontáneo natural y que la respuesta vino en el sueño del camión de mudanzas del 5 de agosto de 1980

«I took that to mean that I would shortly be on the move again creatively, and to be prepared, so I had Rob help me move all my writing materials from the small breezeway where I’d finished The God of Jane, into the new patio back room, as a gesture of being ready to start over.» — Roberts lee el sueño como anuncio de un movimiento creativo y actúa en consecuencia mudando sus materiales de trabajo: la interpretación y el acto van juntos

«The pieces of the world fell neatly into their proper places. The pictures of the moments clicked together as they usually do, each instant precise, yet leading into another.» — Roberts describe la textura del día en que empieza el libro: las piezas del mundo encajando y los instantes precisos que llevan uno a otro

«Something in his words struck me in a new fashion. Rob and I often discussed such subjects. He was saying that we were immersed in “magic” no matter what we called it, that manifestations of telepathy, and so forth, were just places where our magic “showed.”» — Roberts recoge la tesis de las notas de su marido: que se está inmerso en magia cualquiera sea el nombre, y que la telepatía y lo demás son los sitios donde esa magia asoma

«For some reason as I finished reading … I felt inspired. Or rather, I felt an inner psychological motion happening — a movement as definite, yet subtle as the shadows that flickered on the floor. A change of balance — a vital but usually-hidden psychic action that instantly changed me and the afternoon.» — Roberts enmienda su propia palabra: no inspiración sino un movimiento psicológico interior, tan definido como las sombras del suelo, que cambió la tarde

«My feelings “clicked;” the incident was significant; and it seemed to fit in too perfectly and meaningfully into the events just previous, as if saying “yes, you do operate magically” … and this is an example of how those perceptions work.» — Roberts adjudica sentido al episodio de la cámara: lo lee como ejemplo de que se opera mágicamente, y no como coincidencia

«If Rob hadn’t come in at that point, I wouldn’t have known that my thought about cameras had anything to do with his thoughts or activities at the same time. So how often do our thoughts relate in one way or another to the thoughts of others?» — Roberts saca del episodio la pregunta que lo generaliza: sin la entrada de su marido no habría sabido que su pensamiento se relacionaba con el de él, y cuántas veces pasará sin advertirse

«Seth’s “Framework 2” would be this magical area, of course, I thought. Yet except for the beginning of that (part) of Seth’s material, Framework 24 never really got through to me emotionally.» — Roberts identifica el área mágica con el Framework 2 de Seth y a la vez confiesa que ese material nunca la había alcanzado emocionalmente

«The magical orientation to reality would include intellectual activity. That went without saying, but the way of relating to life would be completely different too; the way of dealing with problems or health difficulties; of achieving goals and so forth would be drastically different.» — Roberts acota el alcance de la orientación mágica: incluye la actividad intelectual, pero cambia el modo de relacionarse con la vida, con los problemas y con la salud

«The magical orientation might be in direct conflict with our training in this and most present cultures. But it would be part of our natural way of looking at the world — a way that has been overlaid by our belief in the “rational” way of doing things.» — Roberts sitúa el conflicto en la cultura, no en la naturaleza: la orientación mágica es el modo natural, tapado por la creencia en el modo racional

«That way was proving to be not so rational at all, incidently.» — Roberts objeta al modo racional con una frase de paso, dejando la objeción sin desarrollar

«and who should know more about “magic” than Seth? Didn’t he emerge magically to begin with?» — Roberts hace de la aparición misma de Seth el argumento de su competencia sobre la magia

«It was okay. After the layoff, there was Seth poised psychologically once again (for over the thousandth time).» — Roberts describe el regreso de Seth después de la pausa y lleva la cuenta: más de mil veces

«Then I took off my glasses, “turned into” Seth, and began to speak. Bare legs propped up on the coffee table Rob sat, pen poised, and the session started.» — Roberts describe el paso al trance con verbos de acción simple —quitarse los lentes, convertirse en Seth, empezar a hablar— y sitúa a Butts con la pluma lista

«My hunch is that because of my state of mind — interpreting Rob’s dreams, and my reading of his notes, I was in a particular kind of correspondence with» — Roberts propone la explicación como conjetura, no como hecho: interpretar los sueños de su marido y leer sus notas la habría puesto en correspondencia con él; el tramo se corta en el cambio de plana y sigue en la 20

«him, or with his state of mind, that facilitated the inner communication.» — continuación de la conjetura anterior: es el estado mental del otro lo que facilita la comunicación interior

«Suppose — just suppose — I couldn’t start up again or I lost the knack as suddenly» — Roberts consigna su propia duda antes de la sesión: que no pudiera empezar de nuevo o perdiera la facultad; el tramo se corta en el cambio de plana y sigue en la 21

«as I’d acquired it (17 years before)? Or Seth spoke gibberish? I didn’t really worry that such things might happen, but I was uneasily aware that they could.» — continuación de la duda anterior: que Seth hablara sin sentido, cosas que no la preocupaban de veras y que sabía posibles; la guarda anticosido se apaga por el paréntesis con cifra de años, releído en el crudo

«Jane Roberts writes in The God of Jane: “Since late 1963, I’ve clocked approximately 4,000 hours of trancetime, during which the Seth sessions have been held twice weekly.» — la nota 1 a la introducción cita a Roberts en otro libro suyo, The God of Jane: la cuenta de horas de trance desde finales de 1963 y la periodicidad de dos sesiones por semana

«My trancetime is more concentrated than regular time. I’m not unconscious but conscious in a different way, at another level …» — Roberts, citada en la misma nota, describe el trance como tiempo más concentrado y como consciencia de otro modo, no como inconsciencia

«This state of perception has nothing to do with classical pathological dissociation; and its products — Seth’s five books — display a highly-developed intellect at work and give evidence of a special kind of creativity.» — Roberts, en la misma cita, niega que el estado sea disociación patológica clásica y ofrece como prueba los libros producidos

«In those trance hours I ‘turn into someone else.’ At least I am not myself to myself; I become Seth, or a part of what Seth is.» — Roberts formula el cambio con reservas sucesivas: se vuelve otro, o al menos deja de ser ella para sí misma, y es Seth o una parte de lo que Seth es

«I don’t feel ‘possessed’ or ‘invaded’ during sessions. I don’t feel that some superspirit has ‘taken over’ my body.» — Roberts niega tres descripciones corrientes de su estado: posesión, invasión y superespíritu que toma el cuerpo

«Instead it’s as if I’m practicing some precise psychological art, one that is ancient and poorly understood in our culture; or as if I’m learning a psychological science that helps me map the contours of consciousness itself …» — Roberts propone en su lugar dos analogías, arte psicológico antiguo y ciencia psicológica que cartografía la consciencia, y las deja las dos como comparación

«after all this time, I’m finally examining the trance view of reality and comparing it to the official views of science and religion.» — Roberts declara tardío su propio examen: comparar la visión del trance con las oficiales de la ciencia y la religión

«But the energy and power of this wave carries me above and below usual reality, sweeping me into contrasts that are microscopic and macroscopic by turns.» — Roberts añade el límite de la imagen anterior: la ola la lleva por encima y por debajo de la realidad usual, entre contrastes microscópicos y macroscópicos

«This is almost always an exhilarating experience, like riding some perfect gigantic ninth wave of energy, knowing exactly how and when to» — Roberts describe la entrada en trance como cabalgar una ola perfecta y saber exactamente cómo y cuándo; el tramo se corta en el límite de chunk dentro de la misma plana y sigue en *‘jump in’, and feeling absolutely safe and supported even when embarked upon such a strange psychological flight*

«The natural person is indeed the magical person, and you have both to some extent had very recent examples of such activity. You were, and are, trying to teach yourselves something.» — Seth, según Roberts, en la sesión uno, iguala a la persona natural con la persona mágica y sostiene que los dos interlocutores se estaban enseñando algo a sí mismos

«This is somewhat lengthy to unravel, but your behavior and experience, of course, is the result of your beliefs.» — Seth, según Roberts, en la sesión uno, deriva la conducta y la experiencia de las creencias

«has been a rather fascinating but mainly (underlined) hypothetical framework, in that neither of you have really been able to put it to any perceivable use in your terms.» — Seth, según Roberts, en la sesión uno, califica de hipotético el marco del Framework 2 mientras no se le halle uso perceptible

«This is not to say it has not been operating. You have not had the kind of feedback, however, that you want.» — Seth, según Roberts, en la sesión uno, distingue entre que el marco no opere y que no dé la retroalimentación que se espera de él

«The main point is indeed the importance of accepting (underlined) a different kind of overall orientation — one that is indeed not any secondary adjunct, but a basic part of human nature.» — Seth, según Roberts, en la sesión uno, sitúa la orientación mágica en la naturaleza humana y no como añadido secundario

«this involves an entirely different relationship of the self you know with time.» — Seth, según Roberts, en la sesión uno, hace del tiempo el eje: la orientación distinta es una relación distinta del yo conocido con el tiempo

«There is certainly a kind of natural physical time in your experience, and in the experience of any creature. It involves the rhythm of the seasons — the days and nights and tides and so forth.» — Seth, según Roberts, en la sesión uno, define el tiempo físico natural por el ritmo de estaciones, días, noches y mareas, común a toda criatura

«That is, to this natural rhythm you have culturally added the idea of clocks, moments and hours and so forth, which you have transposed over nature’s rhythms.» — Seth, según Roberts, en la sesión uno, señala el tiempo cultural de relojes y horas como algo transpuesto sobre los ritmos de la naturaleza

«Such a cultural time works well overall for the civilization that concentrates upon partialities, bits and pieces, assembly lines, promptness of appointments, and so forth. It fits an industrialized society as you understand it.» — Seth, según Roberts, en la sesión uno, concede su utilidad: el tiempo cultural sirve a una civilización de parcialidades, cadenas de montaje y puntualidad

«The time that any artistic creator is involved with follows earth’s own time, however. The creator’s time rises out of the seasons and the tides, even though in your society you make a great effort to fit the creator’s time into what I will call assembly-line time.» — Seth, según Roberts, en la sesión uno, opone el tiempo del creador, que sale de las estaciones y las mareas, al tiempo de cadena de montaje al que la sociedad lo obliga

«Particularly if you want to make a living at your art, you fall into the frame of mind in which you think that “each minute is valuable” — but what you mean is that each minute must be a minute of production. But each moment must be valuable in itself, whatever you do with it.» — Seth, según Roberts, en la sesión uno, enmienda la fórmula corriente: cada minuto valioso no quiere decir cada minuto de producción, sino cada momento valioso en sí

«but that natural time is far different than you suppose. Far richer, and it turns inward and outward and backward and forward upon itself.» — Seth, según Roberts, en la sesión uno, acota su propia figura: el tiempo natural es más rico de lo que se supone y se vuelve hacia dentro, hacia fuera, atrás y adelante

«Being your own natural and magical self when you dream, you utilize information that is outside of the time context experienced by the so-called rational mind.» — Seth, según Roberts, en la sesión uno, sitúa en el sueño el uso de información fuera del contexto temporal de la mente racional

«The creative abilities operate in the same fashion, appearing within consecutive time, but with the main work done outside of it entirely.» — Seth, según Roberts, en la sesión uno, aplica lo mismo a la creación: aparece dentro del tiempo consecutivo y su trabajo principal se hace enteramente fuera

«Now: We will, as always, begin in our own way.» — Seth, según Roberts, abre la sesión uno del 6 de agosto de 1980 con su fórmula de apertura; el troceo pierde la capitular *G* de *Good evening*, desplazada al encabezado

«When the projects were done, particularly with Ruburt, there was still the cultural belief that time should be so used (underlined), that creativity must be directed and disciplined to fall into the proper time slots.» — Seth, según Roberts, en la sesión uno, nombra la creencia cultural que queda cuando el proyecto termina: que la creación se dirija y se discipline por horarios

«This may work when manuscripts are being typed, and so much physical labor is involved, but overall you are using the “wrong” approach to time, particularly for any creative artist.» — Seth, según Roberts, en la sesión uno, acota dónde sirve el tiempo de cadena de montaje: en el trabajo físico de mecanografiar, no en la creación

«the “magical approach” means that you actually change your methods of dealing with problems, achieving goals, and satisfying means. You change over to the methods of the natural person.» — Seth, según Roberts, en la sesión uno, define la aproximación mágica como cambio efectivo de métodos para resolver problemas y alcanzar metas, no como doctrina

«They are not esoteric methods, but you must be convinced that they are the natural methods by which man is meant to handle his problems and approach his challenges.» — Seth, según Roberts, en la sesión uno, niega que esos métodos sean esotéricos y los llama los naturales del hombre

«I use the word “methods” because you understand it, but actually we are speaking about an approach to life, a magical or natural approach to life that is man’s version of the animal’s natural instinctive behavior in the universe.» — Seth, según Roberts, en la sesión uno, retira la palabra que acaba de usar: no son métodos sino una aproximación a la vida, versión humana del comportamiento instintivo del animal

«That approach does indeed fly in direct contradiction to the learned methods you have been taught. You have held on to those methods to varying degrees, since after all it seems that the world shares them.» — Seth, según Roberts, en la sesión uno, explica el apego a los métodos aprendidos por la apariencia de que el mundo entero los comparte

«It certainly seems that the best way to get specific answers is to ask specific questions, and the rational mind thinks first of all of something like a list of questions.» — Seth, según Roberts, en la sesión uno, describe el reflejo de la mente racional ante la necesidad de respuestas: hacer una lista de preguntas

«he must to some degree (underlined) forget the questions and the mood that accompanies them with one level of his consciousness, in order to create the proper kind of atmosphere at another level of consciousness — an atmosphere that allows the answers to come even though they may be presented in a different way than that expected by the rational mind.» — Seth, según Roberts, en la sesión uno, pide olvidar las preguntas en un nivel de la consciencia para crear en otro la atmósfera en que las respuestas llegan de otro modo

«Trying to fit the great thrust of creativity into assembly-line time is in itself bound to lead to conflicts, dissatisfactions, and frustrations.» — Seth, según Roberts, en la sesión uno, deriva conflicto, insatisfacción y frustración de meter el impulso creativo en el tiempo de cadena de montaje

«You do not say to the creative self, “Now it is 7:30. People are at their assembly lines. I am at my desk: produce.”» — Seth, según Roberts, en la sesión uno, pone en escena lo que no se le dice al yo creativo: la hora, la cadena y la orden de producir

«Assembly-line time does not really value time — only as time can be used for definite prescribed purposes. In that framework, to enjoy time becomes a weakness or a vice» — Seth, según Roberts, en la sesión uno, sostiene que el tiempo de cadena no valora el tiempo sino su uso prescrito, y que en ese marco gozarlo pasa por debilidad o vicio

«With creative people strongly gifted, as in your cases, the natural person is very prominent, no matter what you do.» — Seth, según Roberts, en la sesión uno, sostiene que en los muy dotados la persona natural queda prominente haga lo que haga

«It knows, for example, how to enjoy each day, how to collect creative insights from each and every encounter, how to enrich itself physically through household chores or other activities.» — Seth, según Roberts, en la sesión uno, enumera lo que la persona natural sabe: gozar cada día, recoger hallazgos de cada encuentro y enriquecerse con las labores domésticas

«The natural person is anything but irrational. It gathers all of experience together and transforms it,» — Seth, según Roberts, en la sesión uno, niega que la persona natural sea irracional: reúne toda la experiencia y la transforma

«I say wrong, meaning no moral judgment, but the application of one method to a pursuit that cannot be adequately expressed in such a fashion.» — Seth, según Roberts, en la sesión uno, retira el juicio moral de la palabra que acaba de usar: lo erróneo es aplicar un método a lo que no se expresa así

«The orientation that gives you the creative achievement lies in the opposite direction.» — Seth, según Roberts, en la sesión uno, sitúa la orientación del logro creativo en dirección contraria a la anterior

«Creativity itself has its own built-in discipline, the kind that, for example, in a dream can rummage through the days of the future to find precisely the data required to make a specific point.» — Seth, según Roberts, en la sesión uno, atribuye a la creación una disciplina propia y la ejemplifica con el sueño que rebusca en los días del futuro el dato preciso

«he took the rational approach — and it says that to solve the problem you worry about it.» — Seth, según Roberts, en la sesión uno, resume el método racional en una frase: para resolver el problema, preocuparse por él

«At the same time the natural person did emerge. Ruburt followed his impulses and interpreted your dreams — all of which led you both into fresh creative activity. But it was not work, you see.» — Seth, según Roberts, en la sesión uno, describe lo que hizo la persona natural —seguir impulsos e interpretar sueños— y lo separa del trabajo

«True creativity comes from enjoying the moments, which then fulfill themselves, and a part of the creative process is indeed the art of relaxation, the letting go, for that triggers magical activity, and that is what Ruburt must learn.» — Seth, según Roberts, en la sesión uno, hace del relajarse y el soltar parte del proceso creativo y disparador de la actividad mágica

«I want it understood that we are indeed dealing with two entirely different approaches to reality and to solving problems — methods we will here call the rational method and the magical one.» — Seth, según Roberts, en la sesión uno, fija los dos nombres del par que estructura el libro: el método racional y el mágico

«The rational approach works quite well in certain situations, such as mass production of goods, or in certain kinds of scientific measurements — but all in all the rational method, as it is understood and used, does not work as an overall approach to life, or in the solving of problems that involve subjective rather than objective measurements or calculations.» — Seth, según Roberts, en la sesión uno, acota el método racional en vez de negarlo: sirve a la producción en masa y a ciertas medidas científicas, y no a los problemas subjetivos

«Those methods work least of all for any art. It is a trite statement, perhaps, but the ruler’s measurements have absolutely nothing to do with the measurements made by the heart, and they can never be used to express the incalculable measurements that are made automatically by the smallest cell.» — Seth, según Roberts, en la sesión uno, opone la medida de la regla a la del corazón y a las de la célula más pequeña

«The rational mind alone, as it is presently used (because it is a rather artificial construct, a function given prominence» — Seth, según Roberts, en la sesión uno, llama constructo artificial y función a la que se dio prominencia a la mente racional tal como hoy se usa

«Ruburt kept a strong rational approach to make sure that he was keeping his psychic activity in line, because in your society this seemed the only rational thing to do (ironically).» — Seth, según Roberts, en la sesión uno, señala el motivo social de la vigilancia racional sobre la actividad psíquica, y Butts anota la ironía con que lo dice

«The old beliefs, of course, and the rational approach, are everywhere reinforced, and so it does indeed have a great weight. The magical approach has far greater weight, if you use it and allow yourselves to operate in that fashion, for it has the weight of your basic natural orientation.» — Seth, según Roberts, en la sesión uno, reconoce el peso social de las creencias viejas y opone a él el peso de la orientación natural

«It is good to be back with you again. End of session, and a fond and magical good evening to you both.» — Seth, según Roberts, cierra la sesión uno con su fórmula de despedida

«Any event, therefore, has an invisible thickness, a multidimensional basis. Your skies are filled with breezes, currents, clouds, sunlight, dust particles and so forth. The sky vaults above the entire planet. The invisible [vault of] Framework 2 contains endless patterns that change as, say, clouds do — that mix and merge to form your psychological climate.» — Seth, según Roberts, en la sesión 826 citada por Butts en nota, atribuye a todo acontecimiento un espesor invisible y compara el Framework 2 con un cielo de nubes que forman el clima psicológico

«Thoughts have what we will for now term electromagnetic properties. In those terms your thoughts mix and match with others in Framework 2, creating mass patterns that form the overall psychological basis behind world events.» — Seth, en la misma sesión citada, atribuye a los pensamientos propiedades electromagnéticas y los hace mezclarse en el Framework 2 hasta formar la base de los sucesos del mundo

«The assembly-line time and the beliefs that go along with it» — Seth, según Roberts, en la sesión uno, nombra el tiempo de cadena y sus creencias; el tramo se corta en el cambio de plana y sigue en la 30 con *(knocking the table) rationally be applied to creative endeavors*

«It is a growth medium. Constructive or ‘positive’ feelings or thoughts are more easily materialized than ‘negative’ ones because they are in keeping with Framework 2’s characteristics.» — continuación de la cita anterior: Seth llama medio de crecimiento al Framework 2 y sostiene que lo positivo se materializa con más facilidad que lo negativo por concordar con sus características

«Again, however, Framework 2 is not neutral,» — Seth, en la misma cita de Butts, niega la neutralidad del Framework 2; el tramo se corta en el cambio de plana y sigue en la 34 con *but automatically inclined toward what we will here term good or constructive developments*

«The intellect is brilliant, but on its own, now (underlined), it is indeed in its way isolated both in time and in space in a way that other portions of the personality are not. When it is overly stressed, with all of the usual frameworks or rationales that go along with it, it can indeed become frightened, paranoid, because it cannot really perceive events until they have already occurred.» — Seth, según Roberts, en la sesión dos, explica el miedo del intelecto por su aislamiento en el tiempo y en el espacio: no percibe los sucesos hasta que ya ocurrieron

«It does not know what will happen tomorrow, and since it is overly stressed, its paranoid tendencies can only fear the worst.» — Seth, según Roberts, en la sesión dos, deriva el temor a lo peor de la ignorancia del mañana sumada al esfuerzo excesivo

«Now those tendencies are not natural to the intellect, but only appear when it is forced to operate in such an isolated fashion — isolated not only in time and space, but psychologically isolated from other portions of the personality that are meant to bring it additional information that it does not possess, and a kind of magical support.» — Seth, según Roberts, en la sesión dos, retira la paranoia de la naturaleza del intelecto y la atribuye al aislamiento en que se lo obliga a operar

«The so-called rational approach to life, as it is practiced, is a highly pessimistic one, carrying along with it its own methods and “solutions” to problems, its own means of achieving ends and satisfying desires.» — Seth, según Roberts, en la sesión dos, llama pesimista al enfoque racional tal como se practica, con sus propios métodos, soluciones y medios

«Many people are so steeped in that approach to life that they become psychologically blind to any other kind of orientation.» — Seth, según Roberts, en la sesión dos, describe el efecto de estar empapado en ese enfoque: ceguera psicológica a cualquier otra orientación

«The rational approach of course suits certain kinds of people better than others, even while it still carries its disadvantages. You have been living in an industrialized, scientific society, so that the benefits and the great disadvantages of the rational approach appear everywhere in the social and political world.» — Seth, según Roberts, en la sesión dos, concede que el enfoque racional sienta mejor a unos que a otros y lo sitúa en una sociedad industrializada y científica

«Artists of any kind find such an approach the least friendly, for it directly contradicts the vast thrust of man’s creativity in several important areas.» — Seth, según Roberts, en la sesión dos, declara ese enfoque el menos amistoso para cualquier artista por contradecir el empuje de la creatividad

«It seems, because of the definitions you have been taught, that there is only one narrow kind of rationality, and that if you forsake the boundary of that narrow definition, then you become irrational, fanatic, mad, or whatever (all very emphatically).» — Seth, según Roberts, en la sesión dos, señala el efecto de la definición estrecha de racionalidad: salir de ella parece volver a uno irracional, fanático o loco

«The thin, cold “rationality” that is recognized as such is instead a fake veneer covering a far deeper spontaneous rationality, and it is the existence of that magical rationality that provides the basis for the intellect to begin with.» — Seth, según Roberts, en la sesión dos, llama chapa a la racionalidad reconocida y pone debajo una racionalidad espontánea que es la que funda el intelecto

«The rationality that you accept is then but one small clue as to the spontaneous inner rationality that is a part of each natural person.» — Seth, según Roberts, en la sesión dos, reduce la racionalidad aceptada a un indicio de la racionalidad interior espontánea de toda persona natural

«Now: In one dream when you were asleep, when you were seemingly not rational, when your intellect was seemingly not operating, you perceived information about your past physical environment.» — Seth, según Roberts, en la sesión dos, usa el sueño de Butts como prueba: información sobre el entorno físico pasado percibida sin intelecto operando

«You are also somewhat idealizing the past, however, so you did not simply get the information “straight on,”» — Seth, según Roberts, en la sesión dos, acota la lectura del sueño: la idealización del pasado deformó la información en vez de darla de frente

«It shows you that the rules of the rational world are filled with holes. It shows you that the rational world’s views do not represent the bulwarks of safety, but are instead barriers to the full use of the intellect, and of the intuitions.» — Seth, según Roberts, en la sesión dos, invierte el papel de las reglas racionales: no son baluartes de seguridad sino barreras al uso pleno del intelecto y de las intuiciones

«You came out as if in answer. As if to say, “Yes, the magical approach does indeed operate, and this is how.”» — Seth, según Roberts, en la sesión dos, lee el episodio de la cámara como respuesta y lo pone en boca del propio acontecimiento

«Now when you understand that intellectually, then the intellect can take it for granted that its own information is not all the information you possess. It can realize that its own knowledge represents the tip of the iceberg.» — Seth, según Roberts, en la sesión dos, formula lo que el intelecto puede admitir sin dejar de ser intelecto: que su conocimiento es la punta del iceberg

«Good evening. It is not that you overuse the intellect as a culture, but» — Seth, según Roberts, abre la sesión dos precisando su propia objeción: el problema no es usar demasiado el intelecto como cultura; el tramo se corta en el cambio de plana y sigue en la 36 con *that you rely upon it to the exclusion of all other faculties in your approach to life*

«You did not think you were dealing with fiction. On the other» — Seth, según Roberts, en la sesión dos, saca el material del par ficción y hecho; el tramo se corta en el cambio de plana y sigue en la 37 con *hand, you were not willing to call it fact, either*

«hand, you were not willing to call it fact, either. You are, in fact, dealing with a larger version of fact from which — as I have said before — the world of fact emerges.» — continuación de lo anterior: Seth llama al material versión más grande del hecho, de la que el mundo del hecho emerge

«intellect can then realize that it does not have to go it all alone: Everything does not have to be reasoned out, even to be understood.» — Seth, según Roberts, en la sesión dos, formula lo que el intelecto puede soltar: que no todo tiene que razonarse para entenderse; el tramo arranca descabezado por el cambio de plana, y la frase empieza en la 38 con *Everything does not have to be reasoned out*

«This information is factual. I am not saying that I do not use analogies often, or that I am not forced at times into symbolic statements, but when I am I always say so, and even those statements are my best representations of facts too large for your definitions.» — Seth, según Roberts, en la sesión dos, reclama carácter factual para lo que dice y a la vez declara cuándo habla por analogía: dice que avisa, y llama a esas frases representaciones de hechos demasiado grandes

«The intellect, then, can and does form strong paranoid tendencies when it is put in the position of believing that it must solve all personal problems alone — or nearly — and certainly when it is presented with any picture of worldwide predicaments.» — Seth, según Roberts, en la sesión dos, sitúa el origen de la paranoia del intelecto en la creencia de que ha de resolver solo todos los problemas

«The rational approach, built up around this framework, insists that the best way to solve a problem is to concentrate upon it, to project its effects into the future, to ruminate upon its consequences, “to stare at the bare facts head on.”» — Seth, según Roberts, en la sesión dos, enumera lo que el enfoque racional manda hacer con un problema: concentrarse, proyectarlo al futuro y rumiar sus consecuencias

«This brings about an atmosphere in which the problem is compounded. The intellect on its own — so it seems — must deal not only with the problem today, but with its effects in the projected disastrous tomorrows. This well-intentioned concentration, this determination to solve the problem, this rational approach, then causes an even deeper sense of inadequacy.» — Seth, según Roberts, en la sesión dos, sostiene que esa concentración bienintencionada agrava el problema y produce sensación de insuficiencia

«The concentration upon the problem brings about a kind of mechanical repetition, a repeated type of hypnotic focus.» — Seth, según Roberts, en la sesión dos, llama repetición mecánica y foco hipnótico a la concentración sostenida en el problema

«The intellect is a great organizer — along certain lines, now — so if this concentration is continued it begins to organize its perceptions and experience along the same lines.» — Seth, según Roberts, en la sesión dos, acota el elogio: el intelecto organiza bien, y por eso organiza también las percepciones según la línea en que se lo concentra

«It is a kind of misguided attempt to find order by finding data that agrees with itself. It collects evidence, then, to prove its point, because the rational mind, as you understand it, must have an acceptable reason for everything (underlined) (all intently).» — Seth, según Roberts, en la sesión dos, describe cómo se junta la evidencia que concuerda: la mente racional exige una razón aceptable para todo

«In the meantime, of course, quite valid rockbed evidence that does not fit into the picture gradually becomes discarded, ignored, thrown away. It is there but it is not used. It disappears as evidence, becomes inactive.» — Seth, según Roberts, en la sesión dos, señala el reverso del proceso: la evidencia firme que no encaja se descarta y deja de contar como evidencia

«That method of problem-solving, need I say, is a poor one, and if anything it causes far more problems than it ever solves.» — Seth, según Roberts, en la sesión dos, califica ese método de resolución de pobre y le atribuye más problemas de los que resuelve

«Any improvement, unless stated, is almost overlooked, not considered as much hard evidence, while any difficulties definitely are considered hard evidence because they fit into the overall data-collecting intellect, as stated above. They are significant, while the improvements do not seem to be nearly as much so.» — Seth, según Roberts, en la sesión dos, aplica el mecanismo al cuerpo de Roberts: la mejoría pasa por trivial y la dificultad por evidencia dura

«He must be in correspondence with the evidence of mobility that his body tries to give him, so that it can build up a new picture of his body.» — Seth, según Roberts, en la sesión dos, pide poner a Roberts en correspondencia con la evidencia de movilidad que su propio cuerpo le da

«If you understand this session thoroughly, and if you have the intent to really change your orientation, then the atmosphere will automatically be created in which desired changes occur.» — Seth, según Roberts, en la sesión dos, pone la condición del cambio en la intención de cambiar la orientación, no en un procedimiento

«You change your focus point. You change what you consider» — Seth, según Roberts, cierra la sesión dos con la instrucción más corta del volumen: cambiar el punto de foco y lo que se considera; el tramo se corta en el cambio de plana y sigue en la 41 con *significant*

«This session brings us to the beginning of a discussion of the magical approach to life, to the solving of problems. I hope to stress what to do, rather than what not to do» — Seth, según Roberts, en la sesión dos, anuncia el método del libro: subrayar qué hacer antes que qué no hacer, con la salvedad de que a veces tendrá que marcar la distinción

«I hadn’t consciously known about the situation in any way. Indeed, I haven’t been to Sayre in many months, even though my old home town is only 18 miles away. Jane hasn’t been in our car for some time now, and I leave her alone in the house as little as possible.» — Butts declara lo que sostiene el argumento: no tenía noticia consciente del asunto, y hacía meses que no iba al pueblo

«Rob’s dream states quite clearly, precognitively, about the pollution of the Brenner property from the supermarket just up the street. Many of Rob’s dreams have involved a nostalgic view of the past, plus questions of safety and danger. I think he picked up on the precognitive element to show himself that his pictures of the past were too idealistic.» — Jane Roberts interpreta el sueño de su marido en la nota: lo llama precognitivo y le atribuye el fin de corregir una imagen demasiado idealizada del pasado

«The letter-writer described several well-known esoteric organizations that he belonged to — while also asking for personal help from Jane. ‘He wants magic,’ Jane said.» — Butts consigna la frase de Roberts que desata el libro, dicha ante la carta de un corresponsal que pertenecía a varias organizaciones esotéricas

«The insight that flashed into my consciousness was that human beings haven’t changed either, really, that our more complicated mental processes only make it seem that we have. Coupled with this is the idea that magic, as we call it, reflects a basic part of our natural mental equipment and abilities, but that our present course of action, our focusing upon the material and the intellectual — the ‘reasonable’ portions of our psyche — has created artificial divisions, in which magic seems quite ‘unreasonable’ or unreal. Actually, our need for magic is a very real, vital, and integral portion of our psyches.» — Butts enuncia su hallazgo: que el ser humano no ha cambiado, que la magia refleja parte del equipo mental natural y que el foco en lo material y lo intelectual creó divisiones artificiales

«The conscious idea of magic, then, is a mask, or contrived version, of the psyche’s innate clairvoyant, telepathic, and precognitive abilities. We permit distorted versions of those attributes to surface as magic, as entertainment — which thus relieves us of the need to take them seriously. That’s the course our species has chosen during much of our recorded history, so far, and for many reasons.» — Butts define la idea consciente de magia como máscara de las facultades clarividente, telepática y precognitiva, y sitúa en el entretenimiento el permiso para no tomarlas en serio

«And yes, the situation can be reversed, too: Seth can get irritated/frustrated with Jane and me. This excerpt is from the private session of November 11, 1979: “… the same kind of reactions, however, are involved in all activities, and it is sometimes frustrating for me that you cannot perceive the fascinating facets of any event.» — Butts consigna en nota el reverso: una sesión privada de 1979 en que Seth declara su propia frustración ante lo que los dos no perciben

«You still — and I do not simply mean you two alone — do not feel the unsurpassable force that thoughts have. You do not understand that they do form events, that to change events you must first change thoughts. You get what you concentrate upon.”» — Seth, según Roberts, en la sesión privada del 11 de noviembre de 1979 citada en nota, hace de los pensamientos la fuerza que forma los sucesos y cierra con la fórmula de que se obtiene aquello en que se concentra

«The statue of the deer represents that idealistic image of the past;» — Roberts lee la estatua rota como la imagen idealizada del pasado; el tramo se corta en el cambio de plana y sigue en la 44 con *finding it broken in Brenner’s yard connects its real environment*

«The statue of the deer, an inanimate animal, contrasts with the waste left by a living animal. Idealized ones, statues, don’t leave waste, but they don’t live either.» — Roberts opone en la misma interpretación lo inanimado, que no deja desecho, a lo vivo, que sí: la estatua no ensucia y tampoco vive

«Now: I myself have heard it said that all other species preserve nature, while man has a propensity for destroying it.» — Seth, según Roberts, abre el argumento de la sesión tres citando la opinión corriente: que toda especie preserva la naturaleza salvo el hombre

«I have myself heard it said that other creatures behave with a natural grace, save man. I have myself heard it said that all of nature is (pause) content unto itself save man, who is filled with discontent. Such thoughts follow “naturally” the dictums of so-called rational thought.» — Seth, según Roberts, en la sesión tres, apila tres versiones de la misma opinión y las atribuye a los dictados del pensamiento racional

«When you think such thoughts, you think of them at the most strained level of intellectual speculation — that is, the thoughts seem self-evident to the intellect that is forced to operate by itself, relatively speaking, divorced from the self’s other faculties.» — Seth, según Roberts, en la sesión tres, explica por qué esas opiniones parecen evidentes: se piensan en el nivel más forzado del intelecto separado de las demás facultades

«It then does indeed seem that man is somehow apart from nature — or worse, an ungrateful blight, almost a parasite, upon the face of the planet.» — Seth, según Roberts, en la sesión tres, enuncia la conclusión que de ahí se sigue: el hombre aparte de la naturaleza, o plaga ingrata sobre el planeta

«That view itself is a symptom of the intellect’s difficulty. In the position in which your culture places the intellect, it does (underlined) see itself quite alone, separated both from other portions of the personality, from other creatures, and from nature itself.» — Seth, según Roberts, en la sesión tres, invierte el sentido de esa visión: es síntoma de la dificultad del intelecto, no diagnóstico del hombre

«Therefore science, for example, says that creatures — except for man — operate by blind instinct, and that term is meant to explain all of the complicated behavior of the other species. Therefore the gulf between man and animals, the intellect and nature, seems to deepen.» — Seth, según Roberts, en la sesión tres, señala el ciego instinto con que la ciencia explica la conducta de las demás especies y el abismo que de ahí resulta

«In those terms (underlined), it is quite as truthful to say — as I have said before — that man’s intellect is also instinctive. He begins thinking at once. He cannot help but use his intellect.» — Seth, según Roberts, en la sesión tres, aplica al hombre el término que se reservaba a los animales: el intelecto es también instintivo, y se empieza a pensar de inmediato

«The intellect, again, operates magically, spontaneously, automatically. Its most keen reasoning processes rise as a result of that natural magical action» — Seth, según Roberts, en la sesión tres, hace del razonamiento más agudo un producto de la acción mágica natural

«The intellect has been taught to divorce itself from its source. It realizes in that regard a sense of powerlessness, for to some extent it is philosophically cut off from its own source of power.» — Seth, según Roberts, en la sesión tres, explica la impotencia del intelecto por un corte filosófico respecto de su fuente

«Man makes many decisions that may seem quite wrong to the intellect because of its belief systems, and because it is so cut off from other sources of information. A goodly number of those mistaken decisions, or “poor moves,” often represent self-corrective actions, decisions taken on knowledge not consciously perceived, but this escapes your consciousness.» — Seth, según Roberts, en la sesión tres, relee como acción correctiva lo que el intelecto juzga mala decisión; el troceo imprime aquí la última frase con las palabras en renglones sueltos, y así se conserva

«The rational approach, as it is now used, carries a basic assumption that anything that is wrong will get worse.» — Seth, según Roberts, en la sesión tres, nombra el supuesto básico del enfoque racional: que lo que está mal empeorará

«Were this the case in your terms of history, the world would never have lasted a century. It is interesting to note that even before medical science, there were a goodly number of healthy populations. No disease rubbed out the entire species.» — Seth, según Roberts, en la sesión tres, objeta ese supuesto con la duración misma del mundo y con las poblaciones sanas anteriores a la medicina

«When you believe that the worst will happen you must always be on guard. In your culture people use the term “intellect” almost like a weapon to protect themselves against impending disaster. They must be alert for dangers of all kinds. They begin to collect evidence of danger so that any other kind of orientation to life seems foolhardy, and to be a realist means in that framework to look out for the worst.» — Seth, según Roberts, en la sesión tres, describe el uso del intelecto como arma contra el desastre y la recolección de evidencia de peligro que de ahí se sigue

«First of all, if you realize that the intellect itself is a part of nature, a part of the natural person, a part of magical processes, then you need not overstrain it, force it to feel isolated, or put it in a position in which paranoid tendencies develop.» — Seth, según Roberts, en la sesión tres, da la salida por la vía contraria: reconocer el intelecto como parte de la naturaleza y de los procesos mágicos

«That power is working in the world, and in the world of politics, as it is in the world of nature, since you make that distinction.» — Seth, según Roberts, en la sesión tres, extiende ese poder al mundo de la política y marca que la distinción entre política y naturaleza la pone el interlocutor

«When you follow that so-called rational approach, however, you are bound to feel threatened, divorced from your body. Your thoughts and your body seem separate. Divisions seem to appear between the mental and the physical, where again each are supported by those magical processes. That rational approach goes against what I can only call life’s directives and life’s natural rhythms. It is contradictory to biological integrity, and again, it does not make sense.» — Seth, según Roberts, en la sesión tres, enumera los efectos del enfoque racional: sentirse amenazado, divorciado del cuerpo, con divisiones entre lo mental y lo físico, en contra de los ritmos de la vida

«I do not mean to put down the intellect. It is highly important, but it is, if you will forgive me, as natural as a cat’s whiskers. It is not some adjunct to nature, but a part of it.» — Seth, según Roberts, en la sesión tres, acota su propia crítica con una figura doméstica: el intelecto es tan natural como los bigotes de un gato, y no un añadido a la naturaleza

«This sounds very simple. In verbal terms, however, those are the beliefs (if you will) of each c-e-l-l (spelled). They are imprinted in each chromosome, in each atom.» — Seth, según Roberts, en la sesión tres, traslada esas creencias a la célula, al cromosoma y al átomo, y llama creencias a lo que ahí opera

«They provide a built-in faith that pervades each living creature, each snail, each hair on your head. Those ingrained beliefs are, of course, biologically pertinent, providing the impetus of all growth and development.» — Seth, según Roberts, en la sesión tres, llama fe incorporada a lo que impulsa el crecimiento en cada criatura y en cada cabello

«Each cell (pause) believes in a better tomorrow (quietly, with amusement). I am, I admit, personifying our cell here, but the statement has a firm truth.» — Seth, según Roberts, en la sesión tres, declara que personifica la célula y sostiene a la vez la verdad firme de lo dicho

«Furthermore, each cell contains within itself a belief and an understanding of its own inevitability. It knows it lives beyond its death, in other words.» — Seth, según Roberts, en la sesión tres, atribuye a la célula la comprensión de su propia inevitabilidad y el saber que vive más allá de su muerte

«The idea of heaven, for all of its distortions, has operated as a theoretical framework, assuring the intellect of its survival.» — Seth, según Roberts, en la sesión tres, lee la idea del cielo como armazón teórico que aseguraba al intelecto su supervivencia, sin juzgar sus distorsiones

«All of these reasons lie beneath man’s mass problems, and apply in each life. I want to note, again, that Ruburt earlier decided to bank on his intellect as a child, rather than upon beauty» — Seth, según Roberts, en la sesión tres, pasa de los problemas de masa al caso privado: la decisión de Roberts, de niña, de apostar por el intelecto y no por la belleza

«He also felt that the questioning power of the intellect was not just one of its functions — which it is — but its primary purpose, which it is not. In your terms the intellect’s primary function is to make clear deductions and distinctions involving the personality’s relationship with the world.» — Seth, según Roberts, en la sesión tres, enmienda una función por otra: la de cuestionar es una función del intelecto, no la principal, que es deducir y distinguir en la relación con el mundo

«Your society, however, has indeed considered the rational approach to be the masculine-favored one — so Ruburt had an additional reason in that regard to be such a proponent of the rational approach. All of the beliefs connected with the sex were of course erroneous, but they were part and parcel of that “rational” framework itself.» — Seth, según Roberts, en la sesión tres, señala la marca de sexo del enfoque racional en esa sociedad y llama erróneas a las creencias que la acompañan sin salir del marco que las produce

«It is certainly too simple to say what I am going to say, yet it is almost as if you would be better off turning the entire rational approach upside down, taking it for granted that all of its assumptions were false, for they are indeed more false than true (intently).» — Seth, según Roberts, en la sesión tres, avisa de la simplificación antes de hacerla: que casi convendría dar por falsos todos los supuestos del enfoque racional

«Again, you see, the divisions are arbitrary on your part. The intellect is, again, the result of highly spontaneous processes of which it itself knows nothing, and the intuitions that are considered so undisciplined and unreasonable are based upon calculations far more spectacular than those of which the conscious mind can conceive.» — Seth, según Roberts, en la sesión tres, llama arbitrarias las divisiones y atribuye a las intuiciones cálculos más espectaculares de los que la mente consciente concibe

«distinctions are not basic: They are the result of beliefs and habitual usage. Therefore, of course, I speak of them separately, as you think of them.» — Seth, según Roberts, en la sesión tres, declara que habla por separado de intelecto e intuición solo porque así se piensan, y que la distinción no es básica

«The magical approach takes it for granted that the human being is a united creature, fulfilling purposes in nature even as the animals do, whether or not those purposes are understood.» — Seth, según Roberts, en la sesión tres, define al hombre como criatura unida que cumple propósitos en la naturaleza como los animales

«The magical approach takes it for granted that each individual has a future, a fulfilling one, even though death may be tomorrow.» — Seth, según Roberts, en la sesión tres, pone el futuro cumplido dentro de la definición y le añade el límite de la muerte posible mañana

«It is itself supported, as your intuitions are,» — Seth, según Roberts, en la sesión tres, sostiene que el intelecto está sostenido igual que las intuiciones; el tramo se corta en el cambio de plana y sigue en la 49 con *by life’s magical processes*

«believed to the contrary in the utter annihilation of the intellect after death, and since man had by then placed all of his identification with the intellect, this was a shattering blow to it. It denied man a necessary biological imperative (all intently).» — Seth, según Roberts, en la sesión tres, consigna la creencia contraria de la ciencia —la aniquilación total del intelecto tras la muerte— y la llama golpe demoledor por negar un imperativo biológico; el tramo arranca descabezado, y la frase empieza en la 49 con *Science has*

«The magical approach takes it for granted that the means for development are within» — Seth, según Roberts, en la sesión tres, sitúa dentro de cada individuo los medios del desarrollo; el tramo se corta en el límite de chunk y sigue en la misma plana con *each individual, and that fulfillment will happen naturally*

«each individual, and that fulfillment will happen naturally. Overall, that approach operates in your world. If it did not, there would be no world.» — Seth, según Roberts, en la sesión tres, convierte la existencia del mundo en prueba de que el enfoque mágico opera en él

«If the worst was bound to happen, as the scientists certainly think, even evolution, in their terms, would have been impossible, of course — a nice point to put somewhere (all intently).» — Seth, según Roberts, en la sesión tres, objeta a los científicos con su propia doctrina: si lo peor hubiera de ocurrir, la evolución habría sido imposible

«You needed this background, for I want to build up the atmosphere in which this magical approach can be comprehended. Then specific material can be utilized.» — Seth, según Roberts, en la sesión tres, declara el orden de su exposición: primero la atmósfera en que el enfoque mágico se comprende, después lo específico

«The dream is above all an example of “work” being done at other levels of awareness.» — Seth, según Roberts, en la sesión tres, llama trabajo, entrecomillado, a lo que ocurre en otros niveles de consciencia durante el sueño

«all of these experiences are indications of the exquisite kind of reasoning that goes on at the levels of awareness that are usually considered unreasonable.» — Seth, según Roberts, en la sesión tres, llama razonamiento exquisito a lo que ocurre en los niveles que se tienen por irrazonables

«One note: Do have Ruburt tell you how he is doing moodwise, for now you can help him there. He must realize that relaxation is also a part of the creative process. Left alone, he would do “the right thing.”» — Seth, según Roberts, en la sesión tres, hace de la relajación parte del proceso creativo y confía en lo que Roberts haría si se la dejara sola

«I wish you a magically content evening. My heartiest regards to you» — Seth, según Roberts, cierra la sesión tres con su fórmula de despedida; el tramo se corta en el cambio de plana y la palabra *both* queda en la 52

«I can’t remember any of that,” Jane said. “I just know I didn’t have any of that in my head before the session.”» — Jane Roberts, citada por Butts al salir del trance, declara no recordar nada de lo dictado y saber que no lo tenía en la cabeza antes

«Have you ever noticed,’ I said to Jane the other day, ‘that everything on earth remains the same except human activity?’» — Butts formula en su nota la idea de la que sale el material: que todo en la tierra permanece igual salvo la actividad humana

«It’s one of my favorite notions, and one from which I draw — with my own kind of perverse humor, it seems — great comfort and stability.» — Butts declara el efecto que esa idea le produce, consuelo y estabilidad, y llama perverso a su propio humor

«I don’t care whether or not it’s a profound thought; it has meaning for me.» — Butts renuncia a la profundidad de la idea y se queda con su significado para él

«But as far as I know, we humans are the only species that’s obsessed with ‘change’, and ‘progress’, and ‘controlling or mastering nature’; with learning about our past and with charting our future.» — Butts enumera las obsesiones que atribuye en exclusiva a la especie humana: el cambio, el progreso, el dominio de la naturaleza y el pasado y el futuro propios

«We strive toward an impossible, or at least rosy, future in which we will have met all of our challenges, so that we’ll live in some sort of unreal wonderland on earth. What do we do next — or will we give up on that idea too? Perhaps we’ll spend all of our time contemplating each other!» — Butts describe el futuro al que dice tenderse y lo deja en pregunta sobre qué se hará después

«If Jane and I and our house evaporated between one day and the next, and our lot was magically transformed into its native habitat, the birds would simply switch to ‘natural’ seeds instead of consuming the sunflower seeds, millet and other grain products that our marketplace so conveniently packages for them.» — Butts sostiene con el ejemplo de los pájaros del comedero que la desaparición de lo humano no alteraría la conducta de las demás especies

«Would those feathered species remember us? Why impose our concerns and habits upon them?» — Butts deja en dos preguntas el límite de su propio argumento: si los pájaros recordarían y por qué imponerles preocupaciones humanas

«Each species lives within its environment, whatever its conditions. And I think that in its way each life form must know that and love its home, and has no desire to change or destroy it.» — Butts atribuye a cada forma de vida el conocimiento y el amor de su casa, y la ausencia de deseo de cambiarla

«So what about acid rain, say, to name but one human creation that’s having a strong effect upon the earth’s surface and aerial environments? We’re told that it’s now evident in a number of places on earth — often downwind from certain kinds of industrial activity.» — Butts objeta a su propio argumento con la lluvia ácida como creación humana de efecto fuerte sobre la superficie y el aire

«As to be expected, industry owners and operators maintain that their plants have little or nothing to do with the creation of the dead lakes in the Adirondacks in New York State, for example, or in certain Canadian provinces across the Great Lakes.» — Butts consigna la posición de los dueños de la industria sobre los lagos muertos sin arbitrar entre ellos y los demás

«Were there acid rains and dead lakes in Europe in the 1700s, for instance? There may have been, for all I know. …”» — Butts cierra su nota con una pregunta histórica que declara no poder responder; la guarda anticosido se apaga por la cifra de año, releída en el crudo

«Boy, Seth,” I thought after tonight’s session, “did I go overboard in that piece! You helped me understand some things, yet what I wrote still contains truth for me, too.» — Butts se dirige a Seth en su nota, reconoce haber ido lejos y mantiene a la vez lo escrito; el tramo se corta en el cambio de plana y sigue en la 55 con *we human beings have the blessed creative capacity to do so much better*

«Another great dream of Rob’s. In our sessions lately Seth has been talking about the natural self or natural person, saying that it is also the» — Jane Roberts interpreta el sueño de los cómics y lo ancla en lo que Seth venía diciendo, que la persona natural es también la persona mágica; el tramo se corta en el cambio de plana y sigue en la 57 con *magical person*

«His closest connection to magic would be his comics experience when he drew Captain Marvel — a magical character. The resulting image, in two parts, shows that the idea is almost completed in his mind, just needing to be put together.» — Roberts identifica en la interpretación la conexión del soñante con la magia y lee la imagen en dos partes como idea casi terminada

«later in the night, last night, I became aware of a mental conversation between Mary and myself. She was saying that she wanted to visit, and then said she wanted to stay overnight. I became somewhat alarmed and the conversation bled off. The feeling I had was that something had happened between Mary and her new husband, an argument. She wanted to stay here for the night, perhaps leaving her son with her husband — which I didn’t think was a good idea. I’ve picked up on Mary’s relationships before.…» — Jane Roberts consigna en su cuaderno una conversación mental con su amiga, la alarma que la interrumpió y lo que dedujo de ella

«This morning, Mary called. She sounded very down; Rob, who also talked to her, agreed. But I didn’t mention my experience, much as I wanted to check it out; I didn’t want to intrude.…”» — Roberts consigna la llamada del día siguiente y su decisión de no comprobar lo percibido por no entrometerse

«A terrific little dream that beautifully states its message: Mary’s ideas of romance and making love (represented by modern-day flowered sheets) are being transposed from the bedroom into the area of her art, and in a way that mars the art itself.» — Jane Roberts interpreta el sueño de su marido: las ideas de la amiga sobre el amor pasando del dormitorio a su arte y estropeándolo

«The transposition of the flowered designs of bedsheets to sheets of paper is great; Rob chose a sketch pad rather than, say, typing paper, I think, because painting is his art while Mary’s is writing. Also perhaps to make connections with Mary’s sketches of her own life. Maybe by using his own art symbol, the sketch pad instead of the typing paper, Rob reinforced the idea of Mary’s conflicts about the nature of her own work.» — Roberts razona en la interpretación por qué el soñante eligió un cuaderno de dibujo y no papel de máquina: por ser la pintura su arte y la escritura el de la amiga

«Mary shows us the large sketch papers in an open-air restaurant — a setting where physical needs are satisfied in public. The open air specifies this public aspect, meaning that Mary’s ideas are connected with social values wanting her needs satisfied in a socially acceptable public fashion. This would refer to her recent marriage. …» — Roberts lee el escenario público del sueño como los valores sociales que piden satisfacción aceptable, y lo remite al matrimonio reciente de la amiga

«As you can see, the dream states all this far more simply and concisely than I’m able to!”» — Roberts cierra la interpretación concediendo al sueño más sencillez y concisión que a su propia prosa

«In the dream he sees himself returning to the comics, only the Sunday edition (special), and the superhero character is much more prominent than the comics would ordinarily have it; the smaller head representing, I think, the idea that the intellect’s place is smaller or of a lesser nature than he earlier supposed.» — Roberts lee el tamaño de la cabeza en el sueño como el lugar menor que el intelecto ocupa frente a lo que el soñante suponía

«At dream’s end Rob says that the head was almost too youthful for the body he’d drawn — maybe a reminder that the natural person is younger in ways than the intellectual self.» — Roberts lee la cabeza demasiado juvenil como recordatorio de que la persona natural es más joven que el yo intelectual

«I think that Rob is himself in the dream, represented by the super character as the magical self; and also that he is the assistant who had prepared the figure’s head. “In the dream the assistant is a fellow student. I’m not sure of the connection unless it means that at the time he knew Tom, as youthful artists both Rob and Tom believed in the magical aspects of life — which now come to Rob’s aid, assisting him by drawing the character’s head.”» — Roberts reparte al soñante entre las dos figuras del sueño, el personaje mágico y el ayudante, y hace de la creencia de los dos dibujantes en lo mágico la ayuda que recibe

«The main issue was the relative ease with which you were able to enlarge the hole in the glass door. Ease is the key word.» — Seth, según Roberts, en la sesión cuatro, señala la facilidad como rasgo principal del enfoque mágico y la nombra palabra clave

«To the world of the intellect, a glass door must be considered solid, as it is in the world of physical senses. In other quite as factual terms, indeed in the larger framework of facts, the door of course is not solid at all, as no objects are. Obviously that is known to science.» — Seth, según Roberts, en la sesión cuatro, opone la solidez sensible de la puerta a la de los hechos mayores, y concede que la ciencia lo sabe

«Science delegates the world of nature as the realm of exterior natural events. Its view of nature is therefore mechanistic. The natural self, however, like the rest of nature, possesses a rich dimension of inside psychological depth, that science, because of its own definitions, cannot perceive.» — Seth, según Roberts, en la sesión cuatro, llama mecanicista la visión de la naturaleza de la ciencia y le atribuye la ceguera a la profundidad psicológica interior

«It is also for that reason that they seem to fall outside of the realm of the s-a-n-e (spelled). Such characteristics are, however, basic properties of the natural person.» — Seth, según Roberts, en la sesión cuatro, señala el efecto de esa clasificación: parecer fuera de lo cuerdo, y llama propiedades básicas de la persona natural a esas facultades

«They do not appear very well under the auspices of the scientific method, because the scientific method is itself programmed to perceive only information that fits into its preconceived patterns.» — Seth, según Roberts, en la sesión cuatro, objeta al método científico que solo percibe información que cabe en sus patrones previos

«Such abilities appear to be unpredictable, discontinuous, only because you are so relatively unaware of what is actually quite constant psychological behavior. That is, such abilities operate so smoothly, so continuously, and with such ease (intently) that you become aware of them only under certain conditions. You are aware of what seem to be isolated hints of odd characteristics.» — Seth, según Roberts, en la sesión cuatro, explica la apariencia de discontinuidad por la facilidad misma con que esas facultades operan

«The intellect is basically able to handle many kinds of information, and information systems. It is far more flexible than you presently allow it to be. It can handle several (pause) main world views at once, realizing that they are each methods of perceiving and approaching reality.» — Seth, según Roberts, en la sesión cuatro, atribuye al intelecto más flexibilidad de la que se le concede: puede llevar varias visiones del mundo a la vez

«To some degree historically speaking, that sort of situation operated in the past when — comparatively speaking, now — people realized that there was indeed an inner world of complexity and richness that could be approached in certain fashions, one that existed alongside with the physical world, so that the two intersected.» — Seth, según Roberts, en la sesión cuatro, sitúa en el pasado la convivencia de dos mundos que se cruzaban, y da la referencia en términos comparativos

«I do not mean to idealize those times. In so-called modern ages, however, the intellect has been stripped down, so to speak.» — Seth, según Roberts, en la sesión cuatro, retira la idealización del pasado que su propio argumento podría sugerir y llama despojado al intelecto moderno

«Science perceived the spectacular complexity of exterior reality, but turned its sights completely away from any recognition — any at all — until it regarded subjectivity itself as a mere throw-away product, accidentally formed by a mindless matter.» — Seth, según Roberts, en la sesión cuatro, consigna el precio que atribuye a ese giro: la subjetividad vuelta producto de desecho de una materia sin mente

«The acceptable assumptions to a large extent ran directly contradictory to built-in biological, spiritual, and psychological assumptions that are a part of man’s heritage.» — Seth, según Roberts, en la sesión cuatro, opone los supuestos aceptables a los supuestos biológicos, espirituales y psicológicos que llama herencia del hombre

«The intellect does try to order experience, to make sense out of perception.» — Seth, según Roberts, en la sesión cuatro, atribuye al intelecto el trabajo de ordenar la experiencia y dar sentido a la percepción

«When it is enriched (pause) by having in its possession several world views, then it does an excellent job of merging those into meaningful patterns, of sorting information and sending it to the proper places, so to speak.» — Seth, según Roberts, en la sesión cuatro, describe lo que el intelecto hace cuando tiene varias visiones del mundo: fundirlas en patrones con sentido

«When it is given only one world view, and only one group of assumptions, its orderly nature causes it to throw out all information that does not fit. It is almost forced to make an orderly picture, say like a jigsaw puzzle picture, while being denied half of the pieces.» — Seth, según Roberts, en la sesión cuatro, compara el intelecto con una sola visión del mundo a quien arma un rompecabezas con la mitad de las piezas

«The intellect is not to blame. It does the best it can under those conditions.» — Seth, según Roberts, en la sesión cuatro, retira la culpa del intelecto y se la deja a las condiciones

«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.» — Seth, según Roberts, en la sesión cuatro, lee el sueño de la puerta de vidrio: el deseo de la criatura natural se satisface con una facilidad ajena a la idea de trabajo

«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.» — Seth, según Roberts, en la sesión cuatro, introduce la noción de otro trabajo, hecho en otro nivel y de otro modo

«Telepathy and clairvoyance, for example, are a part of natural effects, but they belong to a nature so much more expansive than» — Seth, según Roberts, en la sesión cuatro, sitúa telepatía y clarividencia dentro de los efectos naturales; el tramo se corta en el cambio de plana y sigue en la 62 con *science’s definitions*

«science’s definitions that they have been made to appear as highly unnatural eccentricities of behavior, rather than as natural components of consciousness.» — continuación de lo anterior: Seth atribuye a la estrechez de las definiciones científicas que esas facultades aparezcan como excentricidades y no como componentes de la consciencia

«In modern times, then, the intellect was finally left with only one acceptable world view, with one set of assumptions, with only one main approach to reality and experience.» — Seth, según Roberts, en la sesión cuatro, describe el saldo moderno: una sola visión del mundo, un solo juego de supuestos y un solo acceso a la realidad

«It understands, for example, that clairvoyant material is a part of the personality’s overall characteristics, so it is not afraid of perceiving it — and it is able to separate such information confusion from present physical sense perception. Orderliness, then, is one of its main characteristics.» — Seth, según Roberts, en la sesión cuatro, hace de la orden la característica principal del intelecto y sostiene que por eso puede separar lo clarividente de lo sensorial sin temerlo

«Now in your dream, you were quite clearly seeing the threshold between physical reality and the magical dimension in which that physical reality has its source. You were being shown — or showing yourself — the difference in the rules or assumptions between the two.» — Seth, según Roberts, en la sesión cuatro, lee el sueño como visión del umbral entre la realidad física y la dimensión mágica que él llama su fuente

«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» — Seth, según Roberts, en la sesión cuatro, llama trabajo, entrecomillado, a lo que mantiene viva a cada criatura y a los planetas en su sitio; el tramo se corta en el cambio de plana y la frase acaba en la 64 con *can meditate over his theories*

«The trouble is that the rational view of life has separated man from a sense of his own power source. When he has a problem, the rational approach to its solution seems the only answer, and often, of course, it is no answer at all.» — Seth, según Roberts, en la sesión cuatro, atribuye a la visión racional la separación del hombre respecto de su propia fuente de poder

«He tried to go ahead and not go ahead at the same time. He tried to be daring and cautious, brave and safe.» — Seth, según Roberts, en la sesión cuatro, describe la contradicción en tres pares: avanzar y no avanzar, atrevido y cauto, valiente y a salvo

«The rational line of thought finds creativity highly disruptive, so in those terms as highly gifted creative people, you would have encountered some difficulties in any case.» — Seth, según Roberts, en la sesión cuatro, deriva la dificultad de los muy dotados de que la línea racional halla disruptiva la creatividad

«It is time that you regarded such difficulties instead as challenges that are a part of a creative adventure that you have yourselves chosen.» — Seth, según Roberts, en la sesión cuatro, propone cambiar el nombre de la dificultad por el de reto dentro de una aventura elegida

«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.» — Seth, según Roberts, en la sesión cuatro, propone sustituir la palabra trabajo por la palabra aventura

«Here, again, the vital word is ease or effortlessness. If you want to (long pause) feed a dog in the physical world — and he is on the other side of the door — you must open it. In the inner world you or the dog can walk through the door without effort, because desire is action. Desire is action.» — Seth, según Roberts, en la sesión cuatro, repite la palabra clave y enuncia la regla del mundo interior con la figura del perro que atraviesa la puerta: el deseo es acción

«In the physical world, time may have to elapse, or whatever. Conditions may have to change, or whatever, but the desire will bring about the proper results. The feeling of effortlessness is what is important.» — Seth, según Roberts, en la sesión cuatro, concede que en el mundo físico haya que esperar y cambiar condiciones, y deja lo importante en la sensación de ausencia de esfuerzo

«It is quite proper for Ruburt’s intellect to understand this, and to say, simply now, “That is not my realm. I will leave the solution to that problem where it belongs. We will use the magical approach here.”» — Seth, según Roberts, en la sesión cuatro, pone en boca del intelecto la frase con que este cede el problema al otro marco

«At a conscious level, of course, neither of you realized, or wanted to realize, the kind of complete repeal and overhaul that was implied by our sessions, and for some years you managed to hold many official views of reality along with the newer concepts, not ready to understand that an entire new way of thinking was involved, a new relationship of the individual with reality. So you tried out some new methods piecemeal, here and there, with good-enough results.» — Seth, según Roberts, en la sesión cuatro, consigna que las sesiones implicaban una derogación completa que los dos sostuvieron a medias, junto con las visiones oficiales

«Of course, an entire reorientation (with emphasis) is instead implied, and that entire reorientation will effortlessly bring about a new relationship of Ruburt with his body, with his life, and with the adventure the two of you have embarked upon. He will simply automatically get better, because the framework will allow him to do so.» — Seth, según Roberts, en la sesión cuatro, pide reorientación entera y no métodos sueltos, y hace depender la mejoría del marco que la permita

«A few mundane but helpful notes. He must of course be allowed some uninterrupted writing time. Neither of you understand your attitudes toward the bedroom. Both of you avoid making love in it. It is the one room that is not (pause) a part of your overall activities, of course. It seems isolated from your lives. You do not fix it up, for example. This is partially the result of old ideas, where sleep is a separate, isolated part of life, or of the personality.» — Seth, según Roberts, en la sesión cuatro, baja del argumento a la casa: el dormitorio queda aislado de la vida por ideas viejas sobre el sueño

«Now I bid you a fond good evening, and my congratulations to your fingers.» — Seth, según Roberts, cierra la sesión cuatro con la despedida y una broma sobre los dedos del que toma las notas

«It is the given power of the world, the given power of nature. It is the directed force of value fulfillment.» — Seth, según Roberts, en la sesión cuatro, nombra esa fuerza poder dado del mundo y fuerza dirigida del cumplimiento de valor; el tramo se corta antes de la llamada de nota pegada a la palabra

«In other terms it is of course the energy of All That Is.» — Seth, según Roberts, en la sesión cuatro, da el tercer nombre de esa misma fuerza: la energía de Todo Lo Que Es

«In the inner world, your desires bring about their own fulfillment, effortlessly. That inner world, and the exterior one, intersect and» — Seth, según Roberts, en la sesión cuatro, declara que en el mundo interior el deseo se cumple sin esfuerzo y que ese mundo se cruza con el exterior; el tramo se corta en el cambio de plana y sigue en la 65 con *interweave*

«interweave. They only appear separate.» — continuación de lo anterior: Seth sostiene que los dos mundos solo parecen separados

«You would both feel better in it if it showed more of your other interests. For Ruburt, some books or bookcases. It is a room that shows» — Seth, según Roberts, en la sesión cuatro, da la instrucción doméstica que se sigue de lo anterior: que el cuarto muestre los intereses de los dos; el tramo se corta en el cambio de plana y sigue en la 66 con *no evidence of his work, you see*

«no evidence of his work, you see. It should hold some of your current paintings — but in some way it should be tied in with your lives more.» — continuación de lo anterior: Seth pide cuadros en el cuarto y que el cuarto quede ligado a la vida de los dos

«This is another terrific dream, continuing the one in the last session, in which Rob was constructing an image of the magical self — seeing it as a kind of Captain Marvel character. In this dream, though, he uses the magic himself, making it far more accessible.» — Jane Roberts interpreta el sueño de la puerta como continuación del anterior, con el soñante usando la magia en vez de imaginarla

«The dream takes place in the kitchen, a room devoted to physical nourishment. Gus, the neighbors’ dog, in an intense desire to get the food Rob holds, walks right through the glass door — signifying the importance of desire in bringing about the magical satisfaction of needs.» — Roberts lee el paso del perro por el vidrio como signo de la importancia del deseo en la satisfacción mágica de las necesidades

«Gus probably also represents the ‘creature’ magical self, showing its creature characteristics; that it’s natural, after all.» — Roberts propone con reserva que el perro represente el yo mágico criatura, para mostrar que es natural

«At the same time, it’s Rob’s usual self, learning from the creature» — Roberts sitúa al soñante en la otra figura, la que aprende del yo mágico criatura; el tramo se corta en el cambio de plana y sigue en la 69 con *magical self, who then ‘gets the evidence’*

«Later in the dream Rob is reminded of this incident by something someone says, either on TV or in the room — signifying a different mobility of consciousness, almost a dream within a dream, and also establishing the fact that physical and magical events are related.» — Roberts lee el recuerdo dentro del sueño como movilidad distinta de la consciencia y prueba de la relación entre lo físico y lo mágico

«I’m not quite sure of the meaning of the older handsome Navy man who stands at attention — an authority figure … whose purpose is merely to stand guard and observe; perhaps a reassurance to Rob that the rational self is there, in its true position — but standing apart, observing the magical proceedings. …”» — Roberts declara su propia incertidumbre sobre la figura del oficial y propone con reserva que sea el yo racional en su sitio, observando

«According to Jane and Seth, within our time scheme each physicallyendowed consciousness, whatever its form or size or complexity, inherently seeks to fulfill its own highest potential — not only for itself, but for the benefit of each other such consciousness in our reality.» — Butts resume en nota lo que atribuye a Roberts y a Seth: que toda consciencia dotada de cuerpo busca cumplir su potencial más alto, y no solo para sí; el troceo parte *physically-endowed* en el fin de renglón y `span()` la devuelve fundida, *physicallyendowed*: la restitución es lectura propuesta y no entra en las comillas

«who then ‘gets the evidence,’ enlarges the magical hole in the glass; signifying two things — that the so-called usual consciousness can learn from the magical part, follow its lead and therefore catch itself ‘performing miracles.’» — continuación de lo anterior: Roberts lee el agujero agrandado como la consciencia usual aprendiendo de la parte mágica y sorprendiéndose a sí misma haciendo milagros; el compuesto *creature-magical* queda partido por el cambio de plana y la primera mitad está en la 68

«There is no drifting through life, then, but a built-in search for the fulfillment of values, whatever possible successes, conflicts, or failures may be involved, and no matter how modest or great or complex any of those qualities may be.» — Butts niega en nota la deriva y pone en su lugar una búsqueda incorporada de cumplimiento de valor, con éxitos, conflictos o fracasos incluidos

«The ecstasy and love of being always operate to ensure» — Butts cierra la nota atribuyendo al éxtasis y al amor del ser el aseguramiento de la vida; el tramo se corta en el cambio de plana y la frase acaba en la 70 con *the quality and growth of life’s existence through value fulfillment*

«the quality and growth of life’s existence through value fulfillment.» — continuación de la nota anterior, plana que el troceo trae con este solo renglón: la calidad y el crecimiento de la existencia por el cumplimiento de valor

«The scientific framework of reference has become equated with the term “rational thinking,” to such an extent that any other slant of thought automatically seems to be irrational. Thought has become, in that regard, too specialized, prejudiced, and inflexible.» — Seth, según Roberts, en la sesión cinco, señala la equivalencia entre el marco científico y la expresión pensamiento racional, y llama especializado, prejuiciado e inflexible al resultado

«Now there are styles of thought. Each individual has his or her own style of thinking, a peculiar, rich, individual mixture (pause) of speculations, fantasies, (pause) ideocentric ways of using subjective and objective data.» — Seth, según Roberts, en la sesión cinco, introduce la noción de estilos de pensamiento, propios de cada quien, con especulaciones y fantasías dentro

«Science has so dominated the world of thought, however, that many nuances and areas once considered quite “rational” have become quite unrespectable.» — Seth, según Roberts, en la sesión cinco, atribuye al dominio de la ciencia que zonas antes tenidas por racionales hayan dejado de ser respetables

«There is no separate field that combines all of that information, or applies the facts of one discipline to the facts of another discipline, so overall, science, with its brand of rational thought, can offer no even, suggestive, hypothetical, comprehensive ideas of what reality is.» — Seth, según Roberts, en la sesión cinco, señala la ausencia de un campo que combine esa información y la consecuencia que le atribuye

«It seems that each individual is in effect isolated in certain vital regards — given, say, a genetic heritage and a certain amount of unspecified energy with which to run the body’s machinery (intently). Intent, purpose, or desire do not apply in that picture.» — Seth, según Roberts, en la sesión cinco, describe el cuadro que de ahí resulta: herencia genética, energía inespecífica y ni intención ni propósito ni deseo

«The individual is, again, a stranger, almost an alien, in his or her own environment, in which he must struggle to survive, not only against the “uncaring” forces of the immediate environment, but against the genetic determinism. He must fight against his own body, overemphasize its susceptibility to built-in defects, diseases, and against a built-in time bomb, so to speak, when without warning extinction will arrive.» — Seth, según Roberts, en la sesión cinco, enumera lo que en ese cuadro hay que combatir: el ambiente, el determinismo genético y el propio cuerpo con su bomba de tiempo

«Science does not stress the cooperative forces of nature. It glories in distinctions, specifications, and categories, and is quite blind, generally speaking, to the uniting forces that are of course every bit as real.» — Seth, según Roberts, en la sesión cinco, objeta a la ciencia que subraye distinciones y categorías y quede ciega a las fuerzas que unen

«Therefore, when I speak of the natural person being also the magical person, it is easy to transpose even that idea into more isolated terms than I intend.» — Seth, según Roberts, en la sesión cinco, previene contra la lectura aislada de su propia fórmula sobre la persona natural y mágica

«It is not just that each person has his or her source in a “magical” dimension, from which his or her overall life emerges, but that the private source itself is a part of the very energy that upholds the entire planet and its inhabitants, and the overall construct that you understand as the universe.» — Seth, según Roberts, en la sesión cinco, extiende la fuente privada hasta la energía que sostiene el planeta entero y el universo

«Fields, or p-l-a-n-e-s (spelled) of interrelatedness connect all kinds of life, supporting it not through, say, just one system — a biological one or a spiritual one — but at every conceivable point of its existence.» — Seth, según Roberts, en la sesión cinco, nombra campos o planos de interrelación que sostienen la vida en todo punto, y el troceo conserva el deletreo con que Roberts lo dictó

«You are not just given so much energy, in those terms earlier mentioned. “New” energy is everywhere available. Again, there are no closed systems.» — Seth, según Roberts, en la sesión cinco, niega la cantidad fija de energía y la existencia de sistemas cerrados

«Again, the environment is conscious and alive. There are constant communications between all portions of your body and all portions of the environment.» — Seth, según Roberts, en la sesión cinco, declara consciente y vivo el ambiente y en comunicación constante con el cuerpo

«Unfortunately, it tends to set up a world view that is then based upon certain material only.» — Seth, según Roberts, en la sesión cinco, señala como no buscada la visión del mundo que resulta de atenerse a cierto material; el tramo arranca después de la llamada de nota pegada a *prove*, en la frase *Science tries to stick to what it can prove*

«You end up with separate disciplines: biology, psychology, physics, mathematics, and so forth, each with its own group» — Seth, según Roberts, en la sesión cinco, describe el reparto del saber en disciplinas separadas; el tramo se corta en el cambio de plana y sigue en la 73 con *of facts, jealously guarded*

«of facts, jealously guarded, each providing its own world view: the world as seen through biology, or reality as seen through the eyes of physics.» — continuación de lo anterior: Seth atribuye a cada disciplina hechos celosamente guardados y una visión del mundo propia

«value fulfillment is one of the most important characteristics of existence, so that all things act individually and together in ways that best provide for the overall fulfillment of the entire construct.» — Seth, según Roberts, en la sesión cinco, pone el cumplimiento de valor entre lo más importante de la existencia y hace actuar a todo por el cumplimiento del conjunto

«You were born because you desired to be born. A plant comes to life for the same reason. You live in a different frame of reference than a plant, however: You have more choices available. You interact with nature differently.» — Seth, según Roberts, en la sesión cinco, deriva el nacimiento del deseo de nacer y marca la diferencia con la planta: más opciones disponibles

«Your intellect is meant to help you make choices. It allows you to perceive certain probabilities within a physical time context. You use the intellect properly when it is allowed to perceive physical conditions as clearly as possible. Then it can make the most beneficial decisions as to what goals you want to achieve.» — Seth, según Roberts, en la sesión cinco, asigna al intelecto la función de percibir condiciones físicas con claridad y decidir metas

«Those goals are usually conceptualized desires, and once formed they act in a fashion like magnets, drawing from those vast fields of interrelatedness the kinds of conditions best suited to their fulfillment.» — Seth, según Roberts, en la sesión cinco, compara las metas con imanes que atraen de los campos de interrelación las condiciones de su cumplimiento

«The intellect alone cannot bring about the fulfillment of those goals. The intellect alone cannot bring about one motion of the body. It must count upon those other properties that it does indeed set into motion — that spontaneous array of inner complexity, that orderly magic.» — Seth, según Roberts, en la sesión cinco, acota el poder del intelecto: solo no mueve ni el cuerpo, y depende de esa magia ordenada

«When the intellect is used properly, it thinks of a goal and automatically sets the body in motion toward it, and automatically arouses the other levels of communication unknown to it, so that all forces work together toward the achievement.» — Seth, según Roberts, en la sesión cinco, describe el uso correcto del intelecto: pensar la meta y poner en marcha niveles de comunicación que él desconoce

«Consider a hypothetical goal as a target. When properly used, the intellect imagines the target and imaginatively then attains it. If it were a physical target, the person would stand [bow and] arrow in hand, thinking only of hitting the bull’s-eye, mentally concentrating upon it, making perhaps some learned gestures — proper footing or whatever — and the body’s magical properties would do the rest.» — Seth, según Roberts, en la sesión cinco, desarrolla la figura del arquero: concentrarse en el blanco y dejar que las propiedades mágicas del cuerpo hagan lo demás

«When the intellect is improperly used, however, it is as if the intellect feels required to somehow know or personally direct all of those inner processes.» — Seth, según Roberts, en la sesión cinco, describe el uso indebido: el intelecto creyéndose obligado a conocer y dirigir los procesos internos

«He has switched his attention from the target, of course, completely. He has projected upon the present event the picture of his fears, rather than the picture of his original intent. His body, responding to his mental images and his thoughts, brings out actions that mirror his confusion.» — Seth, según Roberts, en la sesión cinco, cierra la figura: el cuerpo responde a las imágenes mentales y saca acciones que reflejan la confusión

«In other words, the magical approach and the so-called rational one are to be combined in a certain fashion for best results.» — Seth, según Roberts, en la sesión cinco, enuncia la tesis de la sesión: los dos enfoques se combinan, no se sustituyen

«People sometimes write you, telling of their intent to make money — or rather, to have it. They concentrate upon money, so they say, and wait for it in full faith that it will be attracted to them because of their belief and concentration. They might do the point of power exercise,2 for example. They may also, however, have quit their jobs, ignored impulses to find other work, or to take any rational approaches, and rely upon, say, the magical approach alone. This does not work either, of course.» — Seth, según Roberts, en la sesión cinco, pone el ejemplo contrario, el de quien deja el empleo y desoye impulsos fiando solo en el enfoque mágico, y lo declara igualmente inútil

«As Ruburt uses the magical approach, and as you use it, you will see that it blends in perfectly with the rest of existence, inspires the intellect, inspires physical motion — for it activates physical properties.» — Seth, según Roberts, en la sesión cinco, sostiene que el enfoque mágico inspira al intelecto y al movimiento físico en vez de excluirlos

«The main point I want to make is, however, the fact that your private source of power is a portion of that greater field of interrelatedness, in which your being is securely couched.» — Seth, según Roberts, en la sesión cinco, resume su punto principal: la fuente privada de poder es parte del campo mayor de interrelación

«It is not something you have to strain after. It was effortlessly yours at birth, and before, and it carries with it its own emotional and intuitive comprehensions — comprehensions that can indeed support you throughout all of your physical existence.» — Seth, según Roberts, en la sesión cinco, declara esa fuente dada sin esfuerzo desde antes del nacimiento, con comprensiones emocionales e intuitivas propias

«That is all for this evening. I bid you a magical good evening again — and remember to look for hints and clues at all levels of your existence.» — Seth, según Roberts, cierra la sesión cinco pidiendo buscar indicios y pistas en todos los niveles de la existencia

«In your terms this means that you do not have to rely upon» — Seth, según Roberts, en la sesión cinco, niega que haya que contar solo con los recursos privados; el tramo se corta en el cambio de plana y sigue en la 74 con *what you think of as your private resources alone*

«When the erroneous belief systems and negativity connected with so-called rational reason apply, then it is as if our person sees the target, but instead of directing his attention to it he concentrates upon all of the different ways that his arrow could go wrong» — Seth, según Roberts, en la sesión cinco, invierte la figura del arquero: el que mira todos los modos en que la flecha puede fallar; el tramo se corta en el cambio de plana y la lista sigue en la 75

«the left or the right, go too far or not far enough, break in the air, fall from his hand, or in multitudinous other ways betray his intent.» — continuación de la figura anterior: la flecha que cae a un lado, se queda corta, se rompe en el aire o se cae de la mano

«which the individual is defined. As a species, you think of yourselves (pause) as the “pinnacle” end of an evolutionary scale, as if all other entities from the first cell onward somehow existed in a steady line of progression, culminating with animals, and finally with man the reasoning animal. (In parentheses: with all of that progress occurring of course by chance, incidentally.)» — Seth, según Roberts, en la sesión seis, describe la escala evolutiva en que el hombre se pone de cúspide, con el azar como motor entre paréntesis

«New sentence: That particular blend of rational thinking with which your society is familiar takes it more or less for granted, then, that man’s identity as a species, and the identity of the individual, is first and foremost connected with the intellect. You identify yourselves with your intellect, primarily, casting aside as much as possible other equally vital elements of your personhood.» — Seth, según Roberts, en la sesión seis, sitúa la identidad de la especie y del individuo en el intelecto y señala lo que ese apego deja fuera

«In your historical past, when man identified his identity with the soul, he actually gave himself greater leeway in terms of psychological mobility, but eventually the concept of the soul as held resulted in a distrust of the intellect.» — Seth, según Roberts, en la sesión seis, consigna el precio del arreglo anterior: más movilidad psicológica con el alma, y desconfianza del intelecto como resultado

«Part of man’s latest overidentification with the intellect is, of course, an overreaction to those past historical events.» — Seth, según Roberts, en la sesión seis, lee la identificación con el intelecto como reacción excesiva a esos sucesos históricos; el troceo parte *over-identification* en el fin de renglón

«Neither religion or science grant other creatures much subjective dimension, however: You like to think of yourselves, again, as the reasoning animal in terms of your species.» — Seth, según Roberts, en la sesión seis, pone a religión y ciencia del mismo lado en cuanto a la dimensión subjetiva de las demás criaturas

«However, animals do reason. They do not reason in the same areas that you do (intently). In those areas in which they do reason, they understand cause and effect quite well. Their reasoning is applied, however, to levels of activity to which your own reasoning is not applied. Therefore, often animal reasoning is not apparent to you.» — Seth, según Roberts, en la sesión seis, atribuye razonamiento a los animales y lo acota: razonan en áreas distintas, y por eso no se les nota

«Animals are curious. Their curiosity is applied to areas in which you seldom apply your own.» — Seth, según Roberts, en la sesión seis, aplica lo mismo a la curiosidad animal, ejercida donde la humana no se ejerce

«The animals possess a consciousness of self, and without the human intellect. You do not need a human intellect to be aware of your own consciousness. Animals, it is true, do not reflect upon the nature of their own identities as man does (pause), but this is because that nature is intuitively comprehended. It is self-evident.» — Seth, según Roberts, en la sesión seis, separa la consciencia de sí del intelecto humano y explica por qué el animal no reflexiona sobre su identidad: la comprende intuitivamente

«Your intellect is a part of you — a vital, functioning portion of your cognitive processes — but it does not contain (underlined) your identity.» — Seth, según Roberts, en la sesión seis, concede al intelecto su carácter vital y le niega contener la identidad

«The natural person is understood perhaps more clearly by considering any person as a child. In a fashion the child discovers its own intellect, as it discovers its own feelings. Feelings come “first.”» — Seth, según Roberts, en la sesión seis, propone al niño como vía de acceso a la persona natural y pone los sentimientos antes que el intelecto

«The child’s feelings give rise to curiosity, to thoughts, to the operation of the intellect: “Why do I feel thus and so? Why is grass soft, and rock hard? Why does a gentle touch soothe me, while a slap hurts me?”» — Seth, según Roberts, en la sesión seis, pone en boca del niño las preguntas que según él nacen del sentir

«The child in a fashion feels — feels — its own thoughts rise from a relative psychological invisibility into immediate, vital formation. There is a process there that you have forgotten.» — Seth, según Roberts, en la sesión seis, describe el nacimiento del pensamiento desde una invisibilidad psicológica y llama olvidado a ese proceso

«The child identifies with its own psychic reality first of all — then discovers its feelings, and claims those, and discovers its thoughts and intellect, and claims those (all quite intently).» — Seth, según Roberts, en la sesión seis, ordena el reclamo del niño: primero la realidad psíquica, después los sentimientos, después los pensamientos

«but the child does not identify its basic being with either its feelings or its thoughts. That is why, for example, it often seems that young children can die so easily. (Still intently): They can disentangle themselves because they have not as yet identified their basic beings with life experience.» — Seth, según Roberts, en la sesión seis, explica con esa secuencia por qué los niños pueden desprenderse de la vida: no han identificado aún su ser básico con la experiencia

«In most cases children grow up, of course (pause), although in the vast overall picture of nature (pause) a goodly proportion of individuals do indeed take other courses. They serve other functions, they have other purposes, they take part in life through a different cast of action. They affect life while themselves not completely immersed in it. They die young. They are aborted. They remain, however, an important element in life’s overall picture — part of a psychological underpainting that always affects later versions.» — Seth, según Roberts, en la sesión seis, consigna a los que mueren jóvenes o son abortados como parte de un empaste psicológico que afecta a las versiones posteriores

«Ideally, however, children finally claim their feelings and their thoughts as their own. They identify naturally with both, finding each valid and vital.» — Seth, según Roberts, en la sesión seis, marca lo ideal frente a lo que ocurre: que el niño reclame sentimientos y pensamientos como suyos

«Part of the difficulty arises from the current» — Seth, según Roberts, abre la sesión seis situando la dificultad en lo corriente; el tramo se corta en el cambio de plana y sigue en la 80 con *(pause) scientifically-oriented blend of rationalism*

«I only want to show you that the sense of identity need not inevitably» — Seth, según Roberts, en la sesión seis, declara el alcance de su argumento sobre la identidad; el tramo se corta en el cambio de plana y sigue en la 81 con *be coupled with the intellect exclusively*

«taught to disconnect your identity from your feelings as much as possible, and to think of your personhood in terms of your intellectual orientation. Your identity seems to be in your head. Your feelings and your mental activity therefore appear, often, quite contradictory.» — Seth, según Roberts, en la sesión seis, describe el adulto enseñado a desconectar la identidad del sentir y a ponerla en la cabeza; el tramo arranca en la 81 y cruza el cambio de plana

«You try to solve all problems through the use of reasoning alone.» — Seth, según Roberts, en la sesión seis, nombra el hábito que de ahí se sigue: resolverlo todo por el razonamiento solo

«You are taught to submerge the very intuitive abilities that the intellect needs to do its proper work — for the intellect must check with the feeling portions of the self for feedback, for support, for knowledge as to biological conditions. Denied that feedback, it can spin on endlessly in frenzied dry runs.» — Seth, según Roberts, en la sesión seis, sostiene que el intelecto necesita la retroalimentación de las partes que sienten y que sin ella gira en vacío

«At each moment, from the most microscopic levels the body (pause) in one way or another is ascertaining a constant picture of its position within physical reality. That picture is composed of millions of ever-changing smaller snapshots, as it were — or moving pictures is better — determining so many conditions, positions and relationships that they could never be described.» — Seth, según Roberts, en la sesión seis, describe el cálculo constante del cuerpo sobre su posición en la realidad física, en millones de instantáneas cambiantes

«You end up with a predominating picture of reality in any given moment — one that is the result of the activity of psychological, biological, and electromagnetic stratas. One picture is transposed upon the others, and calculations made constantly, so that all of the components that make up physical existence are met, and intersect to give you life.» — Seth, según Roberts, en la sesión seis, compone el momento presente de estratos psicológicos, biológicos y electromagnéticos superpuestos

«None of that is the intellect’s concern at an intellectual level. At a biological level, and at an electromagnetic level, the intellect, of course, performs feats that it cannot consciously know through the use of its reason (all intently).» — Seth, según Roberts, en la sesión seis, atribuye al intelecto hazañas en niveles que su razón no conoce

«Spontaneously, with the process just mentioned, millions of pictures are being taken also of the probable actions that will — or may — be needed, in your terms, in the moment immediately following, from microscopic action to the motion of a muscle, the driving of a car, the reading of a book, or whatever.» — Seth, según Roberts, en la sesión seis, añade a ese cálculo las instantáneas de las acciones probables del momento siguiente

«One of the intellect’s main purposes is to give you a conscious choice in a world of probabilities. To do that properly the intellect is to make clear, concise decisions, on its level, of matters that are its concern, and therefore to present its own picture of reality to add to the entire construct.» — Seth, según Roberts, en la sesión seis, asigna al intelecto la elección consciente dentro de un mundo de probabilidades

«On the one hand you have been told to identify yourselves almost completely with your intellects. On the other hand, you have been taught that the intellect, the “flower of consciousness,” is a frail, vulnerable adjunct — again, a chance creation, without meaning» — Seth, según Roberts, en la sesión seis, señala la contradicción entre identificarse con el intelecto y tenerlo por creación azarosa; el tramo cruza el cambio de plana y sigue en la 83

«and without support — without support because you believe that “beneath it” lie “primitive, animalistic, bloody instincts,” against which reason must exert what strength it has.» — Seth, según Roberts, en la sesión seis, nombra lo que se cree debajo del intelecto y contra lo cual la razón habría de forcejear; el tramo arranca descabezado y la frase empieza en la 82

«Despite all of that, men and women still find the solutions to many of their problems by rediscovering the larger sense of identity1 — a sense of identity that accepts the intuitions and the feelings, the dreams and the magic hopes as vital characteristics, not adjuncts, of personhood.» — Seth, según Roberts, en la sesión seis, hace de las intuiciones, los sueños y las esperanzas características de la persona y no añadidos

«When I tell you to remember your own natural persons, I do then want to remind you not to identify with your intellects alone, but to enlarge your scopes of identity. Automatically those other, oftenshunted-aside characteristics begin to add their richness, fulfillment, and vitality to your lives effortlessly.» — Seth, según Roberts, en la sesión seis, precisa su propia instrucción: no dejar el intelecto sino ampliar el alcance de la identidad; el troceo parte *often-shunted* en el fin de renglón y `span()` la devuelve fundida, *oftenshunted*

«Have him remember that creative activity goes on within him all of the time, and he is often most active precisely when he is not aware of it. He is only aware of those moments when creative activity surges into his conscious awareness, and by then much of the “work” has already been done.» — Seth, según Roberts, en la sesión seis, sitúa el trabajo creativo antes de que asome a la consciencia

«He is not responsible for other people’s realities, but he is responsible for his own. Give us a moment … .(Pause, eyes closed). The ill woman’s reality does not threaten his own in any way.» — Seth, según Roberts, en la sesión seis, contesta a la inquietud por las cartas de los lectores separando la realidad ajena de la propia

«The situation, however, shows that he sometimes still thinks he should be able to solve all problems, and to know all the reasons for any given sorrow or tragedy. The intellect cannot handle that kind of information at that level.» — Seth, según Roberts, en la sesión seis, señala el supuesto que hay detrás de esa inquietud y declara al intelecto incapaz de manejar esa información en ese nivel

«Some answers come when you are ready for them. Then they come naturally, as a matter of understanding and comprehension. The question of life’s tragedies still cannot be answered satisfactorily at the level at which either of you — or anyone else — is currently asking it.» — Seth, según Roberts, en la sesión seis, se abstiene de responder a la cuestión de las tragedias en el nivel en que se le plantea

«I can give hints and clues and explanations that are quite valid within that context (intently).» — Seth, según Roberts, en la sesión seis, acota lo que sí ofrece: indicios y explicaciones válidos dentro de ese contexto

«As a matter of fact, the kind of literal answers that you may think you want can indeed lead you somewhat astray in terms of the larger picture,» — Seth, según Roberts, en la sesión seis, advierte que la respuesta literal que se cree querer puede extraviar respecto del cuadro mayor; el tramo se corta en el cambio de plana

«The reason for the problem is a philosophical concern of Ruburt’s, and of yours, but it is one whose answer — or answers — will gradually unfold.» — Seth, según Roberts, en la sesión seis, deja la razón del problema como cuestión filosófica cuya respuesta se desplegará poco a poco

«The kind of orientation I am speaking of represents the truest picture I can give you of man’s natural relationship with himself and the world. This is how it works. This is physical.» — Seth, según Roberts, cierra la sesión seis reclamando para su orientación el retrato más veraz de la relación del hombre consigo mismo y con el mundo, y declarándola física

«Jane said she’d sent Mitzi a stream of suggestions while I coaxed her into letting me put the collar on her. Everything worked well.» — Butts consigna lo que Roberts declara haber hecho durante el forcejeo, mandar sugerencias al animal, y el resultado, sin adjudicar la causa

«Anyhow, have been applying the Magical Approach to a variety of other areas, household annoyances, with some gratifying results.» — Jane Roberts consigna en su diario la aplicación del enfoque mágico a molestias domésticas

«Granted, this might have happened anyhow. The point is that the odds didn’t seem to go in that direction and that I do think … we did mental work at other levels that resulted in that benign event … as if before we gave cluttered orders for an event to take place.» — Roberts concede en su diario que el episodio del collar pudo ocurrir de todos modos, y sostiene a la vez que las probabilidades no iban en esa dirección y que hubo trabajo mental en otros niveles

«Several aches or whatever in various parts of my body came and vanished as I used this approach … where before that sort of thing used to last longer. Have been very relaxed; still lay down two or three times a day — do notes, read, rest …» — Roberts consigna en su diario dolores que aparecen y se van más rápido que antes, y el reposo que se permite

«Answered 35 letters over the weekend … my mood seems again magically improved at least. Finished letter to the magazine; it gets mailed Monday A.M.”» — Roberts cierra la entrada de su diario con la cuenta de cartas contestadas y su humor, que llama mágicamente mejorado

«Again, walk a bit further, and this time after my shower my back isn’t any worse. The problem is caused by sitting down so much» — Roberts consigna en su diario el avance al caminar y atribuye su molestia a estar sentada tanto tiempo; el tramo se corta en el cambio de plana y sigue en la 87 con *pressure, and the heat and humidity*

«Now: The intellect is far more socially oriented than is generally understood. Some of this, again, is difficult to explain (pause), but in a fashion the intellect is a cultural (underlined) phenomenon.» — Seth, según Roberts, abre la sesión siete con la tesis que le da título: el intelecto como fenómeno cultural

«Obviously, the mind can use its reasoning abilities, for example, to come to the conclusion that there is a single god behind the functioning of the world, that there are many gods, that divinity is a fantasy, and that the world itself springs from no reasonable source.» — Seth, según Roberts, en la sesión siete, alinea cuatro conclusiones opuestas sobre la divinidad a las que la razón puede llegar por igual

«Like statistics, the reasoning abilities can be used to come to almost any conclusion. This is done, again, by taking into consideration within any given system of reasoning only the evidence that agrees with the system’s premises.» — Seth, según Roberts, en la sesión siete, compara el razonamiento con la estadística y explica el mecanismo: contar solo la evidencia que concuerda con las premisas

«This flexibility allows the species great variation overall in its psychological and cultural and political and religious activities.» — Seth, según Roberts, en la sesión siete, hace de esa plasticidad la fuente de la variación psicológica, cultural, política y religiosa de la especie

«When any system of reasoning becomes too rigid, however, there are always adjustments made that will allow other information to intrude — otherwise, of course, your belief systems would never change.» — Seth, según Roberts, en la sesión siete, sostiene que todo sistema demasiado rígido se ajusta para dejar entrar otra información, y que sin eso las creencias no cambiarían

«Your species shares with the other species a feeling of kinship for its kind. There is a great give-and-take of ideas. You end up, then, with a consensus, generally speaking, as to what a reasonable picture of agreedupon reality is.» — Seth, según Roberts, en la sesión siete, deriva de la afinidad y del intercambio de ideas el consenso sobre lo que se tiene por realidad; el troceo parte *agreed-upon* en el fin de renglón y `span()` la devuelve fundida, *agreedupon*

«Your system has frowned upon many experiences, considering them eccentric behavior in an adverse fashion, since your belief systems have so regimented behavior, and so narrowly defined sanity.» — Seth, según Roberts, en la sesión siete, atribuye a los sistemas de creencias la regimentación de la conducta y la definición estrecha de cordura

«It wants to see the world as it is seen by the minds of others. Through that kind of action it helps form your cultural environment, the civilization of which you are justly proud.» — Seth, según Roberts, en la sesión siete, atribuye al intelecto el querer ver el mundo como lo ven las mentes ajenas, y con eso la formación del entorno cultural

«The intellect, then, helps your species translate its own natural purposes and intents — the purposes and intents of the natural person — into their “proper” cultural context, so that those abilities the natural person possesses can benefit the civilization of its time.» — Seth, según Roberts, en la sesión siete, asigna al intelecto la traducción de los propósitos de la persona natural al contexto cultural de su tiempo

«The intellect’s expectations and intents spontaneously and automatically trigger the proper bodily mechanisms to bring about the necessary environmental interactions, and your intent as expressed through your intellect directs your experience of the world.» — Seth, según Roberts, en la sesión siete, hace de la intención expresada por el intelecto la que dirige la experiencia del mundo

«I am speaking about the intellect here for our discussion, but remember it is everywhere cushioned also. There are backup systems, in other words (amused).» — Seth, según Roberts, en la sesión siete, acota su propia exposición declarando que el intelecto está amortiguado por sistemas de respaldo

«If the intellect believes that the world (pause) is a threat to existence, then that belief will alter its intents, of course, and therefore the body’s activities. The beliefs of the intellect operate then as powerful suggestions, particularly when the intellect identifies with those beliefs, so that there is little distance between the intellect and the beliefs that it holds as true.» — Seth, según Roberts, en la sesión siete, describe las creencias del intelecto operando como sugestiones poderosas, sobre todo cuando este se identifica con ellas

«I am doing my best to explain the very practical aspects of the intellect’s beliefs, and their strength in drawing experience to you.» — Seth, según Roberts, en la sesión siete, declara el carácter práctico de lo que expone: la fuerza de las creencias para atraer experiencia

«Your own relationship, your private beliefs about the sort of persons you wanted individually for mates, brought about incalculable actions that led finally to your meeting — yet it all happened “quite naturally,” of course.» — Seth, según Roberts, en la sesión siete, pone como ejemplo el encuentro de los dos y llama natural al modo en que ocurrió

«Your beliefs bring you into correspondence with the elements likely to lead to their affirmation. They draw from Framework 2 all of the necessary ingredients. They elicit from other people behavior that is in keeping with those beliefs.» — Seth, según Roberts, en la sesión siete, describe el mecanismo: las creencias ponen en correspondencia con los elementos que las sostienen y suscitan conducta acorde en los demás

«It is amazingly resilient, in that according to the belief structures of any given historical» — Seth, según Roberts, en la sesión siete, llama resiliente al intelecto por orientarse según las estructuras de creencia de cada período histórico; el tramo se corta en el cambio de plana y sigue en la 89 con *period, it can orient itself along the lines of those beliefs*

«period, it can orient itself along the lines of those beliefs, using all of its reasoning abilities to bring such a world picture into focus, collecting data that agree, and rejecting what does not.» — continuación de lo anterior: Seth describe el intelecto juntando los datos que concuerdan con esas creencias y rechazando los que no

«He heard tomorrow’s weather report (yesterday), groaned, thought of a very uncomfortable 90-degree temperature tomorrow [and] imagined himself miserable with the heat. Indeed, he began to feel warmer. In a flash he remembered previous days of discomfort, and in the next moment he projected those into the weekend. He felt trapped.» — Seth, según Roberts, en la sesión siete, describe paso a paso la construcción de una expectativa: el pronóstico, la imagen de sí misma con calor y la proyección al fin de semana

«Midway through this process he tried to catch himself, but he believed that his body could not handle the heat — and that belief outweighed his intent to change his thoughts, so they kept returning for perhaps ten minutes.» — Seth, según Roberts, en la sesión siete, consigna que la creencia pesó más que la intención de cambiar el pensamiento durante unos diez minutos

«He continued, however, to remind himself that he was not going to worry about tomorrow today, regardless. He told himself that the prediction might be wrong, and he began with his intellect to pile up evidence that could in one way or another bring about a different, more beneficial experience. He did this by recognizing the way he had earlier been building up the picture in the old manner, by collecting all the evidence that fitted it. He used the same process, only for a more beneficial picture, and the process works.» — Seth, según Roberts, en la sesión siete, describe el mismo mecanismo usado al revés: juntar evidencia de un cuadro más benéfico

«Your experience will follow your concentration and belief and expectation. The mind is a great discriminator. It can use its reasoning to bring about almost any possible experience within your framework.» — Seth, según Roberts, en la sesión siete, resume la regla: la experiencia sigue a la concentración, la creencia y la expectativa

«Have him write a poem a day, and do an ink sketch. The thought came to him. It is a good one, while mind and body both relax.» — Seth, según Roberts, en la sesión siete, da una instrucción práctica de escritura y dibujo diarios

«I am not an artist, but I know what I like as much as anyone else does.» — Seth, según Roberts, en la sesión siete, se abstiene de juzgar como experto el cuadro de Butts y opina como cualquiera

«End of session, with one point: These changes in Ruburt’s body are as magical as any precognitive dream in that regard.» — Seth, según Roberts, cierra la sesión siete igualando los cambios del cuerpo de Roberts con un sueño precognitivo en cuanto a lo mágico

«You get what you concentrate upon, and your beliefs are largely responsible for those areas in which you concentrate.» — Seth, según Roberts, en la sesión siete, repite la fórmula de que se obtiene aquello en que se concentra y hace responsables a las creencias de dónde se concentra

«There are no magical methods, only natural ones that you use all of the time, although in some cases you use them for beliefs that you take for truths, when instead they are quite defective assumptions.» — Seth, según Roberts, en la sesión siete, niega que haya métodos mágicos y los llama naturales, usados todo el tiempo aunque al servicio de supuestos defectuosos

«Now (pause): Man likes to think of himself as the caretaker of nature and the world. It is closer to the truth, however, to say — in that regard, at least — that nature is man’s caretaker;» — Seth, según Roberts, abre la sesión ocho invirtiendo la fórmula corriente: no el hombre cuidador de la naturaleza sino la naturaleza cuidadora del hombre

«Man serves his purposes within nature, as all species do, and in the terms of your understanding man “thinks” in his own way, but he is also the thinking portion of nature.» — Seth, según Roberts, en la sesión ocho, sitúa al hombre dentro de la naturaleza como su porción pensante, no como su excepción

«He deals with the effect of thinking upon nature, so to speak. He adds to the rest of nature. (Pause.) He therefore adds a different kind of mental organization — an organization, then, that nature itself requires, anticipates, and desires.» — Seth, según Roberts, en la sesión ocho, atribuye al hombre una organización mental distinta que la naturaleza misma requiere y desea

«Animals do not read or write books, but they do “read” nature directly through the context of their own experience, and through intuitive knowing.» — Seth, según Roberts, en la sesión ocho, concede a los animales una lectura directa de la naturaleza por experiencia y saber intuitivo

«Man’s reasoning mind adds an atmosphere to nature (pause), that is as real, say, as the Van Allen Belts (or radiation fields) that surround the earth.» — Seth, según Roberts, en la sesión ocho, compara lo que la mente razonante añade a la naturaleza con los cinturones de radiación que rodean la tierra

«The thinking mind to a large degree directs the activity of great spontaneous forces, [with] energy-cellular organization being, say, the captain (pause) of the body’s great energy sources.» — Seth, según Roberts, en la sesión ocho, pone a la mente pensante dirigiendo fuerzas espontáneas y a la organización celular de capitán de la energía del cuerpo

«Think of your own government in ideal terms for a moment. Its citizens are all individuals, with their own lives and interests. The government, if it has their loyalty, utilizes their energies in such a fashion that the majority are benefited, as is the government itself.» — Seth, según Roberts, en la sesión ocho, abre la analogía del gobierno: ciudadanos con vidas propias cuyas energías el gobierno utiliza en beneficio de la mayoría

«Yet you cannot really put your finger on “the government,” though you might mention the White House as the seat of its power. The government is composed of many people, of course, and really extends all the way down the line, even to its least citizen, but the government can direct the use of energies, of goods, commerce, power, and so forth.» — Seth, según Roberts, en la sesión ocho, acota la analogía: el gobierno no se deja señalar con el dedo y se extiende hasta el último ciudadano

«Now in some important respects the reasoning mind is like the government in this analogy. If the people in power are paranoid, then they overestimate the dangers of any given» — Seth, según Roberts, en la sesión ocho, aplica la analogía: una mente razonante paranoica sobreestima los peligros como un gobierno paranoico; el tramo se corta en el cambio de plana y sigue en la 96

«world situation. They overreact, or overmobilize, using a disproportionate amount of energy and time for defense, and taking energies away from other projects. The reasoning mind acts in the same fashion when paranoid beliefs are in power. It therefore tells all of the citizens — or cells of the body — to mobilize for action, to be on the alert, to pare down all but necessary activities, and so forth.» — continuación de la analogía: Seth describe la movilización desproporcionada de energía que ordena a las células del cuerpo la mente con creencias paranoicas; el troceo imprime aquí las palabras en renglones sueltos, y así se conservan

«When a government is paranoid, it even begins to cut down on the freedom of its own peoples, or to frown upon behavior that in freer times would be quite acceptable. The same applies to the conscious mind in that situation. Now the people might finally revolt, or they will take certain steps to see that their freedom is restored, and so the body’s cells will do the same.» — Seth, según Roberts, en la sesión ocho, lleva la analogía hasta la revuelta: las células del cuerpo harían lo que el pueblo para recobrar su libertad

«or that man exists, physically speaking, as the result of the graceful support of nature and all of its» — Seth, según Roberts, en la sesión ocho, hace depender la existencia física del hombre del sostén gracioso de la naturaleza; el tramo se corta en el cambio de plana y sigue en la 95 con *other species*

«other species. Without those other species, man as you know him would not exist, not without the continuous cooperation of those species with each other, and their interrelationships with the environment.» — continuación de lo anterior: Seth hace depender al hombre de la cooperación continua de las demás especies entre sí y con el ambiente

«The reasoning mind defines, makes judgments, deals with the physical objects of the world, and also with the cultural interpretations current in its time.» — Seth, según Roberts, en la sesión ocho, enumera las funciones de la mente razonante: definir, juzgar y tratar con los objetos y las interpretaciones culturales de su tiempo

«So what we want, obviously, is to ensure that the conscious mind, with its reasoning processes, can make proper adjustments about the nature of the world and the individual citizens within it.» — Seth, según Roberts, en la sesión ocho, enuncia el propósito de la analogía: que la mente consciente ajuste bien su cuadro del mundo y de sus habitantes

«Each creature is born trusting (quietly in an intent delivery). There is no such thing as a killer instinct, with the implications and meaning that man gives that term (intently).» — Seth, según Roberts, en la sesión ocho, declara a toda criatura nacida en confianza y niega el instinto asesino en el sentido que el hombre le da

«At levels almost impossible to describe to you in your adulthoods, all infants, for example, know that they are born into the environmental niches that suit them and no others — [that are] tailored to their requirements.» — Seth, según Roberts, en la sesión ocho, atribuye a todo infante el saber, en niveles casi indescriptibles, que nace en el nicho que le corresponde

«You can usually see in a superficial fashion how animals under “natural conditions” fit into their environments so perfectly, so that their needs and desires and equipment» — Seth, según Roberts, en la sesión ocho, señala lo que sí se ve: el ajuste de los animales a su ambiente; el tramo se corta en el cambio de plana y sigue en la 97 con *meet and merge with the characteristics of the environment*

«meet and merge with the characteristics of the environment. It is not nearly as easy to see that the same applies to man and his mental and physical environment, his town or country or culture, but the infant trusts from the very first moment.» — continuación de lo anterior: Seth extiende el ajuste al hombre y a su ambiente mental y cultural, y hace del infante el caso donde la confianza se ve desde el primer momento

«You may not consider trust an attribute connected with reasoning, but it is indeed, for it represents the creature’s innate understanding of the support with which it has been gifted. The natural person still feels that trust.» — Seth, según Roberts, en la sesión ocho, hace de la confianza un atributo del razonamiento, por ser comprensión innata del sostén recibido

«There are many books written about occult knowledge, or magical knowledge. Most of them are filled with distortions, but they are all efforts to uncover man’s natural magical reasoning.» — Seth, según Roberts, en la sesión ocho, consigna la existencia de libros de conocimiento oculto y mágico, los llama llenos de distorsiones y a la vez esfuerzos por descubrir el razonamiento mágico natural

«Had Ruburt gone to a doctor or a faith healer when we began our last group of sessions, and then in a matter of a week or so found himself able again to walk with his [typing] table across the kitchen floor, some thirteen or fourteen steps perhaps, where before three were his uncomfortable limit, he might have attributed the improvement to a doctor’s treatment or to a faith healer’s ability — but he would have been impressed.» — Seth, según Roberts, en la sesión ocho, monta el contraste con el médico y el sanador de fe: la misma mejoría habría impresionado si se la hubiera atribuido a ellos

«Those improvements came about in their way magically, because he has begun to use and understand this material. So let him be just as impressed — in fact, more impressed — at the body’s natural healing processes, that will naturally flow and are naturally flowing when he allows himself to trust his life and the support of his own being.» — Seth, según Roberts, en la sesión ocho, pide que el proceso natural de curación impresione tanto o más que un tratamiento

«Work with the sessions of late. For again, it is your understanding that sets it all into motion. There are changes in the hips occurring, and remarkable improvements already “in the works.” They must be allowed to happen, however, and that takes place as your understanding brings you in greater correspondence with the natural energy that is always your own.» — Seth, según Roberts, cierra la sesión ocho poniendo en la comprensión lo que pone el proceso en marcha

«just hope I can handle it,” Jane said again. Meaning the session. “There’s so much going on in my body at one time it’s hard to handle that too,” she laughed.» — Jane Roberts, citada por Butts al abrir la sesión nueve, duda de poder sostenerla por lo que ocurre en su cuerpo; el troceo pierde la capitular *I* de *I just hope*

«There has been one rather remarkable improvement in Ruburt’s performance: getting to his feet. That is the result of the body’s magical reasoning — for the body reasons so quickly, so clearly and concisely (pause), that its deductions, its logic, are far too fast for the intellect to follow.» — Seth, según Roberts, abre la sesión nueve con el razonamiento del cuerpo: una lógica demasiado veloz para que el intelecto la siga

«Again, bodily efforts are as magical, as creative, certainly, as the writing of a book or a poem (intently) — but Ruburt in the past trusted his creative abilities as if they were something he had to guard from his physical self.» — Seth, según Roberts, en la sesión nueve, iguala el esfuerzo del cuerpo con la escritura de un libro o un poema en cuanto a lo mágico y lo creativo

«You are both finally making vital strides in understanding as a result of our last sessions in particular, and on Ruburt’s part because of the changed attitudes he has allowed, and the changed physical habits: the encouragement of motion, the expanded feeling of identity, which now includes the physical body rather than trying to exclude it.» — Seth, según Roberts, en la sesión nueve, atribuye el avance al cambio de hábitos y a un sentido de identidad ampliado que ya incluye al cuerpo

«The body is not a tool, to do your mental bidding. (Pause.) Your body is a mental expression physically materialized.» — Seth, según Roberts, en la sesión nueve, niega que el cuerpo sea herramienta de la mente y lo llama expresión mental materializada

«More improvements are indeed even now occurring, and as long as Ruburt’s attitude continues to improve you can expect such progress — for again, the body is quite capable of healing itself completely, and with far greater ease than you give it credit for.» — Seth, según Roberts, en la sesión nueve, declara al cuerpo capaz de curarse del todo y con más facilidad de la que se le concede

«Ruburt did not have to do anything in particular, for example, of a conscious nature, except to state his intentions, and the body’s healing mechanisms immediately quickened. This is because he began to take the pressure off, so to speak, and really began to understand the abilities and limitations of the rational mind in its relationship to the body.» — Seth, según Roberts, en la sesión nueve, reduce lo que hay que hacer a declarar la intención, y atribuye el resto a quitar presión y comprender los límites de la mente racional

«You both believed it was quite possible to have clairvoyant dreams, out-of-body experiences, creative adventures in the arts — but to some extent both of you doubted that the same power or energy could be directed effectively in the physical realm, so-called, of bodily health,» — Seth, según Roberts, en la sesión nueve, señala el reparto de la creencia de los dos: la energía admitida en los sueños y en el arte y dudada en la salud del cuerpo

«Again, the material is indeed dealing with a far more valid explanation for the working ways of reality than the old official beliefs — and again, we are not just (underlined) dealing with evocative, creative hypotheses.» — Seth, según Roberts, en la sesión nueve, reclama para el material una explicación más válida que las creencias oficiales y niega que sean solo hipótesis creativas

«There is no need, then, to be surprised if some of our ideas frighten Prentice-Hall. (“I was just going to ask you about that.”) If our ideas were already accepted in the world, there would be no» — Seth, según Roberts, en la sesión nueve, da por descontado el temor del editor y lo vuelve razón del propio trabajo; el tramo se corta en el cambio de plana y sigue en la 101 con *need for our work*

«need for our work. Prentice-Hall is, of course, well-intentioned, and under their belief system it is nearly sacrilegious to be anything more than officially disapproving of medical matters. That is, some disapproval is acceptable. To attack medical corruption, or medical errors, or particular clinics, for example, is within bounds, but to attack the belief system of the entire structure is something else again.» — Seth, según Roberts, en la sesión nueve, distingue entre atacar corrupciones o errores médicos, que el editor tolera, y atacar el sistema de creencias entero

«Their objections should simply show you why our work is so important. You must not forget, again, that you both chose these challenges. You wanted to be involved with the initiation of new thematic material. You wanted the experience of getting it for yourselves, so to speak (intently) — the exhilaration of discovery.» — Seth, según Roberts, en la sesión nueve, convierte la objeción del editor en prueba de la importancia del trabajo y recuerda que los retos fueron elegidos

«As a matter of fact — in case you may think sometimes that I am not fully aware of your mores — I did indeed temper many of my remarks in Mass Events on several subjects, so that the book would not be found too objectionable in the context of your times. The implications are there, but your belief systems must be allowed to mellow and change in the light of new knowledge, rather than to be booted aside with an angry foot.» — Seth, según Roberts, en la sesión nueve, declara haber templado sus propias afirmaciones en otro volumen para que el libro no resultara demasiado objetable en su época

«That is all I have to say there. They are a mainline publisher, which means that their books go to people in all walks of life — in libraries and bookstores and so forth. It is much better that the books compete in such a fashion with the other material of your times, rather than be published, say, by a specialty house, or coddled along the way, for we speak to all of those people.» — Seth, según Roberts, en la sesión nueve, prefiere la editorial general a la especializada por el público al que llega

«Remember the last portion of this session, and your stomach need not bother you (I laughed) — or, more clearly, you will not need to bother your stomach, for that is the problem’s secret.» — Seth, según Roberts, cierra la sesión nueve invirtiendo la fórmula de Butts sobre su estómago: no es el estómago el que molesta sino el que lo molesta

«held the session, “but I really didn’t know whether I could. …” (We laughed again when we considered that Seth had tempered some of his material for Mass Events. “I’d hate to see it if he hadn’t,” Jane said.» — Roberts declara que no sabía si podría sostener la sesión y bromea sobre lo templado del material de Seth

«I was so aware of my body today,” she commented, “that I wondered if I’d be aware of it during the session, but all I remember is drinking wine — which is the kind of thing I usually remember.”» — Roberts consigna lo único que recuerda de la sesión, beber vino, y lo ofrece como lo habitual en ella

«The body reasons directly. The body’s reasoning transforms itself» — Seth, según Roberts, en la sesión nueve, declara que el cuerpo razona directamente y que su razonamiento se transforma; el tramo se corta en el cambio de plana y sigue en la 100 con *into action, with nothing to stand between its elegant logic and the logic’s brilliant execution*

«Ruburt’s body is repairing itself now at an excellent rate.» — Seth, según Roberts, abre la sesión diez con el estado del cuerpo

«It is doing so because Ruburt is giving it different “orders.” He is giving it a different picture of the world, and he is doing that because he has finally changed many of his old beliefs.» — Seth, según Roberts, en la sesión diez, atribuye la reparación a un cuadro del mundo distinto, es decir a creencias cambiadas

«In actuality, the body’s response to such information is always instantaneous, whether or not the results show at once.» — Seth, según Roberts, en la sesión diez, declara instantánea la respuesta del cuerpo a esa información, aunque los resultados tarden en verse

«You might combat those beliefs, struggle against them, but they still carried great weight. You still believed them to an important degree. The entire idea, or fear, that Ruburt had at one time of leading other people down the garden path, was based upon those old beliefs.» — Seth, según Roberts, en la sesión diez, distingue entre combatir una creencia y dejar de creerla, y liga a las viejas el temor de Roberts de extraviar a otros

«Education in your culture is a mixed bag (with ironic and humorous emphasis) — and education comes not from schools alone, but from newspapers and television, magazines and books, from art and from culture’s own feedback.» — Seth, según Roberts, en la sesión diez, extiende la educación más allá de la escuela: periódicos, televisión, revistas, libros, arte y la propia retroalimentación de la cultura

«Generally speaking, for the purposes of this discussion, there are two kinds of education — one focused toward teaching the child to deal with the natural world, and one focused toward teaching the child how to deal with the cultural world. Obviously, these are usually combined. It is impossible to separate them.» — Seth, según Roberts, en la sesión diez, parte la educación en dos, hacia el mundo natural y hacia el cultural, y declara enseguida que no se separan

«Your educational systems, however, for all of their idealism, have largely ended up (pause) smothering the natural individual bents and leanings of children, and overemphasized instead the cultural organization. It became more important, then, for the child to conform to the culture rather than to follow its own individual natural leanings. Its own characteristic ways of dealing with nature were frowned upon, so that education does not work with the child’s abilities, but against them. Education then often goes against the grain of the natural person.» — Seth, según Roberts, en la sesión diez, atribuye a los sistemas educativos, con su idealismo, el sofocar las inclinaciones naturales en favor de la organización cultural

«This does not mean that some children do not do very well under your system. (Pause.) I do not mean to imply, either, that children do not need an education, or that some discipline and direction are not beneficial.» — Seth, según Roberts, en la sesión diez, acota su propia objeción: no niega que algunos niños prosperen ni que hagan falta educación, disciplina y dirección

«Children, however, will concentrate for hours at a time on subject matters and questions that interest them. They are often taken from such pursuits, and their natural habits of concentration suffer as a result.» — Seth, según Roberts, en la sesión diez, señala el efecto sobre la concentración de interrumpir lo que interesa al niño

«You are unlearning right now, and discovering that this particular unlearning process is indeed highly educational (with emphasis). You are encountering your own natural knowledge.» — Seth, según Roberts, en la sesión diez, llama educativo al desaprender y lo describe como encuentro con el saber natural propio

«These sessions, in that regard, came naturally, as the expression of natural abilities and tendencies, finally emerging despite your official views at the time, jointly.» — Seth, según Roberts, en la sesión diez, declara naturales a las propias sesiones, emergidas pese a las opiniones oficiales de los dos en su momento

«The sessions brought about, however, a new kind of education that often seemed in direct conflict with the old, and with the official views of contemporary society. It was of course necessary for you to test them out. Ruburt felt himself more responsible than you, since he spoke the words for me. A private search was one thing — but one publicly followed was something else (intently).» — Seth, según Roberts, en la sesión diez, consigna el conflicto con la educación vieja y la razón de la responsabilidad que Roberts sentía: ser ella la que decía las palabras

«Whether or not the sessions happened as they did, however, once the two of you met, the probability brought about by your relationship meant that in one way or another you would seek out a larger context of consciousness — a context, because of your talents, that would not remain private, but attract others (intently).» — Seth, según Roberts, en la sesión diez, sostiene que la búsqueda habría ocurrido de todos modos por la probabilidad que abrió el encuentro de los dos

«The natural person is to be found, now, not in the past or in the present, but beneath layers and layers of official beliefs, so you are dealing with an archeology of beliefs to find the person who creates beliefs to begin with.» — Seth, según Roberts, en la sesión diez, llama arqueología de creencias a la búsqueda de la persona natural bajo capas de creencias oficiales

«As I have said often, evidence of clairvoyance, telepathy, or whatever, are not eccentric, isolated instances occurring in man’s experience, but are representative of natural patterns of everyday behavior that become invisible in your world because of the official picture of behavior and reality.» — Seth, según Roberts, en la sesión diez, niega que la clarividencia y la telepatía sean instancias aisladas y las declara patrones cotidianos vueltos invisibles por el cuadro oficial

«Ruburt is beginning to hold a more “realistic” picture of how overall reality works. He is managing to disentangle himself from many disadvantageous cultural beliefs — beliefs that both of you for years, like other people, took for granted.» — Seth, según Roberts, en la sesión diez, llama desventajosas a las creencias culturales que los dos daban por sentadas como todo el mundo

«In many instances, of course, you learned too well, both of you. The natural person that is yourself loved to draw and paint. You did that apart from what you had to do in school as a boy.» — Seth, según Roberts, en la sesión diez, señala el dibujo como inclinación natural anterior a la escuela; el tramo se corta antes de la llamada de nota pegada al nombre de la maestra

«Your talent brought you into correspondence with her. You can trust your natural inclinations.» — Seth, según Roberts, en la sesión diez, hace del talento lo que puso a Butts en correspondencia con su maestra, y de ahí pasa a la confianza en la inclinación natural

«Many of the ideas I have given you lately were indeed in Mass Events (as Jane remarked today), but they have become alive now.» — Seth, según Roberts, en la sesión diez, distingue entre haber dado una idea y que la idea se vuelva viva para quien la recibe

«In the same way, many other concepts and ideas already given will also assume a new significance and meaning, and add to the richness of your experience, because you will be open to them more than you were before — Ruburt in particular — to ideas having to do with reincarnation, life after death, other spheres of activity.» — Seth, según Roberts, en la sesión diez, anuncia que otras ideas ya dadas cobrarán sentido nuevo, y nombra la reencarnación y la vida después de la muerte entre ellas

«Ruburt instinctively likes your tree painting. It represents a certain state of consciousness — an in-between threshold dimension of awareness, in which the imagination and the senses are almost caught in the act of putting an object together, or of bringing the world into a sensed reality, brand-new, from the realm of the inner mind: a very evocative state of consciousness, and one that as I believe Ruburt mentioned, you could also use in connection with faces.» — Seth, según Roberts, en la sesión diez, describe el estado de consciencia que atribuye a un cuadro: un umbral en que la imaginación y los sentidos casi se sorprenden armando el objeto

«Ruburt’s body is then magically and naturally repairing itself in a function just as creative, of course, as the inner work that goes on in the production of a book or a poem — a fact he is finally getting through his head.» — Seth, según Roberts, en la sesión diez, iguala la reparación del cuerpo con el trabajo interior que produce un libro o un poema

«When your proofreading is over, and Ruburt’s recovery even more fully demonstrable, we will return to a book session a week, and continue this series the other [weekly] session. We can also expect some improvement in vision, as that area is now being worked on.» — Seth, según Roberts, en la sesión diez, fija el plan de las sesiones por venir y anuncia mejoría en la vista

«I bid you a fond good evening — and remind me some time to add more to the material on education.» — Seth, según Roberts, cierra la sesión diez encargando que se le recuerde volver sobre la educación

«I didn’t think I could do it,” Jane said, “but when he came around I knew I could.”» — Jane Roberts, citada por Butts, consigna la duda y su desaparición al sentir a Seth alrededor

«Now: Christ was not crucified — therefore he did not resurrect, coming out of the tomb, nor did he then ascend into heaven. In the terms of the biblical drama (underlined), however, Christ was crucified. He arose from the tomb and ascended into heaven.» — Seth, según Roberts, abre la sesión once negando la crucifixión, la resurrección y la ascensión como hechos, y afirmándolas en los términos del drama bíblico

«The resurrection and the ascension are indeed, however, the two parts of one dramatic event.» — Seth, según Roberts, en la sesión once, une resurrección y ascensión como dos partes de un mismo suceso dramático

«Dogmatically, arising from the dead alone was clearly not sufficient, for men were to follow where Christ led. You could not have a world in which the newly-risen dead mixed with the living. An existence in a spiritual realm had to follow such a resurrection.» — Seth, según Roberts, en la sesión once, deriva la necesidad dogmática de la ascensión: no cabía un mundo donde los recién resucitados se mezclaran con los vivos

«Now in the facts of history, there was no crucifixion, resurrection, or ascension. In the terms of history there was no biblical Christ (pause), whose life followed the details given.» — Seth, según Roberts, en la sesión once, niega en el orden de los hechos históricos la crucifixión, la resurrección, la ascensión y al propio Cristo bíblico

«The organization of the church is a historical fact. The power, devotion, and energy, the organizational expertise of Christianity, cannot be disputed. Nor can it be disputed that Christianity was based upon great religious and psychic vision. To some extent it involved the intuitional reorganization of subjective, and then objective, realities.» — Seth, según Roberts, en la sesión once, concede a la iglesia su facticidad histórica y a la cristiandad su visión religiosa y psíquica, sin retirar la negativa anterior

«I have told you, however, that the world of events springs from the world of ideas. It seems certain that “something” happened “back then” (as I often remark) — and that if you could go back there, invisibly studying the century, you would discover the birth of Christianity» — Seth, según Roberts, en la sesión once, deriva el mundo de los sucesos del mundo de las ideas y concede que algo ocurrió entonces

«But Christianity was not born at that time.» — Seth, según Roberts, en la sesión once, niega que la cristiandad naciera en ese momento

«Jewish shepherds represented the placenta that was meant to be discarded, for it was Jewish tradition that nourished the new religion in its early stages before its birth.» — Seth, según Roberts, en la sesión once, sigue la figura del parto haciendo de la tradición judía la placenta que nutrió a la nueva religión

«Christ, as you know, was a common name, so when I say that there was a man named Christ involved in those events (see Seth Speaks), I do not mean to say that he was the biblical Christ. His life was one of those lives that were finally used to compose the composite image of the biblical Christ.» — Seth, según Roberts, en la sesión once, distingue al hombre llamado Cristo del Cristo bíblico y llama a este imagen compuesta de varias vidas

«The mass psyche was seeking for a change, an impetus, a flowering, a new organization. The idea of a redeemer was hardly new, but ancient in many traditions.» — Seth, según Roberts, en la sesión once, sitúa la idea del redentor como antigua en muchas tradiciones y no como novedad de aquella

«As I stated before, that part of the world was filled with would-be messiahs, self-proclaimed prophets, and so forth, and in those terms it was only a matter of time before man’s great spiritual and psychic desires illuminated and filled up that psychological landscape, filling the prepared psychological patterns with a new urgency and intent.» — Seth, según Roberts, en la sesión once, describe la región llena de mesías y profetas y los patrones psicológicos preparados que se llenaron de urgencia nueva

«There were many throw-away messiahs (with gentle amusement) — men whose circumstances, characteristics, and abilities were almost (musically) the ones needed — who almost (musically) filled the psychic bill, but who were unfitted for other reasons: They were of the wrong race, or their timing was off. Their intersection with space and time did not mesh with the requirements.» — Seth, según Roberts, en la sesión once, enumera las razones por las que otros candidatos no sirvieron: la raza, el momento, el cruce con el espacio y el tiempo

«You might say that the labor pains (intently) were» — Seth, según Roberts, en la sesión once, introduce la figura del parto; el tramo se corta en el cambio de plana y sigue en la 112 con *happening then, but the birth itself did not emerge for some time later*

«You must understand the long trail of psychological reality that exists before you have a physical event. You must understand man’s need and capacity for fulfillment, dramatization, and psychic creativity.» — Seth, según Roberts, en la sesión once, pide entender la estela psicológica que precede a todo suceso físico y la capacidad humana de dramatización

«There is nothing that happened in those times that is not happening now in your own: You have numberless gurus, people who seemingly perform miracles (and some do).» — Seth, según Roberts, en la sesión once, iguala aquella época con la presente en materia de gurús y de milagros aparentes, con una concesión entre paréntesis

«So there were in those days some rather disconnected events that served as the focus point for great psychic activity: People wanted to believe, and their belief changed the» — Seth, según Roberts, en la sesión once, hace de sucesos desconectados el foco de la actividad psíquica y del querer creer el motor del cambio; el tramo se corta en el cambio de plana y sigue en la 113

«history as he (underlined) experienced history. They had to touch the times, and they did so by transforming those times for later generations.» — Seth, según Roberts, en la sesión once, sostiene que la creencia hubo de tocar los tiempos y los transformó para las generaciones posteriores; el tramo arranca descabezado por el cambio de plana

«I want it understood (pause) that the accomplishment (pause) is breathtaking in its grandeur — more so because man formed from his psyche such a multidimensional spiritual drama that its light struck upon this or that person, this or that place, and formed a story (pause) more powerful than any physical event could be — hence its power (emphatically).» — Seth, según Roberts, en la sesión once, llama grandioso el logro por haberse formado desde la psique un drama espiritual multidimensional más poderoso que cualquier suceso físico

«In those terms, however, again, the gods of Olympus were as real, for all of men’s riches are representations, psychic dramatizations, standing for an inner reality that cannot be literally expressed or described — but can be creatively expressed or represented.» — Seth, según Roberts, en la sesión once, pone a los dioses del Olimpo en el mismo plano de realidad y llama a todas esas riquezas dramatizaciones psíquicas de una realidad interior indecible

«Too-literal translations of such material often lead to grief, and the creative thrust becomes lost.» — Seth, según Roberts, en la sesión once, advierte contra la traducción demasiado literal de ese material

«The great mystery, of course, and great questions, rest in the nature of that inner reality from which man weans (repeated at my question) his religions, and in the power of the creative abilities themselves that bring them into birth (all quite intently).» — Seth, según Roberts, en la sesión once, deja el misterio en la naturaleza de esa realidad interior y en las facultades creativas que hacen nacer las religiones

«Such activities on a large scale are the end result of each natural person’s individual relationship with nature, and with nature’s source.» — Seth, según Roberts, en la sesión once, deriva las religiones en gran escala de la relación individual de cada persona natural con la naturaleza y con su fuente

«Jane laughed as we talked. “You don’t have to publish it, but I have the feeling that he — Seth — would have said all that earlier, a long time ago, if» — Jane Roberts declara que Seth habría dicho todo aquello mucho antes si ella se lo hubiera permitido; el tramo se corta en el cambio de plana y acaba en la 114 con *I’d let him*

«I would like to give you some insight as to why Prentice-Hall is our publisher to begin with. Maybe we can, in that way, clear up a matter that often seems to contain some mystery (amused. (“That certainly would be nice.”) Once said, the explanation will certainly seem obvious.» — Seth, según Roberts, abre la sesión doce ofreciendo la razón de que esa casa sea la editorial, y anuncia que sonará obvia

«Prentice-Hall, in capsule form, so to speak, is a representative of the most diverse kinds of thought currently held in your country — that is, under it’s overall auspices you have the most conventional establishment-oriented textbooks, devoted to continuing traditional ideas. You have, there, a concentration upon education as it is understood at that level.» — Seth, según Roberts, en la sesión doce, describe a la editorial como representante de los pensamientos más diversos del país, con sus libros de texto convencionales; el troceo imprime aquí las palabras en renglones sueltos, y así se conservan

«Under Prentice’s auspices, however, you also have Parker Books — books that are devoted to quite anti-establishment ideas and concepts — to all brands of psychic, scientific, or religious eccentricities, given to matters that contradict the establishment and challenge it at every point. And there, too, you have a concentration upon education, in that the books are written to instruct.» — Seth, según Roberts, en la sesión doce, describe el otro sello de la misma casa, dedicado a lo antiestablecimiento y a toda excentricidad psíquica, científica o religiosa

«Our books do not appear under the Parker heading. (Long pause.) They are in their way bridges between the two opposing ways of thought. They are too anti-establishment to be college textbooks, but in their way far too reasonable to be considered eccentricities» — Seth, según Roberts, en la sesión doce, sitúa los propios libros como puentes entre las dos maneras de pensar: demasiado antiestablecimiento para el texto y demasiado razonables para la excentricidad

«Our books are in the regular trade department. This poses some problems for the legal department, which is given to the most literal translation of reality as interpreted through law.» — Seth, según Roberts, en la sesión doce, señala el problema que eso crea al departamento legal, dado a la traducción más literal de la realidad

«You have almost what you could call a schizophrenic relationship, existing, say, between Parker Books and Prentice’s trade-book division.» — Seth, según Roberts, en la sesión doce, llama esquizofrénica a la relación entre los dos sellos de la misma casa

«Many of the Parker books on the other hand emphasize creativity, the intuitions, the use of the imagination, but are relatively innocent of any clear reasoning, logic, or any feeling for tradition at all. I am simplifying here to some extent to make my point.» — Seth, según Roberts, en la sesión doce, hace el reproche simétrico al otro sello y declara que simplifica para sostener su punto

«Prentice is always, then, to some extent in a state of creative tension, as the seemingly opposed, seemingly contradictory elements are each expressed through these two divisions.» — Seth, según Roberts, en la sesión doce, llama tensión creativa a la convivencia de los dos sellos opuestos en la misma casa

«Because of those divisions, however, there is indeed a great publishing leeway possible of books that otherwise could not mingle.» — Seth, según Roberts, en la sesión doce, saca de esa división el margen de publicación que hace posible mezclar libros que de otro modo no se mezclarían

«Prentice does more than it knows it does. As a corporate entity, it also has a conscious and unconscious intent, as do all organizations, because they must mirror the people who belong to them.» — Seth, según Roberts, en la sesión doce, atribuye a la corporación intención consciente e inconsciente por espejar a la gente que la compone

«It does not know if our work is fact or fiction, in the deepest of terms. It knows the work is not forged. It knows that I appear in sessions, for example, but it does not know whether or not my ideas correspond with a greater reality, or whether they are the result of an extraordinary psychological creativity.» — Seth, según Roberts, en la sesión doce, consigna la duda de la editorial sobre el estatuto del propio material: no forjado, pero sin decidir entre realidad mayor y creatividad psicológica extraordinaria

«Those same characteristics I have mentioned as applying to Prentice apply in their way to Tam, of course. 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.» — Seth, según Roberts, en la sesión doce, aplica al editor las mismas dos tendencias que atribuye a la casa

«The textbook division represents the workings of the intellect in the usual terms of rational» — Seth, según Roberts, en la sesión doce, hace de los libros de texto la representación del intelecto en los términos usuales de lo racional; el tramo se corta en el cambio de plana y sigue en la 117 con *thought*

«thought, and in those books the qualities of the imagination, of the psyche, of poetry, of creativity, are quite lacking. Such qualities are indeed considered threats, for they do not accept easy answers, and are not content with the status quo.» — continuación de lo anterior: Seth atribuye a esos libros la falta de imaginación, psique, poesía y creatividad, y explica por qué esas cualidades se tienen ahí por amenaza

«The legal department knows how to deal with the Parker books. (Tam told Jane it’s putting disclaimers in all Parker books.) It knows how to deal with fiction. It knows how to deal with conventional textbooks — but in a fashion our books combine all of those elements, and transcend them.» — Seth, según Roberts, en la sesión doce, sitúa los propios libros fuera de las tres categorías que el departamento legal sabe tratar

«Our books are attempting to insert new ideas into the world as it now is, by combining the powers of the intellect and the powers of the intuitions — in other words, by closing the two ends of Prentice’s extremes.» — Seth, según Roberts, en la sesión doce, declara el propósito de los libros: insertar ideas nuevas combinando las potencias del intelecto y las de las intuiciones

«let me gently remind the two of you that I said that you must be willing to change all the way from the old system of orientation to the new, if you want the new approach to work fully for you in your lives.» — Seth, según Roberts, en la sesión doce, pone la condición del enfoque mágico: cambiar entero el sistema de orientación, no en parte

«As I said before, also, when faced with the difficulty, the conventional, rational approach tells you to look at the problem, examine it thoroughly, project it into the future, and imagine its dire consequences — and so, faced with the idea of a disclaimer (for Mass Events), that is what you did to some extent, the two of you. You saw the disclaimer as fact, imagined it in your minds on the pages of our books, projected all of that onto future books, and for fine good measure you both imagined this famous disclaimer published in editions of all the books as well.» — Seth, según Roberts, en la sesión doce, reconstruye lo que los dos hicieron con la amenaza del descargo: tomarlo por hecho y proyectarlo a todos los libros futuros

«That is an excellent example of what not to do.» — Seth, según Roberts, en la sesión doce, califica ese episodio como ejemplo de lo que no hay que hacer

«Indeed, you both began to pull out of that yourselves. You did at least question the approach. In the meantime, of course, your nervous systems reacted to the implied threat against your work, a threat that now existed in the past, present, and future.» — Seth, según Roberts, en la sesión doce, concede que los dos empezaron a salir solos de esa proyección, y consigna la reacción del sistema nervioso a la amenaza

«You are protected. Your work is protected. When you realize that, you act out of confidence.» — Seth, según Roberts, en la sesión doce, declara protegidos a los dos y a su trabajo, y hace de esa certeza la fuente de la confianza

«In the deepest of terms it was not reasonable (underlined) to nearly assume that a disclaimer, if used, would therefore be retroactively and then continuously used. It was not a conclusion based upon fact, but a conclusion based upon a reason that applied to one probability only, one series of probable acts — or based upon the probable act of a disclaimer being used to begin with.» — Seth, según Roberts, en la sesión doce, llama no razonable a la conclusión de los dos: extender a todas las ediciones un descargo que solo era una probabilidad

«So again, what we are dealing with is an overall lesson in the way in which the reasoning mind has been taught to react. These are really instances where the intellect has been trained to use only a portion of its abilities, to zoom in on the most pessimistic of any given series of probable actions — and then treat those as if they were facts.» — Seth, según Roberts, en la sesión doce, describe el hábito de la mente razonante: apuntar a la más pesimista de las probabilidades y tratarla como hecho

«And let me add, I covered our flank in the book» — Seth, según Roberts, en la sesión doce, declara haber cubierto el flanco dentro del propio libro que estaba en disputa

«but do not forget that you in your ways, and that corporate entity, do indeed share an educational intent.» — Seth, según Roberts, en la sesión doce, atribuye a los autores y a la editorial una misma intención educativa

«You are quite right, again, to say that “There are elements in this situation — or in any given situation — impossible for my intellect to know,” so the intellect can take that fact into consideration.» — Seth, según Roberts, en la sesión doce, aprueba la fórmula con que el intelecto reconoce lo que no puede saber

«Otherwise, you expect it to make deductions while denying it the comfort it should have, of knowing that its deductions need not be made on its own knowledge alone, but on the intuition’s vast magical bank of information — from which, in larger terms, all of the intellect’s information must spring.» — Seth, según Roberts, en la sesión doce, hace de la intuición el banco mágico de información del que, en términos mayores, sale todo lo que el intelecto sabe

«Ruburt is anxious that Prentice present our books in the best light in the world. They also have their own paranoid tendencies, and overworked intellects to contend with. The magical approach will get you through, if you use it.» — Seth, según Roberts, cierra la sesión doce atribuyendo también a la editorial tendencias paranoicas e intelectos sobrecargados

«Then I became aware that once again I was perceiving “the light of the universe,” as Seth calls it. This experience was milder than my three previous ones, but was still most intriguing.» — Butts nombra la experiencia con la fórmula que atribuye a Seth, la luz del universo, y la califica de más suave que las anteriores

«I don’t want to complicate it by speculating about being in an out-of-body state while having it. I realized that while lying on my back with my head turned a bit to the right, I was definitely looking to my left, at the top of a plain, solid wooden door to a room — and that my viewpoint was up, just above the top of the door in its frame, which was close to a low ceiling. The door was dark on my side, and was open toward me perhaps three inches at the most.» — Butts se abstiene de decidir si estaba fuera del cuerpo y describe en cambio lo que veía: el canto de una puerta entreabierta unos centímetros

«Now behind the door was a brilliant pulsing light — but I could see only the small portion of it at the top of the nearly-shut door. My reactions during the experience were quite objective this time. I knew what I was creating.» — Butts describe la luz pulsante tras la puerta y declara saber que era obra suya

«As I came out of the experience a few moments later I resolved to paint a small oil of it, as I’ve done following my three previous perceptions of the light of the universe this year — on February 9 and 10, and on June 16. And it’s obvious that in tonight’s little adventure I had once again cleverly protected myself from confronting the full creative blast of the light of the universe by allowing myself just a peek at it, and a careful one at that, at the top of a door.» — Butts lee su propia experiencia como una protección: dejarse solo un atisbo de la luz por el canto de una puerta casi cerrada

«If you had first read the article of which you have been speaking, and then in a semi-dozing state created your idea of a novel, replete with the characterization of the mother, then you would say that cause and effect were involved.» — Seth, según Roberts, abre la sesión trece planteando el caso contrario, el que sí admitiría causa y efecto

«Science might admit that the novel idea itself was highly creative, an example of the mind at play as it used experience as a creative raw product — but of course you had your experience before you read the article. And when that kind of thing happens science then proclaims that the two events are not connected to each other at all, but are instead the result of coincidental patterns.» — Seth, según Roberts, en la sesión trece, consigna lo que a su juicio diría la ciencia ante el orden inverso de los hechos: patrones coincidentes

«In your terms, whether a minute or 10 minutes, or an hour or two hours were involved, you reacted ahead of time to a headline that you had not as yet physically encountered. You reacted creatively, using the precognitive story as a basis for a fictional endeavor. You turned it to art’s purposes.» — Seth, según Roberts, en la sesión trece, describe lo ocurrido como reacción anticipada a un titular no leído, usada como base de una invención

«As you lay there you were aware of the fact just beneath consciousness — usual consciousness — that you had not brought in the paper before your nap, as is your habit, and almost at a dream level you idly wondered what stories it might contain.» — Seth, según Roberts, en la sesión trece, sitúa el mecanismo justo bajo la consciencia usual: saber que el diario no había entrado y preguntarse qué traería

«The idea, then, of the novel came from past and future events, though you were to catch up with those future events very quickly. Your mind intuitively organized all of that material, and put it together in a completely new fashion.» — Seth, según Roberts, en la sesión trece, hace venir la idea de sucesos pasados y futuros a la vez, organizados de nuevo por la mente

«Sometimes when such events occur, the precognitive trigger is not even recognized when it is encountered physically, because it happens too far ahead of time.» — Seth, según Roberts, en la sesión trece, acota el fenómeno: a veces el disparador precognitivo ni se reconoce al encontrarlo, por la distancia en el tiempo

«You used the magical approach. You caught yourself in the act of acting naturally, of demonstrating abilities that your society to a large degree does not admit.» — Seth, según Roberts, en la sesión trece, nombra lo ocurrido como uso del enfoque mágico: sorprenderse a sí mismo obrando con naturalidad

«That same kind of lightning-swift organization goes on within the body itself constantly, as it deals with probable scenarios to which you may or may not end up reacting to.» — Seth, según Roberts, en la sesión trece, atribuye al cuerpo esa misma organización relámpago ante escenarios probables

«The events themselves discussed in the newspaper article point up the same kind of magical affiliations. The c-e-l-l-s (spelled) of the young men in question were always in communication, and all of those elements needed to bring about such a reunion took place at that magical level of activity. Consciously, intellectually, the boys had no idea they were triplets.» — Seth, según Roberts, en la sesión trece, extiende lo mágico al contenido mismo de la noticia: células en comunicación sin que los interesados lo supieran, y el troceo conserva el deletreo con que Roberts lo dictó

«You live personally in a world of lush creative ideas. Your intellect is aware of that. (Pause.) It is used to working creatively. The focused intellect can indeed activate the intuitive abilities — and the healing abilities. You get what you concentrate upon.» — Seth, según Roberts, en la sesión trece, atribuye al intelecto enfocado la activación de las facultades intuitivas y curativas, y repite la fórmula de la concentración

«The intellect is a vital organizer even if it is not aware of the magical levels of activity from which often its best ideas emerge.» — Seth, según Roberts, en la sesión trece, mantiene al intelecto como organizador aunque ignore los niveles de donde salen sus mejores ideas

«certain terms cast their shadows back into the present, or illuminate the past according to the events’ characteristics. There is always more going on than ordinary sense data show.» — Seth, según Roberts, en la sesión trece, sostiene que los sucesos futuros arrojan su sombra sobre el presente y que ocurre más de lo que los sentidos muestran

«In your comparatively simple experience, you can see, however, the implications of such activities. Men may react to future events by unconsciously translating them into art, or motion pictures.» — Seth, según Roberts, en la sesión trece, extiende lo mismo al arte y al cine como traducción inconsciente de sucesos futuros

«The same occurs, of course, in all areas of human behavior, as well as in the behavior of animals and even of plants. This future shadowing the present, or future illuminating the present, represents a vital element in the formation of events as they are perceived in time.» — Seth, según Roberts, en la sesión trece, extiende el fenómeno a los animales y a las plantas y lo llama elemento vital en la formación de los sucesos en el tiempo

«I do not mean that the reunion was inevitable or predestined, but the vigor of that probability, you might say, magnified the original tension.» — Seth, según Roberts, en la sesión trece, niega que el reencuentro fuera inevitable o predestinado y lo deja en vigor de una probabilidad

«I want Ruburt to apply all of this to his own situation, both in terms of creative endeavors and his physical situation, so that he begins to understand that he can start to react in the present to a future recovery.» — Seth, según Roberts, en la sesión trece, aplica lo anterior al caso de Roberts: reaccionar en el presente a una recuperación futura

«He can see how important periods of letting go are. Your experience happened when you were nearly asleep, but merely relaxed, not worrying, with your intellect in a kind of free flow. You were not hampering it. It was momentarily free of limiting beliefs» — Seth, según Roberts, en la sesión trece, pone el soltar como condición: el intelecto en flujo libre y sin creencias limitantes

«naturally used — and chose to use — the magical approach to answer what was a very simple, now-forgotten intellectual question: What might be in today’s newspaper?» — Seth, según Roberts, en la sesión trece, reduce lo ocurrido a una pregunta intelectual muy simple resuelta por la vía mágica

«The usual answer, or the usual method of obtaining an answer, was at the time inconvenient: You were not about to get up, go outside and get the paper, so on its own the intellect pressed the magical-approach button, you might say, getting the information the quickest and easiest way possible.» — Seth, según Roberts, en la sesión trece, explica la elección de la vía por conveniencia: el camino usual estaba incómodo

«It did not give you the bare headline, however — even though that and the story were perceived far too quickly for you to follow. What you were aware of were your own creative reveries in response to that information.» — Seth, según Roberts, en la sesión trece, distingue entre la información recibida, demasiado veloz para seguirla, y lo que llegó a la consciencia: la ensoñación creativa

«react by unconsciously taking certain steps of a political nature that seem at the time either unreasonable, or even incomprehensible — steps whose logic appears only in hindsight.» — Seth, según Roberts, en la sesión trece, extiende la misma reacción anticipada a la política, con pasos cuya lógica solo se ve en retrospectiva; el tramo arranca descabezado, y la frase empieza en la 126 con *They may*

«In a fashion the triplets were reacting in their past to a future event that has now caught up with them, so that each of their actions in any moment of that past happened as a result of a tension — a creative tension — between the event of their original separation and the event of their future reunion.» — Seth, según Roberts, en la sesión trece, describe la tensión creativa entre la separación pasada y el reencuentro futuro de los trillizos de la noticia

«Now left alone, the intellect will often solve problems in just such a fashion, when it is allowed to, when you forget what is supposed to be possible and what is not, when you forget that your mind is supposed to» — Seth, según Roberts, cierra la sesión trece poniendo la condición del método: olvidar lo que se supone posible; el tramo se corta en el cambio de plana y sigue en la 128 con *be pedestrian and parochial*

«On the front page of the paper was a rather long story, with photographs, telling how triplets were united by “chance” last weekend in New York City — a case we hadn’t heard of in the media before now.» — Butts consigna el contenido de la primera plana: los trillizos reunidos por azar en Nueva York, noticia que no conocía

«It is not true, of course, that before the time of modern psychology man had a concept of himself that dealt with conscious exterior aspects only, although it has been written that until that time man thought of himself as a kind of flat-surfaced self — minus, for example, subconscious or unconscious complexity.» — Seth, según Roberts, abre la sesión catorce objetando a la historia corriente de la psicología: que antes de ella el hombre se pensara plano y sin complejidad

«Instead, previous to psychology’s entrance, before psychology mapped the acceptable or forbidden, the dangerous or safe compartments of the self, man used the word “soul” to include his own entire complexity.» — Seth, según Roberts, en la sesión catorce, pone la palabra alma en el lugar que la psicología vendría a mapear en compartimentos

«That word was large enough to contain man’s experience. It was large enough to provide room for conventional and unconventional, bizarre and ordinary states of mind and experience. It was roomy enough to hold images of reality that were physically perceived or psychologically» — Seth, según Roberts, en la sesión catorce, atribuye a esa palabra amplitud para lo convencional y lo bizarro; el tramo se corta en el cambio de plana y acaba en la 133 con *perceived*

«Now the church finally placed all of the condemnation of its religious laws against certain psychological and mystical experiences — not because it did not consider them realities, of course, but precisely because it recognized too well the disruptive influence that, say, revelationary experience could have upon a world order that was based upon a uniform dogma.» — Seth, según Roberts, en la sesión catorce, explica la condena eclesiástica de lo místico no por incredulidad sino por el poder disruptivo que le reconocía

«“Witches” were not considered insane, for example, or deranged, for their psychological beliefs fit in only too well with those of the general populace. They were considered evil instead.» — Seth, según Roberts, en la sesión catorce, sitúa a las brujas fuera de la locura y dentro del mal, por encajar sus creencias con las del común

«The vast range of psychological expression, however, had some kind of framework to contain it. (Pause.) The saint and the sinner (pause) each had access to great depths of possible heroism or despair.» — Seth, según Roberts, en la sesión catorce, concede a aquel marco la contención de un rango psicológico ancho, con el santo y el pecador en sus extremos

«It was in fact because the church so believed in the great range of psychological activity possible that it was so dogmatic and tireless in trying to maintain order.» — Seth, según Roberts, en la sesión catorce, deriva el dogmatismo de la iglesia de su propia creencia en el rango de la actividad psicológica

«Unfortunately, with the development of the scientific era, a development occurred that need not have happened. As I have mentioned before, science’s determination to be objective almost immediately brought about a certain artificial shrinking of psychological reality. What could not be proven in the laboratory was presumed not to exist at all.» — Seth, según Roberts, en la sesión catorce, atribuye al afán de objetividad un encogimiento artificial de la realidad psicológica

«Anyone who experienced “something that could not exist” was therefore to some extent or another deluded or deranged. There is no doubt that the accepted dimensions of psychological reality began to shrink precisely at the time that modern psychology began.» — Seth, según Roberts, en la sesión catorce, sitúa el encogimiento en el momento mismo del nacimiento de la psicología moderna

«Modern psychology was an attempt to make man conform to the new scientific world view. It was an attempt to fit man within the picture of evolution, and to manufacture a creature whose very existence was somehow pitted against itself.» — Seth, según Roberts, en la sesión catorce, lee la psicología moderna como intento de encajar al hombre en la visión científica del mundo

«Evolutionary man, with Darwinian roots, could not be a creature with a soul. It had to have hidden in its psychological roots the bloody remnants of the struggle for survival that now cast it in its uneasy role.» — Seth, según Roberts, en la sesión catorce, deriva de las raíces darwinianas la imposibilidad del alma y los restos sangrientos de la lucha por sobrevivir

«The new psychology shut off mobility after death, while giving each individual an unsavory primitive past heritage — a heritage genetically carried, that led finally only to the grave. (Long pause.) Psychological activity was scaled down in between life and death, then, even while the possibility of any after-death experience was considered the most unreasonable and unintellectual of speculations.» — Seth, según Roberts, en la sesión catorce, describe el saldo de la psicología nueva: herencia primitiva genética, fin en la tumba y la vida después de la muerte vuelta especulación irrazonable

«Any man might rise in your democracy from a poor peasant’s son to be the President. Outcasts might become the socially prominent. The unlettered might become highly educated. The idea of achieving greatness, however, was considered highly suspect. The self was kept in bounds. Great passion, or desire or intent — or genius — did not fit the picture.» — Seth, según Roberts, en la sesión catorce, opone la movilidad social admitida a la sospecha sobre la grandeza, la pasión y el genio

«There is no doubt that the church cast the soul in a» — Seth, según Roberts, en la sesión catorce, concede el estrés en que la iglesia puso al alma; el tramo se corta en el cambio de plana y sigue en la 134 con *position of stress, caught as it was between its heavenly source and original sin*

«position of stress, caught as it was between its heavenly source and original sin — but there was a sense of psychological mobility involved, one that saw continued existence after death.» — continuación de lo anterior: Seth reconoce a aquel arreglo una movilidad psicológica que veía existencia continuada después de la muerte

«Now some peoples would not fit into that mold. They would take what they could from your technology, but in conscious and spontaneous ways they retaliated — and still do — by exaggerating all of those human tendencies that your society has held down so well.» — Seth, según Roberts, en la sesión catorce, describe la represalia de los pueblos que no entran en ese molde: exagerar las tendencias que la sociedad reprime

«If you can have reason without faith, then indeed, for example, you will see that there can be faith without reason. When human experience becomes shrunken in such a fashion — compressed — then in a fashion it also explodes at both ends, you might say.» — Seth, según Roberts, en la sesión catorce, deriva la fe sin razón de la razón sin fe y describe la experiencia comprimida estallando por los dos extremos

«You have atrocious acts committed, along with great heroisms, but each are explosive, representing sudden releases of withheld energies that have in other ways been forbidden, and so man’s mass psyche expresses itself sometimes like explosive fireworks, simply because the release of pressure is necessary.» — Seth, según Roberts, en la sesión catorce, pone las atrocidades y los heroísmos del mismo lado, como liberaciones súbitas de energía retenida

«Iran is an example for the world, in explosive capsule form, complete with historical background and a modern political one. Modern psychology does not have a concept of the self to begin to explain such realities.» — Seth, según Roberts, en la sesión catorce, pone al Irán de aquel año como ejemplo en cápsula y declara a la psicología moderna sin concepto del yo para explicarlo

«Now, in the world you (to me) early formed your own beliefs and strategies. In midlife you were presented with our sessions — or [the two of] you presented yourselves with them, if you prefer. You recognized the overall vitality of our material (long pause) — but again, you did not realize that it meant a complete reorientation of your attitudes. You did not realize that you were being presented, not merely with an alternate view of reality, but with the closest approximation you could get of what reality was, and how it worked, and what it meant.» — Seth, según Roberts, en la sesión catorce, consigna lo que a su juicio los dos no advirtieron: que el material pedía reorientación completa y se ofrecía como la aproximación más cercana a lo que la realidad es

«I have been very gentle in my treatment of your mores and institutions — for I do not want you to be against your world, but for a more fulfilling one.» — Seth, según Roberts, en la sesión catorce, declara haber tratado con suavidad las costumbres y las instituciones, para no poner a los oyentes contra su mundo

«Toward the end of our present book (Dreams), we will be discussing how our ideas can be applied by the individual in terms of value fulfillment, so that individuals can begin to reclaim those dimensions of experience that are indeed your rightful heritage.» — Seth, según Roberts, en la sesión catorce, anuncia la aplicación individual de las ideas en términos de cumplimiento de valor

«For Ruburt, I want him to remember the idea of effortlessness, because with the best of intentions he has been trying too hard. (Pause.) I want him to remember that relaxation is one of creativity’s greatest champions — not its enemy.» — Seth, según Roberts, en la sesión catorce, nombra la relajación campeona de la creatividad y no su enemiga

«Remind him that it is safe to express his natural (underlined) rhythms, to remember the natural person. Your most vital inspirations are effortlessly yours.» — Seth, según Roberts, cierra la sesión catorce declarando seguras las rítmicas naturales y sin esfuerzo las inspiraciones más vitales

«Fanaticism abounds, of course, because the human tendencies and experiences that have been denied by the mainline society erupt with» — Seth, según Roberts, en la sesión catorce, deriva el fanatismo de la negación social de ciertas tendencias humanas; el tramo se corta en el cambio de plana y sigue en la 135 con *explosive force*

«Well, I don’t tell you everything, but for some time now I’ve known Seth gives what I call ‘fill-in’ sessions, or ‘floating material’— stuff he could give any time. It isn’t private, really, or book work either. They’re like ‘maintenance sessions.’ It’s good material, all right, but. …”» — Jane Roberts nombra una clase de sesiones que hasta entonces no había declarado: las de relleno o material flotante, que no son ni de libro ni privadas

«There are certain sessions I’ve labelled ‘fill-in’ sessions in my mind for some time now, or thought of them as covering ‘floating material.’ They aren’t book sessions or specifically personal ones. They keep the sessions going over periods of time. Like maintenance sessions, but usually by discussing past material — connecting it with the present [‘connective sessions’ is more like it] — while not necessarily adding new thrust. And not specifically given to one subject.» — Roberts define por escrito esas sesiones: mantienen la serie en marcha ligando el material pasado con el presente, sin añadir empuje nuevo ni ceñirse a un asunto

«Originally the Christ sessions started that way.» — Roberts sitúa el origen de las sesiones sobre Cristo dentro de esa misma clase

«I think such connective sessions happen between book sessions, for a change of pace — where material doesn’t have to fit a more concentrated overall book focus.» — Roberts propone la función de esas sesiones: un cambio de paso entre las de libro, donde el material no tiene que encajar en un foco concentrado

«Boy, Seth, you’d better bail me out,” she said vehemently. “I can’t have a session on it because I’m too involved — you have to calm down before you can do that. …”» — Roberts declara no poder tener una sesión sobre el asunto por estar demasiado implicada, y lo dice pidiendo a Seth que la saque del apuro

«Our friend is now feeling somewhat more ambitious of late. A few weeks ago, he could hardly wait to lie down at the appointed times, like it otherwise or no, simply because he was so uncomfortable. Now, things have changed somewhat. The sharp discomfort has gone. A few weeks ago he barely considered taking two steps in the kitchen, much less walking twice the length of the living room, or considering walking after dinner.» — Seth, según Roberts, abre la sesión quince comparando el estado presente con el de unas semanas antes

«His irritability is somewhat natural — but also based on the idea, still, that when he is laying down that is dead time (with amusement), or useless time, enforced inactivity.» — Seth, según Roberts, en la sesión quince, concede naturalidad a la irritación y a la vez la liga a la idea de que el reposo sea tiempo muerto

«You might have him become more aware of when he actually becomes tired, or uncomfortable, so that he does lay down then.» — Seth, según Roberts, en la sesión quince, sustituye el horario fijo de reposo por la atención al momento en que el cansancio llega

«One important point, again, is to remember that in any given day his mood is often excellent for many periods of time. He should concentrate his attention upon those periods, rather than concentrating upon the periods when he is blue or upset, and berating himself for those reactions.» — Seth, según Roberts, en la sesión quince, pide concentrar la atención en los periodos de buen ánimo en vez de en los malos

«In that way, the good moods become longer. They increase. They (underlined) become significant. In such ways he will discover what promotes these good moods.» — Seth, según Roberts, en la sesión quince, hace de esa concentración el modo de alargar los buenos ánimos y de descubrir qué los promueve

«Later, I will have some things to say about what I will call “the daily hypothesis,” for each person has such a daily hypothesis — one that might be quite different for, say, Friday than it is for Monday. You build your daily experience partially by such working hypotheses.» — Seth, según Roberts, en la sesión quince, anuncia la noción de hipótesis diaria y sostiene que cada quien tiene una, distinta según el día

«To some extent Ruburt’s dissatisfaction with laying down after dinner also means that he is learning more about his own natural rhythms, for he does feel accelerated at that time, and by the evening, as you do.» — Seth, según Roberts, en la sesión quince, lee la insatisfacción como aprendizaje de los ritmos naturales propios

«This is because many of the beliefs that you have individually and jointly are somewhat relieved in the evening, in that they so often apply to the day’s activities, when the rest of the world seems to be engaged in the nine-to-five assembly-line world experience.» — Seth, según Roberts, en la sesión quince, explica la aceleración vespertina por el alivio de las creencias ligadas a la jornada laboral

«You do not project as many negative ideas upon the evening hours, and the same applies to most people to varying degrees. That is at least one of the reasons why these sessions have been held in the evening, where it was at least not as likely that you would try to invest them with the workaday kind of world values.» — Seth, según Roberts, en la sesión quince, da con eso una razón de que las propias sesiones se tengan de noche

«It would help, of course, if he reminded himself that his creative mind is at work whether or not he is aware of it, and regardless of what he is doing» — Seth, según Roberts, en la sesión quince, propone leer el reposo como tiempo en que la mente creativa trabaja sin que uno lo advierta; el tramo se corta en el cambio de plana y sigue en la 138 con *periods have the potential, at least, of accelerating creativity*

«periods have the potential, at least, of accelerating creativity, if he allows his intellect to go into a kind of free drive at such times.» — continuación de lo anterior: Seth atribuye a esos periodos la posibilidad de acelerar la creación si se deja al intelecto en punto muerto

«The natural, magical flows of your own rhythms are more often broken up in the daytime. This applies to other people as well, because of your ideas of what you should be doing at any given time, or what is socially respectable, proper, upright, even moral (wryly) in limited terms.» — Seth, según Roberts, en la sesión quince, atribuye la ruptura diurna de los ritmos naturales a las ideas sobre lo que se debe hacer a cada hora

«You have settled upon a system that seems to be naturally based, the exclusive results of your historic past, one in which your main activities are daytime ones. It seems only natural that early man, for example, carried on all of his main activities in the day, hiding after dark.» — Seth, según Roberts, en la sesión quince, enuncia la creencia corriente sobre el hombre primitivo diurno antes de objetarla

«As a matter of fact, however, early man was a natural night dweller, and early developed the uses of fire for illumination, carrying on many activities after dark, when many natural predators slept. He also hunted very well in the dark, cleverly using all of his senses with high accuracy — the result of learning processes that are now quite lost.» — Seth, según Roberts, en la sesión quince, objeta esa creencia: hace del hombre temprano un habitante natural de la noche, con fuego, caza nocturna y sentidos afinados

«In any case, man was not by any means exclusively a daytime creature, and fires within caves extended activities far into the night. It was agriculture that turned him more into a daytime rhythm, and for some time many beliefs lingered that resulted from earlier nighttime agricultural practices.» — Seth, según Roberts, en la sesión quince, atribuye a la agricultura el vuelco al ritmo diurno

«Many people’s natural rhythms, then, still do incline in those directions, and they are always kept operable as alternate rhythms for the species as a whole.» — Seth, según Roberts, en la sesión quince, conserva esos ritmos como alternativas siempre operables de la especie

«Cultures that were night-oriented (pause) appreciated the night in a different fashion, of course, and actually utilized their consciousnesses (pause) in ways that are almost nearly forgotten. I believe there are ancient fairy tales and myths still surviving that speak of these underworlds, or worlds of darkness — but they do not mean worlds of death, as is usually interpreted.» — Seth, según Roberts, en la sesión quince, relee los mundos subterráneos de los cuentos y mitos como mundos de oscuridad y no de muerte

«The nightly portions of your personalities have become strangers to you — for as you identify with what you think of as your rational intellect, then you identify it further with the daytime hours, with the objective world that becomes visible in the morning, with the clearcut physical objects that are then before your view.» — Seth, según Roberts, en la sesión quince, liga la identificación con el intelecto racional a las horas de día y al mundo objetivo visible

«In those times, however, man identified more with his intuitive self, and with his imagination, and these to some extent more than now, directed the uses to which he put his intellect.» — Seth, según Roberts, en la sesión quince, invierte el orden en aquellas épocas: la intuición y la imaginación dirigiendo los usos del intelecto

«This meant, of course, a language (pause) that was in its way more precise than your own, for concepts were routinely expressed that described the vast complexity of subjective as well as objective events.» — Seth, según Roberts, en la sesión quince, atribuye a aquellas lenguas mayor precisión por describir de rutina la complejidad subjetiva

«There were myriad relationships, for example, impossible now to describe, between a person and his or her dream selves, and between the dream selves of all the members of the tribe. Particularly in warmer climates, man was naturally nocturnal, and did a good deal of his sleeping and dreaming in the daytime.» — Seth, según Roberts, en la sesión quince, describe relaciones entre una persona y sus yoes del sueño y entre los de toda la tribu, y sitúa en climas cálidos al hombre nocturno

«You must remember, of course, that the use of clocks is a fairly recent phenomenon. (Pause.) Men thought in terms of rhythms of the time, or of flowing time, not of time in sections that were arbitrary.» — Seth, según Roberts, en la sesión quince, data el reloj como fenómeno reciente y opone el tiempo que fluye al tiempo seccionado

«So as far as creaturehood is concerned, you have adapted to a time environment that you yourselves have formed. Creative people, again, are often aware of those connections, at least at certain levels, and Ruburt in particular has always felt that way to some extent. You have largely buried your own natural feelings in that direction.» — Seth, según Roberts, en la sesión quince, declara formado por uno mismo el ambiente temporal al que se adapta, y enterrados los propios sentimientos naturales

«You often have freedoms, then, that you do not use — a 24-hour period that you use quite arbitrarily, one that is already sectioned for you by society — but only if you allow it to be. It can be used in any fashion that you wish.» — Seth, según Roberts, cierra la sesión quince con la libertad no usada: el día seccionado por la sociedad solo si se lo permite

«You barely touch the surfaces of the kind of freedom that I am speaking of, though you certainly do far better than most.» — Seth, según Roberts, en la sesión quince, acota su propio elogio: los oyentes apenas rozan esa libertad aunque lo hagan mejor que la mayoría

«A note: Ruburt’s body is continuing to respond. The legs and arms are lengthening, and becoming stronger. He should be feeling increased quickness of motion in some respects soon. He is doing well, concentrating upon the good moods, which have increased as a result.» — Seth, según Roberts, en la sesión dieciséis, informa del estado del cuerpo y liga la mejoría a la concentración en los buenos ánimos

«In a fashion, the intellect goes hand-in-hand with the imagination» — Seth, según Roberts, en la sesión quince, empareja el intelecto con la imaginación; el tramo se corta en el cambio de plana y sigue en la 140 con *under such conditions*

«under such conditions. It is not that man stressed physical data less, but that he put it together differently — that in the darkness he relied upon his inner and outer senses in a more unified fashion.» — continuación de lo anterior: Seth describe el uso unificado de los sentidos interiores y exteriores en la oscuridad

«Now: Ruburt’s skill is as ancient as man is, and indeed all of your arts, sciences, and cultural achievements are the offshoots of (pause) spontaneous mental and biological processes.» — Seth, según Roberts, abre la sesión diecisiete declarando antigua como el hombre la facultad de Roberts, y brotes de procesos espontáneos a las artes y a las ciencias

«I choose my words quite carefully at times, because I realize the various interpretations that can be placed upon them.» — Seth, según Roberts, en la sesión diecisiete, declara escoger sus palabras por las interpretaciones que se les pueden dar

«In the first place, as often mentioned lately, the reasoning mind is spontaneously fired. The species contains within itself all of the necessary spontaneous attributes that are necessary to form a civilization, for example. (Pause.) All of your reasoned activities — your governments, societies, arts, religions and sciences — are the physical realization, of course, of inner capacities, capacities that are inherent in man’s structure.» — Seth, según Roberts, en la sesión diecisiete, llama disparada espontáneamente a la mente razonante y hace de gobiernos, artes, religiones y ciencias la realización física de capacidades inherentes

«Take your theaters’ moving picture dramas. These are the materialization in your time of man’s natural acting ability — a characteristic highly important in the behavior of the species.» — Seth, según Roberts, en la sesión diecisiete, lee el cine como materialización de la facultad natural de actuar

«Early man, for example, spontaneously played at acting out the part of other animals. He took the part of a tree, a brook, a rock. Acting became a teaching method — a way of passing on information.» — Seth, según Roberts, en la sesión diecisiete, hace de la actuación un método de enseñanza y de transmisión

«Man always possessed all of the knowledge he needed. The task was to make it physically available.» — Seth, según Roberts, en la sesión diecisiete, sostiene que el conocimiento estaba entero desde el principio y que la tarea era volverlo disponible

«People like Ruburt translated inner knowledge in many ways — through acting it out, through singing or dancing, through drawing images on cave walls. It was the intellect’s job to put such information to practical use, and thus the intuitions and the intellect worked hand in hand.» — Seth, según Roberts, en la sesión diecisiete, enumera las vías de traducción del saber interior: actuar, cantar, bailar, dibujar en las paredes

«It is very difficult to try to explain the various shadings of psychology that were involved. Early man did act in a more spontaneous manner, more automatically, in your terms, but not mindlessly.» — Seth, según Roberts, en la sesión diecisiete, acota su descripción del hombre temprano: más espontáneo y automático, no falto de mente

«If you remember the early portions of our latest book (Mass Events), then this information should fall into place, for consciousness emerged from the inside outward. Animals enjoy drama, and in their fashions they playact.» — Seth, según Roberts, en la sesión diecisiete, remite a otro volumen suyo y sostiene que la consciencia emergió de dentro hacia fuera; también atribuye teatro a los animales

«It was left to man to translate his inner information with a free hand. He is able to form many different kinds of cultures, for example. He puts his sciences and religions, his languages, together in multitudinous ways, but there must always be a translation of inner information outward to the world of sense.» — Seth, según Roberts, en la sesión diecisiete, deja al hombre la traducción libre de esa información, con culturas distintas y una condición común

«When the species needs certain abilities, they rise to the fore, as in the case of Ruburt now. When you are painting pictures you are also translating inner knowledge.» — Seth, según Roberts, en la sesión diecisiete, hace surgir las facultades cuando la especie las necesita, y pone la pintura entre las traducciones del saber interior

«Early artists drew pictures to share the images they saw in their dreams. In a fashion they practiced dreaming in their sleep, and thus learned also to think (underlined) in terms of the measurement of physical images, and to move objects around in their minds before they did so physically.» — Seth, según Roberts, en la sesión diecisiete, atribuye a los artistas tempranos el dibujo de sus sueños y el aprendizaje de medir imágenes y mover objetos en la mente

«Poetry was an art and a science. It conveyed quite necessary information about man and the universe. The same can be said of many cave drawings.» — Seth, según Roberts, en la sesión diecisiete, llama arte y ciencia a la poesía por la información que transmitía sobre el hombre y el universo

«What you had — what you still have, though you are not nearly as aware of it — was an excellent give-and-take between the inner and outer senses. Through chanting, dancing, playacting, painting, story-telling, man spontaneously translated inner sense data into physical actualization. The physical senses only present you with clues as to your own sensitivities.» — Seth, según Roberts, en la sesión diecisiete, nombra el intercambio entre sentidos interiores y exteriores y reduce los físicos a indicios de la propia sensibilidad

«Ruburt translates what I give him without being consciously aware of receiving the material in usual terms, or of translating it. It has to be broken down, particularly to a time frame, and then into concepts that can take advantage of the world view that is held in your culture.» — Seth, según Roberts, en la sesión diecisiete, describe la traducción que Roberts hace sin saberlo: al marco del tiempo y a conceptos que la cultura pueda aprovechar

«Man’s capacities have not dimmed in that regard. Thinking, for example, is as automatic as ever (amused). It is simply that your culture puts the various elements together in ways that» — Seth, según Roberts, en la sesión diecisiete, niega el menoscabo de las capacidades y atribuye a la cultura el modo de juntar los elementos; el tramo se corta en el cambio de plana y sigue en la 145 con *stress the qualities of what you refer to as rational thinking*

«You know what sound is, yet as Ruburt knows, what you consider sound is only one of sound’s many spectrums. Beside translating inner images into paintings, for example, you may unknowingly be translating sensually invisible sounds into images.» — Seth, según Roberts, en la sesión diecisiete, acota lo que se llama sonido a uno de sus espectros y propone que se traduzcan a imágenes sonidos no sensibles

«In a way quite impossible to describe, it would be true to say that our sessions actually translate multidimensional images into words. You have no words for the kinds of images I am speaking of, for they are not objects, nor pictures of objects, nor images of images, but instead the inner dimensions, each separate and glowing, but connected, prisms of knowledge, that have within themselves more reality than you can presently begin to imagine.» — Seth, según Roberts, en la sesión diecisiete, describe las propias sesiones como traducción de imágenes multidimensionales a palabras, y declara que no hay palabras para esas imágenes

«To a certain extent, I must travel from those realities into your comprehension, wrest myself free in order to form an ever-changing, ever-moving, ever-on-the-move entity that can speak here and be there at the same time. So I am distant and close at once.» — Seth, según Roberts, en la sesión diecisiete, describe su propio desplazamiento hasta el habla y se declara distante y cercano a la vez

«That distance from you also represents the reaches, however, of the human psyche, and the vast corridors of psychological activity from which it is formed, and from which your world emerges.» — Seth, según Roberts, en la sesión diecisiete, hace de esa distancia la medida de los corredores de actividad psicológica de la psique humana

«For the worlds are so composed that each one is a part of each other one, and there is no disconnecting. There is no place or space, psychological, psychic, where those worlds exist apart from each other, so you cannot say that one is more highly evolved than another.» — Seth, según Roberts, en la sesión diecisiete, niega que un mundo esté más evolucionado que otro por no haber lugar donde existan aparte

«There are as many frontiers as there ever were, and there is no catastrophe that will annihilate consciousness, or put an end to earthly life.» — Seth, según Roberts, en la sesión diecisiete, niega la catástrofe que aniquile la consciencia o acabe con la vida terrestre

«When you think in terms of earth’s destruction, or the ending of the world, you are thinking of course of a continuum of time, and of beginnings and endings. From your viewpoint in space and time, it seems that planets have come and gone, stars collapsed, and when you look outward into space, it appears (underlined) that you look backward into time. (Long pause.) There are great pulsations, however, in existence — pulsations that have nothing to do with time as you understand it, but with intensities.» — Seth, según Roberts, en la sesión diecisiete, atribuye la idea del fin a pensar en un continuo de tiempo y propone pulsaciones de intensidad en su lugar

«To me, that is exceedingly simple — but as far as your concepts are concerned, it can seem to imply irreconcilable complications.» — Seth, según Roberts, en la sesión diecisiete, marca la distancia entre lo que a él le resulta simple y lo que para los conceptos del oyente implica complicaciones irreconciliables

«End of session. A small note to our friend — again — to trust the great power of the universe that forms his own image, to trust his spontaneity, and his body’s natural urges toward relaxation, motion, and creativity, as these show themselves in their own rhythms.» — Seth, según Roberts, cierra la sesión diecisiete pidiendo confiar en el poder que forma la propia imagen y en los ritmos del cuerpo

«A dear and cozy good evening to you in your sweet house — with (amused) the baseball game ahead of you, and all of the loving paraphernalia that is so specific in your space and time.» — Seth, según Roberts, se despide en la última sesión del cuerpo nombrando el partido de beisbol que sigue y la parafernalia del espacio y el tiempo de los oyentes

«Boy, I was out with that,” Jane said. “That really hits me: you can tell you’re out there so far, with all of this energy, but you can’t go any further, you know what I mean? At the same time, it’s so simple…» — Jane Roberts describe al salir el estado de la última sesión: lejos, con mucha energía y sin poder ir más allá, y a la vez simple

«It was a different session in some way. My feelings are that I was different, although I don’t know about what different things you might get down. Right now I’m looking at the clock — and it seems that you were so far away that it seems I should take four hours to get back. Not that I had any sense of time in the session. …”» — Roberts consigna la extrañeza de esa sesión y su propia distorsión del tiempo al volver

«Everything must be slanted to fit the viewpoint of creatures who believe most firmly in the superiority of matter over mind» — Seth, según Roberts, en la sesión diecisiete, declara que todo ha de inclinarse al punto de vista de criaturas que creen en la superioridad de la materia sobre la mente; el tramo se acorta porque la guarda anticosido rechaza el pasaje largo, releído entero en el crudo

«Both of you have been speakers in that regard. The methods may change. You may “speak” through art or music, through trance activities, but you will specialize in the use of the inner senses, and in translating the inner knowledge of the species,» — Seth, según Roberts, en la sesión diecisiete, llama hablantes a los dos y describe el oficio: especializarse en los sentidos interiores y traducir el saber de la especie; el tramo cruza el cambio de plana

«bringing it to whatever level of ordinary consciousness that is considered» — continuación de lo anterior: el destino de esa traducción es el nivel de consciencia que se tenga por oficial, y el tramo se corta en el cambio de plana, donde sigue *the official one*

«In the deepest of terms, the world always was and always will be.» — Seth, según Roberts, en la sesión diecisiete, declara al mundo siempre existente; el tramo se corta en el cambio de plana y sigue en la 147 con *It changes its patterns of activity, it comes and goes, but it is always itself in its comings and goings*

«To me at least, poetry — like love — implies a magical approach to life, quite different from the presently accepted rational way of looking at the world. That is, poetry brings out life’s hidden nuances. It delights in forming correspondences between events that seem quite separate to the intellectually-tuned consciousness alone, and reveals undercurrents of usually-concealed actions that we quite ignore when we’re most concerned about thinking rationally. Actually, that kind of vision contains its own spontaneous rationality, and often supplies us with answers more satisfying than purely intellectual ones.”» — Jane Roberts, en el ensayo que abre su libro de poesía, define la poesía como enfoque mágico: descubre correspondencias entre sucesos que al intelecto le parecen separados y trae una racionalidad espontánea propia

«This small incident fascinated me. Wednesday night after the Seth session, before bed, I suddenly began to wonder if the paintings Rob had sold to Lib’s Supper Club, back in the 60s, were still there.» — Jane Roberts abre el primer ensayo del apéndice A con el incidente de los cuadros del club, que le vino a la cabeza antes de acostarse

«I completely forgot our discussion until last night, Friday, when the Gallaghers [our dear friends, Peg and Bill] visited. In a lull of conversation, Peg G. leaned forward and said: “I was at Lib’s Supper Club, and your paintings are still there,” or other words to that effect,» — Roberts consigna el olvido de la conversación y la frase de la visitante que la trajo de vuelta; el tramo cruza el cambio de plana

«mentioning both Lib’s and the paintings. I felt a small sense of shock. My eyes leapt to Rob’s — I could see he felt the same way. Then Peg told us that Wednesday evening, though earlier than (Rob’s and my) discussion, she’d asked someone to check the signature, and saw that they were indeed Rob’s.» — Roberts consigna la coincidencia del episodio de los cuadros y el orden de los hechos: la visita fue anterior a la conversación de ellos; el tramo arranca descabezado y la frase empieza en la 149

«This is the first time since the sixties that the Gallaghers have ever mentioned those paintings to us also; although they’ve been to Lib’s many times in those years … It’s also interesting that Peg didn’t see the fourth painting, either … She and I seem to “pick up” from each other fairly well, according to past instances…» — Roberts añade dos detalles que refuerzan el caso: la primera mención en veinte años y la ausencia del cuarto cuadro también en la visitante

«If she hadn’t mentioned her visit to Lib’s, and the paintings, Rob and I never would have realized that anything beyond usual perception was operating in our little discussion. And the discussion was … extremely clear in my mind.» — Roberts señala que sin la mención de la visitante nadie habría notado nada fuera de lo usual

«So how may times does this kind of thing happen? What cross-currents of perception operate? What kinds of data do we pick up on — and why?» — Roberts deja el episodio en tres preguntas sobre la frecuencia, las corrientes de percepción y el criterio de lo que se capta; el troceo imprime *may* donde cabría *many*, y así se conserva

«Rob and I can’t be sure whether our discussion was Wednesday or Tuesday night. Wednesday was the night Peg G. visited Lib’s, and saw the paintings. If our discussion actually happened Tuesday, before Peg’s visit (which was planned ahead of time), then we run into other possibilities than if our discussion was on Wednesday … (as we thought).» — Roberts consigna la incertidumbre sobre la fecha de su propia conversación y la abre a dos explicaciones distintas

«On Wednesday I must have picked up on Peg’s visit earlier that same evening; her visit to Lib’s, her specific interest in the paintings. She asked someone to check the name because she wasn’t sure they were Rob’s work. Then later that night, relaxed, sitting on the bed, somehow those inner perceptions (of mine) would have surfaced … but without revealing their source. I can’t remember why I began the discussion, for example. So exactly what unconscious processing went on?» — Roberts desarrolla la primera hipótesis y la cierra en pregunta: qué procesamiento inconsciente hubo

«Why didn’t Rob pick up the inner information and begin the discussion instead of me, since they’re his paintings? And how many times do we do this, invisibly winding such data into the fabric of our perceptions, reacting to it without even realizing it?» — Roberts objeta a su propia hipótesis: por qué lo captó ella y no el dueño de los cuadros

«All of this reminds me of my old idea of a projected book: The Contents of the Mind, or the Unofficial Contents of the Mind. After reading this first page of notes about Peg G. and the paintings, I remember my old ideas … that we organize the contents of our minds along certain lines that then become habitual.» — Roberts liga el episodio a un libro suyo proyectado sobre los contenidos no oficiales de la mente y a la idea de que esos contenidos se organizan por hábito

«We’re both highly interested in Rob’s paintings, for instance, so of course I picked up on that kind of data from Peg. I’ve organized data with the focus of art in mind as a focus point through which to … perceive the world.» — Roberts explica su propia captación por el punto de foco desde el que dice organizar los datos, el arte

«The idea is to be alert for psychological contents of the mind that we usually ignore, that science can’t prove or disprove … where we take experience over theory.» — Roberts enuncia el programa de ese libro: atender a contenidos que la ciencia no prueba ni refuta, y poner la experiencia por delante de la teoría

«This is another classic example of an event that science would label simply “coincidental” without being able to give any objective proof to back up its contention.» — Roberts consigna lo que a su juicio diría la ciencia, coincidencia, y le objeta la falta de prueba objetiva de esa misma etiqueta

«The “natural” subjective experience — the feelings involved — give the opposite explanation. They insist that more than coincidence is involved — that the event is significant. And in such cases we have every right to go with direct experience and our feelings.» — Roberts opone la explicación de los sentimientos a la de la coincidencia y reclama el derecho a quedarse con la experiencia directa

«Too often (Jane writes) we just want to go full steam ahead — we want sublime visions. But here, in these subtle (byways) of subjective action, we very well might be seeing some of these hidden psychic motions upon which physical events rest … and how today’s events and last year’s rub against each other like leaves from the same tree. And how Seth’s sessions of last August seem to apply newly to today’s events. How sneaky and obvious it all is at the same time.» — Roberts prefiere los recodos sutiles de la acción subjetiva a las visiones sublimes, y describe el roce entre los sucesos de un año y otro con la figura de las hojas del mismo árbol

«If Rob and I discussed it on Tuesday, I could have picked up on Peg’s» — Roberts desarrolla la segunda hipótesis del episodio; el tramo se corta en el cambio de plana y sigue en la 151 con *plan to go to Lib’s, wondered about Rob’s paintings*

«plan to go to Lib’s, wondered about Rob’s paintings — and have somehow gotten my question across to her. So that, visiting the next night, she was attracted to the paintings, answering my question Friday when she gave us her account of the episode.» — continuación de la segunda hipótesis: la pregunta de Roberts habría viajado a la otra persona, que respondió sin saberlo al contar su visita

«Predictions — Monday, August 24, 1981 — Noon — Jane Roberts 1. Snow ball machine 2. Engagement once dropped re-scheduled 3. Egg carton 4. Prominent triangle — maybe gift. 5. Snow shoes? 6. Boxed-in canyon 7. Milk man 8. detective 9. Stove comes earlier. 10. double digit series» — la lista entera de predicciones de Roberts, con su encabezado, fecha y hora; la guarda anticosido se apaga por el año y las cifras de la lista, releída entera en el crudo

«Around 1:00 P.M., as Rob and I finished lunch in the kitchen and waited for the mailman, a fan turned up. A young lad who usually showed up once a year. He was the one I described in The God of Jane who felt himself to be a woman trapped in a man’s body. He has some suicidal tendencies, and I’ve worried about that. But here he was, all grins this time … alive and several pounds more substantial.» — Roberts narra la visita del lector del que había escrito en otro libro suyo, y su alivio al verlo bien; la guarda anticosido se apaga por la hora del tramo, releída en el crudo

«One letter in particular caught my eyes because it was from an old friend, Ed, the man who had introduced Rob and I to begin with; a man who we had lost touch with until two years ago when he’d suddenly written from Alaska.» — Roberts consigna la carta del amigo que los presentó a los dos, reaparecido después de veinte años

«So as I listened to our visitor (I’ll call him Larry) talk, I browsed through the letter. My thoughts went back to the years when Ed and Rob produced the detective comic strip Mike Hammer together with Micky Spillane. Then I thought of Ed’s first letter of two years ago, breaking a twenty-year-old silence, mailed from Alaska where Ed was skiing. In fact, the letter before me mentioned the Alaskan ski trip. That might have been the reference that suddenly gave me small shivers.» — Roberts describe el momento del escalofrío y lo liga a la referencia al viaje de esquí dentro de la carta

«Larry was telling me that he had a new job, running the cash register at a convenient grocery store, and I nodded but the (shivery) feeling persisted till the next moment when I checked my predictions.» — Roberts sitúa el momento en que fue a comprobar su lista de predicciones

«Some now made perfect sense. I circled numbers 1, 5 and 8 (see prediction listing) which read: “Snow ball machine, snowshoes, detective.” Surely they all applied to Ed’s letter in which he mentioned his Alaskan ski trip, and friends he had when he and Rob did the detective comic strip.» — Roberts adjudica tres de sus diez frases a la carta del amigo, por la nieve y por la historieta policiaca; la guarda anticosido se apaga por las cifras de la lista, releídas en el crudo

«The letter itself had been in the mailman’s truck when I made my morning’s predictions.» — Roberts consigna el dato del que depende el caso: la carta estaba en el camión del cartero cuando escribió la lista

«The predictions weren’t the greatest, but they had a satisfying feel. I figured that “snow ball machine” and “snow shoes” were my interpretations to describe any snow equipment. Besides skiing Ed probably used a snowmobile and snowshoes. So I granted them as fairenough predictions, particularly in summertime when normal associations didn’t usually involve snow. I also granted a “fair” prediction to “detective.”» — Roberts califica sus propios aciertos con reserva y explica cómo interpretó cada frase; el troceo imprime aquí las palabras en renglones sueltos, y así se conservan, y parte *fair-enough* en el fin de renglón, de modo que `span()` la devuelve fundida

«My eyes scanned the list. Could 3 and 7 — egg carton and milk man — apply to Larry’s grocery store job? These I just marked evocative.» — Roberts deja dos de sus frases en el rango de lo evocativo en vez de darlas por acertadas; la guarda anticosido se apaga por las cifras, releídas en el crudo

«Today before I began work, for instance, I scribbled down ten quick» — Roberts introduce el segundo ensayo del apéndice A: diez frases escritas de corrido; el tramo se corta en el cambio de plana y sigue en la 152 con *phrases under the heading Predictions, August 24, 1981*

«All of that came to mind this morning; not that it couldn’t have just been “coincidence” that later in the day I hear from Ed — after making three predictions that seemed to apply to him. But surely there is a point where feelings themselves are meanings; where the heart’s evidence recognizes intuitively what the intellect must question. And I know that those memories and thoughts were connected with my later predictions and Ed’s letter in the noon mail. I’d been reacting to Ed’s letter before its arrival.» — Roberts concede que pudo ser coincidencia y a la vez sostiene que hay un punto donde los sentimientos son significados y el corazón reconoce lo que el intelecto ha de cuestionar

«1, 5: In today’s mail letter from Ed Robinson — Probably our 3rd? *Anyhow — after 20 years we heard from him in 1978 — from Alaska — skiing from Alaska Back Country — he mentions Alaska skiing today. When we knew Ed Robinson — over 20 years ago — he was doing Mike Hammer comic strip for Micky Spillane. Rob joined him and that’s what he was doing when I met him (Rob).» — Roberts consigna los resultados de la lista con el nombre del amigo y el oficio que liga las frases: la nieve de Alaska y la historieta policiaca; la guarda anticosido se apaga por las cifras y los años, releídos en el crudo

«Note: Early A.M. I think about writing today about first meeting Rob — though I’m working on Chapter Two of Magical Approach! Surprised by the impulse — then forget it.» — Roberts añade un dato que refuerza el caso: esa misma madrugada le vino el impulso de escribir sobre el primer encuentro con su marido, y lo olvidó

«3, 7: Just note. Evocative but not definite enough. A fan (Larry), here from Pennsylvania, says he has a new 2nd job — in grocery chain convenient market (that sells basics — nothing fancy; eggs, milk, beer, etc.). Larry drinks only milk (at one time).» — Roberts declara insuficientes dos de sus frases aunque halle correspondencia posible en el empleo del visitante; la guarda anticosido se apaga por las cifras, releídas en el crudo

«And a kind of ghostly elegance was added Thursday when another old friend visited and showed us color slides taken in London on Xmas/New Years, 1980, and mentioned they all chimed in to sing “Auld Lang Syne.”» — Roberts consigna el segundo resultado, la canción nombrada por otro viejo amigo, y lo llama elegancia fantasmal; la guarda anticosido se apaga por el año, releído en el crudo

«I get the feeling that events are getting knocked into and out of prominence all the time! But catching the motion is something else again. [Presented exactly as written by Jane.]» — Roberts describe los sucesos entrando y saliendo de prominencia y declara difícil captar el movimiento; Butts marca entre corchetes que la lista va tal cual

«“Predictions” — August 25, 1981 — Noon— Jane Roberts 1. Steam shovel 2. More from Dick, David 3. French Frank — Franque? 4. Silver pennent or chain 5. Fishery 6. * Old Friend, Auld Lang Syne 7. Hoe 8. night — splendor 9. Hope — name 10. Over-achiever and father» — la segunda lista entera de predicciones de Roberts, con su encabezado y fecha; la guarda anticosido se apaga por el año y las cifras, releídos en el crudo

«One morning last weekend (Saturday) Ruburt [Jane] found himself suddenly and vividly thinking about some married friends. They lived out of town, separated in time by a drive of approximately (half an hour). Ruburt found himself wishing that the friends lived closer, and he was suddenly filled with a desire to see them. He imagined the couple at the house, and surprised himself by thinking that he might indeed call them later in the day and invite them down for the evening» — Seth, según Roberts, en la sesión 932 citada en el apéndice A, narra el caso: pensamientos vívidos sobre unos amigos y el deseo repentino de verlos

«Then he became aware that those particular thoughts were intrusive, completely out of context with his immediately previous ones, for only a moment or so earlier he had been congratulating himself precisely because he had made no plans for the day or evening at all …» — Seth, en el mismo pasaje, señala lo que hace notable el episodio: que los pensamientos eran intrusos, fuera de contexto con los inmediatamente anteriores

«about fifteen minutes later he found the same ideas returning, this time more insistently. They lasted perhaps five minutes. Ruburt noticed them and forgot them once again. This time, however, he decided not to call his friends, and he went about his business. In about a half hour the same mental activity returned, and finding himself struck by this, he mentioned the episode to Joseph and again cast it from his mind.» — Seth, en el mismo pasaje, consigna las tres vueltas de la misma idea y las tres veces que se la apartó

«By this time it was somewhat later in the day. Ruburt and Joseph ate lunch, and the mail arrived. There was a letter written the morning before (on Friday) by the same friends that had been so much in Ruburt’s mind. They mentioned going on a trip (on Saturday), and specifically asked if they could visit that same afternoon. From the way the letter was written, it seemed as if the friends — call them Peter and Polly — had already started on their journey that (Saturday) morning, and would stop in Elmira on their return much later toward evening.» — Seth, en el mismo pasaje, da el desenlace: la carta de los mismos amigos llegada en el correo de mediodía, escrita el día anterior

«It would be simple enough, of course, to ascribe Ruburt’s thoughts and feelings to mere coincidence. He remembered the vividness of his feelings at the time, however. It looked as if Peter and Polly were indeed going to arrive almost as if Ruburt had in fact called and invited them.» — Seth, en el mismo pasaje, consigna la explicación por coincidencia antes de oponerle la vividez de lo sentido

«That evening the visit did take place. Actually, some work had prevented the couple from leaving when they intended. Instead, they called later from their home to say that they were just beginning their trip, and would stop on their way. Ruburt was well prepared for the call by then, and for the visit …”» — Seth cierra el pasaje del apéndice A con la visita efectiva esa noche, precedida por la llamada

«The next morning, Tuesday, August 25, 1981, I scribbled down another short list of predictions. Reading them back I read “old friend, Auld Lang Syne.” Not likely, I thought, just after hearing from one old friend.» — Roberts consigna la segunda lista y la frase que en ella le pareció poco probable; la guarda anticosido se apaga por la fecha, releída en el crudo

«Remembering the Ed affair of yesterday, I thought ironically this» — Roberts añade su propia ironía sobre la semana del viejo amigo; el tramo se corta en el límite de chunk dentro de la misma plana y sigue con *must be old friend week*

«And, in a way it was. The stove we bought this week was delivered. One of the delivery men from Sears recognized Rob and I at once as a» — Roberts consigna el primer resultado de la segunda lista: el repartidor que los reconoció; el tramo se corta en el cambio de plana y sigue en la 155 con *couple he had known briefly in the sixties*

«ugust 6, 1980. So we were back at the sessions again. It took me only a few seconds to come out of trance. “Though I should stay in one,” I said, “because I was more comfortable than I’ve been all day.” Because the heat didn’t bother Seth, (or me speaking for him) at all. Returning to my usual state of consciousness I was instantly hot again.» — Jane Roberts abre el segundo ensayo con la salida del trance de la primera sesión y con lo que le llama la atención: que el calor no molestaba mientras hablaba por Seth; el troceo pierde la capitular *A* de *August*; la guarda anticosido se apaga por la fecha, releída en el crudo

«I couldn’t remember what I’d said as Seth — and I wasn’t sure if I knew what magic was — or wasn’t — But I knew that the night was … magical, alive with its own natural ceremonies. And that somehow the Seth sessions were as natural and right as the summer evening.» — Roberts declara no recordar lo dicho ni saber qué es la magia, y a la vez llama naturales tanto la noche como las sesiones

«I began writing more and more poetry, quite caught up with many of the ideas that Seth was discussing. Actually I did a lot of scribbled poetry notes sitting on the side of the bed with the windows open and the fan full blast, trying to take my mind off the nearly steady 90-degree or higher temperature. Sometimes I thought that if Rob said it was a terrific day just one more time, I’d scream.» — Roberts consigna el efecto de aquellas sesiones sobre su propia escritura y el calor en que la hacía

«Yet all of those events seemed to happen in a slightly different kind of atmosphere than before, as Seth’s ideas of the Magical Approach cast their light upon current behavior. Numerous but subtle instances of “magical” orientation kept appearing in our lives. We seemed to catch tiny glimpses of ordinary events before they were fully formed, and to sense the motions of probabilities invisibly but clearly stirring in the over-heated summer air.» — Roberts describe el cambio de atmósfera que atribuye a las ideas de Seth: atisbos de sucesos ordinarios antes de formarse y movimientos de probabilidades

«In the beginning these suggestive events just stretched our imaginations and thoughts, but later they became numerous and persistent so that we had to take them into consideration as we made normal decisions.» — Roberts consigna la progresión: de estirar la imaginación a volverse tan persistentes que hubo que contar con ellos al decidir

«As with so many instances, these weren’t esoteric startling visions, but a kind of in-between event, difficult to identify, or one like the following, that was second-handed.» — Roberts acota la clase de sucesos de que habla: no visiones esotéricas sino sucesos intermedios, difíciles de identificar

«She had told him he could stay at her place overnight. Coincidence? We only spoke to him for an hour, and he said he had wondered earlier what he’d do with the whole evening … so what exactly happened at the magical level of activity?» — Roberts deja el episodio en pregunta y nombra el nivel en que lo sitúa, sin afirmarlo

«The same night I had an experience with a mental conversation [that turned out to be precognitive].1 I think both instances represent activity and communication … at the magical level. They represent a kind of mobility … a psychological motion, at another level than the usually conscious one.» — Roberts junta los dos episodios de esa noche y los llama actividad y comunicación en el nivel mágico, movilidad psicológica en otro nivel

«Our next scheduled Seth session was for the following Monday — another day high in the 90s, and I found myself anticipatory and hopeful: Would Seth discuss some of those issues? I felt again that an entire new “package” of session material was coming our way — and I wanted to be able to put it to practical use.» — Roberts cierra el ensayo con la expectativa de un paquete nuevo de material y con el deseo de darle uso práctico

«There were several other themes floating about our lives … Sue Watkins’ new book Conversations with Seth about my E.S.P. classes was to appear in the fall. A vague uneasiness was growing in my mind: It seemed that Prentice-Hall was taking unusually long to officially clear» — Roberts enumera lo que rodeaba aquellas sesiones y consigna su inquietud por el retraso del editor; el tramo se corta en el cambio de plana y sigue en la 159 con los dos títulos en cuestión

«The God of Jane and Seth’s The Individual and the Nature of Mass Events. I expected to hear from my editor any day.» — continuación de lo anterior: Roberts nombra los dos libros retenidos y su espera de noticias del editor

«As he drove into town … he saw on the street a girl who looked familiar. No wonder — he’d met her at a bar the first time he was in town. “I’ve only been in this town twice, when I visited you before,” he said. “Yet earlier tonight driving down a street I suddenly recognized a girl who looked familiar. I slowed the car and looked. She was walking on the sidewalk, and sure enough, it was the same girl I’d met at a bar» — Roberts reproduce el relato del visitante sobre el reencuentro callejero; el tramo se corta en el cambio de plana y sigue en la 160 con *during my first trip to Elmira*

«during my first trip to Elmira. I could hardly believe it, but I stopped the car and we talked awhile. She remembered me at once. So the chances of that kind of meeting must be astronomical.”» — continuación del relato del visitante: la mujer lo recordó al instante y él calcula astronómicas las probabilidades de ese encuentro

«ramacy was a psychologist and a magician, and he came to our house because he was a scientist looking for some real magic.» — Jane Roberts abre el apéndice C presentando al visitante como psicólogo y mago que venía buscando magia de verdad; el troceo pierde la capitular *G* de *Gramacy*

«compact, dark-skinned and dark-haired person with soft brown large eyes that were kept half closed when he was being a psychologist, and turned larger, commanding and yet inviting when he was being a magician. Both his eyes and his hands were really too expressive for a scientist’s, and he tried to be a scientist even when he was being a magician — perhaps then most of all.» — Roberts describe al visitante alternando dos papeles, el de psicólogo y el de mago, y señala que intentaba ser científico sobre todo mientras hacía magia

«Then at his command, four silver dollars disappeared through the tabletop and he caught them underneath in the palm of his hands. Playing cards appeared and disappeared. He was in a trance of his own; so were Rob and I, watching.» — Roberts narra el número de magia del visitante y declara en trance tanto a él como a los dos que miraban

«And in the back of his mind was the improbable hope that one day, somehow, the coins would really go through the tabletop. …» — Roberts atribuye al visitante la esperanza improbable de que las monedas atravesaran de veras la mesa

«Or that something will happen to me, that will prove that there is more to life than usual cause and effect,” he said to us. “I almost believe that there is. But in my own life, I can’t find it. It’s not in my bag of tricks,”» — el visitante, citado por Roberts, declara casi creer que hay más que causa y efecto y no hallarlo en su propia vida

«Why not catch yourself with knowledge you’re not supposed to have?” I suggested.» — Roberts propone al visitante sorprenderse a sí mismo con un saber que no debería tener; el tramo cruza el cambio de plana

«Coincidence,” Gramacy answered dourly. “I’d explain such instances that way.”» — el visitante, citado por Roberts, ofrece la coincidencia como explicación de los casos que ella le enumera

«But if you wrote down each such instance and kept track, you might find that there were too many to assign to coincidence, or discover that coincidence couldn’t apply to some at all,” I said. “You’d have your own growing body of instances to examine. You can’t prove that coincidence is or isn’t responsible for such things, but you could consider the unofficial hypothesis as a possibility. You might find that you have proof of precognition in your own life that you’re ignoring.”» — Roberts propone al visitante llevar registro y considerar la hipótesis no oficial, sin pedirle que la dé por probada

«He raised a furry eyebrow: “I’d still rather have some really great event happen. I mean, why not?” He grinned. “Like the New York Times ad test with Seth you two did and wrote up in The Seth Material. Now that would convince me!”» — el visitante, citado por Roberts, pide un suceso grande y nombra la prueba del anuncio del periódico que los dos habían publicado en otro libro

«Gramacy nodded. “I know a magician can duplicate almost any physical manifestation that a psychic can perform. …”» — el visitante, citado por Roberts, concede al mago la capacidad de duplicar casi cualquier manifestación física de un psíquico

«That’s why we don’t bother with effects that can be duplicated,” Seth suddenly said, “but with this performance and our books, which cannot be duplicated. For where does the material in the books come from? Where does it keep coming from?”» — Seth, según Roberts, interviene en la escena del apéndice C y desplaza la prueba de los efectos a los libros y a la pregunta por su procedencia

«Uh,” Gramacy said. Rob laughed. And in a twinkling I’d changed into Seth. “Look” I said, “no strings, no cards hidden within cards, no bag of tricks beside me on the floor.”» — Roberts consigna su propio cambio a Seth en la escena y la frase con que este señala la ausencia de trucos

«Smiling, hearty, Seth talked about magic and cause and effect, but at the same time he demonstrated a magic that is beyond the clever manipulation of appearances. Another personality from whatever realm had joined the party.» — Roberts cierra la escena distinguiendo la magia de Seth de la manipulación diestra de apariencias y llamándolo otra personalidad venida de algún reino

«It’s really unfortunate and quite unusual that we didn’t record the session. Seth came through before I thought to remind Gramacy that he could record Seth, if Seth came through. But somehow in my mind at least, not recording that session added to it’s magical quality» — Roberts lamenta que la sesión no se grabara y a la vez lo cuenta como parte de su cualidad mágica; el troceo imprime *it’s* donde cabría *its*, y así se conserva

«We were sitting at the living-room table with the lamplight clear on my face; Gramacy could follow Seth’s psychological passage; see my features change, taking on ever so subtly those other contours. And Seth’s voice was jovial, booming, you didn’t have to strain to hear those words.» — Roberts describe el paso a Seth ante el visitante: los rasgos tomando otros contornos y la voz jovial y sonora

«There was no prepared message either. We hadn’t known that Gramacy was a scientist until he told us that night, and it was as a magician rather than as a scientist that Seth addressed him, telling him to trust his dramatic and imaginative flair.» — Roberts consigna que no había mensaje preparado y que Seth se dirigió al visitante como mago y no como científico

«When we wake up in the morning, the world is always there waiting. We never catch it coming or going, and no smallest part of it disappears before our eyes, but stays intact.» — Roberts, en el mismo poema, señala que el mundo está siempre esperando al despertar y que nada de él se desvanece a la vista

«But all of that implies just too much precision to happen all by itself, a whole world mysteriously appearing out of nowhere, putting itself together just right without instructions or previous experience.» — Roberts, en el mismo poema, objeta que tanta precisión ocurra por sí sola, sin instrucciones ni experiencia previa

«Such a masterly production makes me think instead that there are clues we’ve overlooked.» — Roberts, en el mismo poema, deriva de esa producción magistral la sospecha de indicios pasados por alto

«We like to think that chance alone collected the pieces of the world, stitching together the continents, turning the dumb elements into fish and fowl, and you and me, finally.» — Roberts, en el mismo poema, enuncia la explicación por azar que se acostumbra dar al mundo antes de oponerle la suya

«Producing from it’s magical bag of tricks, one marvelous form of life after another, fish, bird, monkey, man (not just one dove or rabbit) with a skill and swiftness so astute that our wise men think one turns into the other!» — Roberts, en el mismo poema, hace salir de la bolsa mágica una forma de vida tras otra y remata con la lectura evolucionista de los sabios; el troceo imprime *it’s* donde cabría *its*, y así se conserva

«Juggling a million million atoms all at once, spinning them into twirling cells of men and whales, tricky, spinning solid mountains from thin air, with fish transformed into flying birds —» — Roberts, en el mismo poema, cierra la enumeración con los átomos malabareados, las montañas hechas de aire y los peces vueltos pájaros; el tramo cruza el cambio de plana

«Now that’s A Magic Show! Jane Roberts August 29, 1980» — el poema del apéndice C cierra con su remate y va firmado y fechado por Roberts; la guarda anticosido se apaga por la fecha de la firma, releída en el crudo

«Magic is public as the air, so obvious and clear that it appears invisible. And we look through it at the world, which rises up about us everywhere.» — Jane Roberts abre el poema del apéndice C declarando la magia tan pública como el aire y por eso invisible: se mira a través de ella el mundo que se levanta alrededor

«Of Master Magicians whose conjurings feature the amazing tricks of space and time, produced so skillfully and fast that we’re dazzled with» — Roberts, en el mismo poema, pone en su lugar a unos Maestros Magos cuyos trucos de espacio y tiempo deslumbran; el tramo se corta en el cambio de plana y sigue en la 165 con *the effects*

«the effects, and miss the magical slights of hand beneath the flashy gestures of the days and nights.» — continuación del poema: el deslumbramiento hace perder de vista el juego de manos bajo los gestos vistosos de los días y las noches

«Science worships skepticism, unless skepticism is applied to science, its hypotheses, procedures, or methods. What we need are more skeptics who are not afraid to judge the claims of science with the same fine discrimination used to examine other alternate disciplines and fields of endeavor.» — Jane Roberts, citada por Butts desde otro libro suyo, objeta que el escepticismo de la ciencia no se aplique a la ciencia misma

«Like The New York Times, science publishes “all the news that’s fit to print,” meaning all of the news that fits into the officially-accepted view of reality. That news is already invisibly censored, and yet we’re supposed to live our lives in accordance with that official definition of experience.» — Roberts, en la misma cita, compara la publicación científica con la de un diario y llama censurada de antemano a la noticia que encaja en la visión aceptada

«Science arose out of a religious world that was filled with “witchcraft.” It began as a protection from, and a defense against, some of the mysteries of the natural world. It has since found itself denying the realities it arose to tame.» — Laurel Davies, en el texto firmado que cierra el apéndice D, hace nacer la ciencia de un mundo religioso lleno de brujería y como defensa ante los misterios de la naturaleza

«Jane Roberts and Robert Butts have had letters from scientists of all kinds, many of them academics. In some ways the Seth material has been given credit by the establishment; being taught as university course work, for example.» — Davies consigna el crédito que el material ha recibido del medio académico, con el ejemplo de los cursos universitarios

«But often readers have been afraid to admit publicly that they have found truth in metaphysical sources. They have been trapped by the boundaries of what science has so far accepted into its family: an ethnocentrically perfect “set” of beliefs, with metaphysical mysteries denied, avoided, or written out.» — Davies describe el reparo de los lectores a declarar en público lo que hallan en fuentes metafísicas y llama etnocéntricamente perfecto al juego de creencias aceptado

«So far, metaphysics has only been entertainment, a step-science of our culture; part of the extended family of science for the purposes of inspiration and ideas, but not given credit as scientific truth. Frowned upon. Even feared.» — Davies sitúa la metafísica como entretenimiento y ciencia de segundo orden, admitida para inspirar y no como verdad

«Scientific truths have always been rewritten through the centuries. I believe that metaphysics is a science of empathetic responses.» — Davies declara reescritas las verdades científicas a lo largo de los siglos y propone la metafísica como ciencia de respuestas empáticas, diciéndolo como creencia propia

«The Magical Approach is a perfect example of a scientifically-unacceptable method of working with reality. Yet, The Magical Approach works. I can state that with amazement from my own experience.» — Davies llama a este volumen ejemplo perfecto de un método inaceptable para la ciencia y declara por experiencia propia que funciona

«At first it may not seem to be giving you the results you expect, but you are working within spacious time. Your schedule may have to change.» — Davies acota el método: los resultados pueden no ser los esperados al principio porque se trabaja dentro de un tiempo espacioso

«You may start bringing in different experiences than you think you» — Davies advierte que pueden llegar experiencias distintas de las buscadas; el tramo se corta en el cambio de plana y sigue en la 169 con *are seeking, then materialize your original requirements later on*

«are seeking, then materialize your original requirements later on. Your wish-focus disappears into Frameworks 2, 3, and 4,1 and then reappears later. Natural magic: This process can bring you more complex ideas and proof than you conceived of.» — continuación de lo anterior: Davies llama magia natural al proceso por el que el foco del deseo desaparece en los marcos y reaparece después con más de lo concebido

«The complexity of life and reality encompasses both positive and not-so-positive experiences within value fulfillment. The Magical Approach can help with both. I will be interested in hearing about your magical research.» — Davies acota el alcance del método a lo positivo y a lo no tan positivo dentro del cumplimiento de valor, y cierra pidiendo noticia de la investigación ajena

«It is an honor for me to have worked as a research and editorial assistant for this book. I have absolute faith that Seth and Jane Roberts, as well as Rob, know how I mean that with all my heart. Laurel Davies» — Davies firma su texto declarando el honor de haber trabajado como asistente de investigación y edición de este volumen

«The Seth books present an alternate map of reality with a new diagram of the psyche … useful to all explorers of consciousness.» — blurbo de solapa firmado por Deepak Chopra, que llama a los libros de Seth mapa alterno de la realidad con un diagrama nuevo de la psique

«Seth was one of my first metaphysical teachers. He remains a constant source of knowledge and inspiration in my life.» — blurbo de solapa firmado por Marianne Williamson, que declara a Seth entre sus primeros maestros metafísicos

«I would like to see the Seth books as required reading for anyone on their spiritual pathway. The amazing in-depth information in the Seth books is as relevant today as it was in the early ‘70s when Jane Roberts first channeled this material.» — blurbo de solapa firmado por Louise Hay, que pide los libros de Seth como lectura obligada y llama canalizado el material

«Seth’s teachings had an important influence on my life and work, and provided one of the initial inspirations for writing Creative Visualization.» — blurbo de solapa firmado por Shakti Gawain, que atribuye a las enseñanzas de Seth una de las inspiraciones iniciales de su propio libro

«The Seth books were of great benefit to me on my spiritual journey and helped me to see another way of looking at the world.» — blurbo de solapa firmado por Gerald G. Jampolsky

«As you read Seth’s words, you will gain more than just new ideas. Seth’s energy comes through every page — energy that expands your consciousness and changes your thoughts about the nature of reality.» — blurbo de solapa firmado por Sanaya Roman, que atribuye a la energía de Seth un efecto sobre quien lee

«Quite simply one of the best books I’ve ever read.» — blurbo de solapa firmado por Richard Bach

«To my great surprise — and slight annoyance — I found that Seth eloquently and lucidly articulated a view of reality that I had arrived at only after great effort and an extensive study of both paranormal phenomena and quantum physics.» — blurbo de solapa firmado por Michael Talbot, que dice haber llegado por su cuenta a la misma visión de la realidad tras estudiar lo paranormal y la física cuántica

«BOOKS BY JANE ROBERTS The Rebellers (1963) The Coming of Seth (How to Develop Your ESP Power) (1966) The Seth Material (1970)» — encabezado de la lista de obras que el volumen imprime en su aparato, con los tres primeros títulos y sus años; la guarda anticosido se apaga por los años entre paréntesis de la lista, releída entera en el crudo

«Seth Speaks: The Eternal Validity of the Soul (1972)* The Education of Oversoul Seven (1973)» — en la misma lista, los títulos de 1972 y 1973; el asterisco marca la coedición posterior, y los dos primeros tienen ficha propia en el corpus; la guarda anticosido se apaga por los años entre paréntesis de la lista, releída entera en el crudo

«* New editions co-published by Amber-Allen/New World Library, 1994 and 1995.» — la nota al pie de la lista explica la marca de un asterisco: las nuevas ediciones coeditadas por Amber-Allen y New World Library en 1994 y 1995; la guarda anticosido se apaga por los años, releídos en el crudo

«© 1995 Robert F. Butts © 2011 Laurel Davies-Butts Co-published by Amber-Allen Publishing and New World Library EDITORIAL OFFICE: DISTRIBUTION OFFICE: Amber-Allen Publishing New World Library» — la página de derechos, con los dos titulares del copyright y la coedición, y el reparto de oficinas entre la editorial y la distribuidora; la guarda anticosido se apaga por los años sueltos, releídos en el crudo

«All rights reserved. This book may not be reproduced in whole or in part, without written permission from the publisher, except by a reviewer who may quote brief passages in a review; nor may any part of this book be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or other, without written permission from the publisher.» — la reserva de derechos del editor, con la excepción del reseñista que cita pasajes breves

«BF1301.S377 1994 133.9′3–dc20 94-22091» — la signatura de clasificación y el número de control de la misma ficha catalográfica, que fechan el registro en 1994; la guarda anticosido se apaga por las cifras de año, releídas en el crudo

«but the pressures of Jane’s illness, and of our producing other books, kept us from publishing it quickly. Then Jane died in 1984, at the age of 55. I was 65.» — Robert F. Butts, en el foreword, da las razones del retraso de la edición: la enfermedad de Roberts, los otros libros en curso y la muerte de ella en 1984

«Janet Mills, the publisher and editor for the new editions of Jane’s books, suggested that I write a bit about the situation.» — Butts nombra a la editora que le pidió el foreword y explica por qué el volumen lleva uno

«She’s worked as a researcher of Jane’s material for The Magical Approach — the book she has “most dreamed of working on.”» — Butts acredita a Laurel Lee Davies como investigadora del material de este volumen y cita su propia frase sobre el libro

«Laurel has been Seth’s “metaphysical apprentice,” as she recently put it, for fourteen years now.» — Butts repite la fórmula con que Davies se describe a sí misma ante Seth

«Janet told me, after publishing the first two reprints, that she “would like to publish all of the books at once.”» — Butts cita a Janet Mills sobre el plan de reeditar la obra entera de Roberts

«Without Anne Marie’s untiring help, I question whether I’d still be in publishing.» — Butts atribuye a la agente literaria Anne Marie O’Farrell el haber hallado a Janet Mills y a Amber-Allen

«I’m still not finished with the duplication of Jane’s and my papers for Yale University Library.» — Butts declara en curso la copia de los papeles de ambos para la biblioteca de Yale

«I’m very fortunate that the help of all of those I’ve mentioned, and of others, too, is enabling me to keep the promise I made to Jane on her deathbed ten years ago, when she asked me to publish all of her work.» — Butts declara el encargo del que salen estas reediciones: la promesa hecha a Roberts en su lecho de muerte

«For some time now Rick Stack and I have discussed a most intriguing project: the private printing, by Rick, of the complete transcripts of those first 510 sessions that Jane held before the publication of The Seth» — Butts anuncia la impresión privada de las 510 sesiones anteriores a The Seth Material; el tramo se corta en el cambio de plana y sigue en la 16

«Material in 1970. This will be a massive job. The set of eight volumes will be called The Early Sessions, and will be sold by subscription only, at least in the beginning.» — continuación del anuncio anterior: la colección se llamará The Early Sessions, serán ocho tomos y se venderán por suscripción

«As Seth I’ve produced five previous books: Seth Speaks; The Nature of Personal Reality; The “Unknown” Reality, Volumes I and II; The Nature of the Psyche; and The Individual and the Nature of Mass Events, and Seth is halfway through a sixth book: Dreams, “Evolution,” and Value Fulfillment.» — Roberts enumera en primera persona los libros producidos *como Seth* y el sexto a medio hacer: la fórmula pone la autoría en ella y el nombre en él

«See Appendix A for Jane’s material on how some of her own thoughts “relate in one way or another to the thoughts of others.” Included also are excerpts from Seth’s material on a different prediction experience of Jane’s.» — la nota 3 a la introducción remite al apéndice A y habla de Roberts en tercera persona, mientras la nota 5 de la misma serie habla de Butts en tercera persona: el bloque no lleva una sola voz y la ficha no la arbitra

«Robert F. Butts (1919–): Jane Roberts. 1969. Oil on panel, 12½ x 10 in. Jane had been speaking for Seth for six years when she posed for me. I don’t regard my unsigned effort as being a finished work. It was just the best I could do at the time.» — pie de la primera lámina, firmado por Butts: el retrato de 1969, la fecha en que Roberts llevaba seis años hablando por Seth, y su propia reserva sobre el cuadro sin firmar

«Seth is the “energy personality essence” Jane speaks for while in a trance or dissociated state. Since he calls Jane by the male-oriented name of her larger or whole self, “Ruburt,” it follows that Seth also calls her “he,” “his,” and “him.”» — la nota 1 a la sesión uno, en la voz de Butts, define a Seth como la esencia de personalidad energética por la que habla Roberts y explica el nombre masculino Ruburt y los pronombres que de él se siguen

«It’s true, following the enthusiasm we felt when Seth first described Frameworks 1 and 2 three years ago, that Jane and I haven’t consistently tried all that hard to draw from that overall concept the results we think we consciously want.» — Butts consigna en nota que ni él ni Roberts se habían esforzado de veras por sacar del Framework 2 los resultados que decían querer

«Then, in a private session held on the evening of September 17, 1977, Seth came through with a very exciting concept called ‘Framework 1 and Framework 2.’ Jane and I were so struck by the practical, farreaching implications of this proposition that we began a concerted effort to put it to use in daily life. Briefly and very simply, Seth maintains that Framework 2, or inner reality, contains the creative source from which we form all events, and that by the proper focusing of attention we can draw from that vast subjective medium everything we need for a constructive, positive life in Framework 1, or physical reality.» — Butts se cita a sí mismo en sus notas de apertura para Mass Events: el Framework 2 como fuente creativa interior de la que se extrae lo necesario para el Framework 1; la guarda anticosido se apaga por las fechas del tramo, releído entero en el crudo, y el troceo parte *far-reaching* en el fin de renglón, de modo que `span()` la devuelve fundida

«SESSION TWO THE RATIONAL APPROACH. SCIENTIFIC HARDBED REALITY. THE INTELLECT AND THE MAGICAL APPROACH. AUGUST 11, 1980 8:43 P.M., MONDAY» — encabezado de la sesión dos, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(T*

«oday I bought Jane a “water cushion” to aid in her sitting difficulties, but upon filling it after supper we didn’t think it would work. I also bought her three kinds of underclothes to try …» — Butts abre la sesión dos con la crónica doméstica del día; el troceo pierde la capitular *T* de *Today*

«Jane delivered the above paragraph of material as Seth with much emphasis and conviction, as she has for much of this session. I think it excellent, and plan to make copies to pin on my studio wall for easy reference.)» — Butts anota entre paréntesis, dentro de la sesión, la convicción con que Roberts dictó el pasaje anterior y su propia intención de pegarlo en la pared del estudio

«As soon as she was out of trance I told Jane the session was an excellent one. I was also quite irritated, because Seth’s information had the ability to make things seem self-evident; from that point one was always left wondering how anything so basically clear and simple could be so easily missed and/or misinterpreted by those who most dearly wanted to put it to use.» — Butts anota su propia irritación al salir Roberts del trance: la información de Seth vuelve las cosas evidentes, y eso deja preguntándose cómo se pasan por alto

«The thing is, I really believe the information is good, and that it can work, that basically it’s the best kind of information people can get.» — Butts declara en la misma nota su creencia en el material, con la reserva de que es su parecer

«From my dream notebook: “Dream, very early Tuesday morning, June 10, 1980. “In vivid color: I lived in my parents’ house at 704 North Wilbur Avenue, in Sayre, Pennsylvania. I was my present age, 61. That the house had long been sold, that my parents had died in the early 1970s, and that Jane and I had been married for 26 years and lived in Elmira, New York, were irrelevant in the dream.» — Butts reproduce en nota su propio cuaderno de sueños y fecha el sueño de los Brenner el 10 de junio de 1980; la guarda anticosido se apaga por las fechas y los años del tramo, releído entero en el crudo

«As Floyd and I cut across the court I saw that the Brenner’s lawn was despoiled with a mixture of animal and industrial waste, like pollution. ‘What’s that?’ I exclaimed to Floyd, as I saw a large dark shape near the hickory tree. At first shock I thought it was a deer that might have been killed by a car the night before, say.» — Butts narra en su cuaderno el núcleo del sueño: el césped de los vecinos manchado de desechos y la forma oscura que toma por un venado atropellado

«Then to my amazement I saw that the supposed animal was actually the broken remnants of a hollow, life-sized metal statue of a deer that had stood for years in the front yard of a house on Harrison Street, in Sayre, at the other end of town.» — Butts consigna el giro del sueño: lo que parecía animal era la estatua metálica de un venado que estuvo años en otro punto del pueblo

«On July 23, 1980 — 13 days after I had my dream — the writer of a story in the Elmira Star-Gazette described how the Brenner family won an out-of-court settlement of over $10,000 from the Borough of Sayre and a large store owned by a well-known supermarket chain. The store is located a couple of blocks from the Brenner home, and just off North Wilbur Avenue. Construction at the store had overloaded sewage pipes and caused them to back up after rain storms, filling the basement of the Brenner house with sewage several times.» — Butts data el suceso que sigue al sueño y lo describe por el diario local: el litigio de los vecinos por el desagüe desbordado; la guarda anticosido se apaga por las fechas y cifras del tramo, releído entero en el crudo

«Seth refers to a portion of the notes I wrote on the afternoon of August 5, 1980 — the day before Jane held her first session on The Magical Approach:» — Butts fecha en nota el origen del libro: sus propias notas del 5 de agosto de 1980, la víspera de la primera sesión; la guarda anticosido se apaga por la fecha del tramo, releída en el crudo

«Added a little later: Jane said this material on the magical personality ‘… really turned me on.’ She’s been doing some writing of her own on our magical orientation. I told her that her material could easily go into a chapter of one of her books.”» — Butts añade a su nota la reacción de Roberts al material y la propuesta de llevarlo a un capítulo

«SESSION THREE MAN AND OTHER SPECIES. MISTAKES AS CORRECTIVE ACTION. DEFINITION OF THE MAGICAL APPROACH. AUGUST 13, 1980 8:57 P.M., WEDNESDAY» — encabezado de la sesión tres, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(I*

«A note: The Democratic National Convention is in its third day. As I typed away after supper, I could tell that Jane was listening to the speeches on TV in the living room. Then I realized I’d goofed: Last Saturday, our local paper had carried a short article to the effect that a psychic we’d heard of had predicted recently that Senator Robert Byrd of West Virginia would obtain the Democratic nomination for president» — Butts fecha la sesión tres por la convención demócrata y consigna la predicción de un psíquico que el periódico local había publicado

«Thus the psychic is wrong in the prediction, which evidently obtained national circulation.» — Butts consigna el desenlace de esa predicción y lo dice sin adjudicar el error a nadie más que al hecho

«I speculated about the reactions of public personalities when their predictions don’t work out.» — Butts se pregunta en nota por la reacción de las figuras públicas cuando su predicción falla; el tramo se corta en el cambio de plana y sigue en la 47

«hoped their errors are not rationalized, or made just for the publicity, since the psychics have to live with them.» — continuación de la nota anterior: Butts pide que el error no se racionalice ni se haga por publicidad, porque el que predice ha de vivir con él

«Seth may have made his humorous reference to a cat’s whiskers when he did because our cat, Billy, had just meowed rather frantically as he chased a dusty-looking moth through the living room.» — Butts anota entre paréntesis la coincidencia entre la figura de Seth y el gato de la casa, que maulló en ese momento

«Seth, of course, not only dictates his magical material — the session — but must keep the whole session in mind while doing so, so that each sentence as he delivers it makes sense compared to its predecessors, and those to follow.» — Butts anota lo que le parece notable de la ejecución: que la sesión entera se sostenga coherente sin guion ni consulta

«How is this possible? Seth has no script to go by, nor can he refer during the session to my own notes to check up on what he’s already said.» — Butts formula la pregunta en su nota y consigna las dos condiciones de la faena: sin guion y sin poder consultar las notas durante la sesión

«I’d say that a great memory must be involved here, coupled on deeper levels with a shortening of time as we think of it.» — Butts propone su explicación como conjetura: gran memoria más un acortamiento del tiempo en niveles profundos

«I’m not being contradictory here when I write that the dream is a spontaneous production, also.» — Butts se adelanta a la objeción y sostiene las dos cosas a la vez: el sueño construido con antelación y el sueño producción espontánea

«When I wrote these notes on July 17, I hardly expected that several weeks later Seth would so effectively “put them in their place,” so to speak, as he enlarged upon his discussion of the magical approach:» — Butts presenta en nota su propio texto del 17 de julio y consigna que Seth lo puso en su lugar semanas después

«This session was held on August 13. Thirteen days later, Jane and I were most intrigued to read an article in a national publication in which researchers show, after eight years of tests, that not only do women do most things as well as men — they actually outperform men in many areas, both intellectually and intuitively.» — Butts contrasta en nota el material de Seth sobre lo masculino y lo femenino con un artículo de prensa sobre pruebas de ocho años; la guarda anticosido se apaga por la cifra del tramo, releída en el crudo

«According to these tests, us poor guys exceed women in only two categories: structural visualization, as in engineering, mechanics and building; and measures of simple muscular strength.» — Butts resume el saldo de esas pruebas en la nota, con su propia broma sobre los hombres

«For example, women test as equal to men in sensitivity to sound; clear, logical, and rational thinking; accurate reading and writing; memory for design in areas like drafting and illustration; number memory; tweezer dexterity; foresight, as in the flow of ideas; subjective personality links to specialized work.» — Butts reproduce en nota la lista de aptitudes en que las pruebas igualan a mujeres y hombres

«Women exceed men in such areas as finger dexterity; accounting aptitudes; rate of idea flow, as in sales, writing, and teaching; observing small changes in physical detail; non—tangible ideas requiring complex vocabulary, as in medicine and law; the ability to visualize threedimensional relationships, as in engineering.» — Butts reproduce la lista de aptitudes en que esas pruebas ponen a las mujeres por delante; el troceo parte *three-dimensional* en el fin de renglón y `span()` la devuelve fundida, e imprime *non—tangible* con raya donde cabría guion

«From my dream notebook: “Dream, very early Wednesday morning, August 13, 1980. (See my painting at the end of this session.) “In vivid color, as usual: I dreamed that in New York City I had gone back to my first love, drawing comics. Not comic books, however, but a syndicated fantasy-adventure story to be run in color and take up a full Sunday newspaper page.» — Butts fecha y narra en nota el sueño de los cómics del que sale su pintura del final de la sesión; la guarda anticosido se apaga por las fechas del tramo, releído entero en el crudo

«I knew the character type well because in the early 1940s, in ‘real’ life, I’d been one of the artists who had drawn the very popular comic-book hero, Captain Marvel.» — Butts consigna su propio oficio anterior, dibujante del héroe de historieta al que el sueño remite

«My dream character stood confidently facing the reader — except that I’d omitted drawing his head!» — Butts consigna el detalle del sueño que la interpretación después usa: la figura dibujada sin cabeza

«My assistant had drawn the head, though, on a small separate piece of board, and protected it with a piece of tracing paper. I thought the head was too small, but well done, quite youthful with curly black hair and handsome features, as one would expect such a magical character to have. I also saw that the head was almost too youthful for the strong physique of the character I’d drawn» — Butts describe la cabeza dibujada por el ayudante, pequeña y juvenil de más para el cuerpo

«My art teacher in high school, Miss Bowman, had taught Tom Lantini also — and as she had loaned me money to go to commercial art school in New York City, so had she given Tom financial aid so that he could attend the same school.» — Butts nombra en nota a la maestra que prestó dinero a los dos aprendices para la escuela de arte comercial

«I told Jane that at first I was somewhat jealous of Tom, probably feeling that in some way he was intruding into my own special relationship with Miss Bowman.» — Butts declara en nota los celos que sintió y la razón que les atribuye, una relación especial con la maestra

«Two days after delivering the first session for The Magical Approach, Jane made notes about her mental exchange with our dear longtime friend, “Mary” (the name I’ve given her):» — Butts presenta en nota el episodio de la conversación mental de Roberts con una amiga cuyo nombre declara cambiado

«Dream, very early Sunday morning, August 10, 1980. “Difficult to recall, and what I do recall makes no sense to me at all.» — Butts fecha el sueño de la amiga y declara de entrada que no le halla sentido; la guarda anticosido se apaga por la fecha del tramo, releída en el crudo

«Instead, as Mary lifted the cover of the pad, holding the pad out for Jane and me to see, we saw that the top page was covered by a lovely large floral pattern of leaves and flowers, as one might see on bedsheets these days. I examined several pages of Mary’s pad and saw that all of them were covered by the same design, in reds and greens, etc. The pattern made the pages of the pad quite useless for their ordinary purpose.» — Butts narra el núcleo del sueño: las hojas del cuaderno de dibujo cubiertas por un estampado floral que las inutiliza

«But, I told Jane, she did a far better conscious and intuitive job of interpreting my dream of Mary than I ever could. I’m grateful!» — Butts anota su reconocimiento del trabajo interpretativo de Roberts sobre sus propios sueños

«A note: Several hours before she held today’s session, Jane wrote: “Wednesday, August 13, 1980. “Called Mary. Since I talked to her last, she’s decided to leave her husband.…”» — Butts cierra la serie con la anotación de Roberts del mismo día: la amiga había decidido dejar a su marido; la guarda anticosido se apaga por la fecha del tramo, releída en el crudo

«Robert F. Butts (1919–): Imaginary Character. 1968. Oil on panel, 10 x 9⅜ in. The individual I painted in 1968 is very similar to the magical “Captain Marvel” kind of character I created 12 years later, in my dream in 1980.» — pie de la segunda lámina, firmado por Butts: el personaje pintado doce años antes del sueño; la guarda anticosido se apaga por los años del pie, releído en el crudo

«I do not claim any connections between the two, although some may exist on other than conscious levels.» — Butts acota el pie de la lámina anterior: no reclama conexión entre el cuadro y el sueño, y deja abierto que exista en niveles no conscientes

«SESSION FOUR SCIENCE AND SCIENCE’S PICTURE. DESIRE AS ACTION. AUGUST 18, 1980 9:10 P.M., MONDAY» — encabezado de la sesión cuatro, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(I*

«sneezed three times just as Jane took off her glasses and went into trance. As Seth, she stared at me with quite an amused air, waiting until I was ready to take notes.)» — Butts abre la sesión cuatro con la acotación de escena; el troceo pierde la capitular *I* de *I sneezed*

«Dream, very early Saturday morning, August 16, 1980. “I’ll try to remember all elements of this dream in sequence. Most unusual. All in brilliant color:» — Butts fecha en nota el sueño de la puerta de vidrio que Seth comenta en la sesión cuatro; la guarda anticosido se apaga por la fecha del tramo, releída en el crudo

«Gus was on the other side of the door, on the screened-in back porch, as he should be — only then I saw to my amazement that he was starting to walk through the glass panel in his eagerness to get to the food. I felt his head pushing effortlessly through the glass, and exclaimed about this to Jane» — Butts narra el núcleo del sueño: el perro atravesando sin esfuerzo el panel de vidrio por el deseo de la comida

«Then, in order to obtain some physical proof that this was really happening, with my right hand I began to ‘carve’ a squarish hole a few inches across in the glass where Gus’s head had been.» — Butts consigna dentro del sueño el afán de prueba física, que es el punto que Seth después comenta

«After the Gus part of the dream, I saw through the glass door a man standing quite at military attention. He was older, graying, impeccably dressed in the dark blue uniform of an officer of the Navy.» — Butts describe la segunda figura del sueño, el oficial de marina inmóvil ante la puerta

«There’s a resemblance between the two, but I’m not particularly claiming that the officer is the civilian. I only want to note that this would make the second instance recently in which I might have had the same character appear in separate dreams.» — Butts marca el límite de su propia observación: hay parecido entre dos figuras, pero no afirma que sean la misma

«The Navy man never came through the door like Gus had, though, nor did he speak to me or move. He simply stood at attention on the porch, symbolizing I don’t know what.» — Butts consigna lo que el sueño no explica y se abstiene de interpretarlo

«Jane did such a fine job interpreting the dream (in my estimation!) that I didn’t bug her for more details. Later, however, I wished that I’d asked her a few questions.» — Butts anota su aprobación de la interpretación y a la vez la pregunta que no hizo

«Robert F. Butts (1919 –): My Glass-Door Dream. 1980. Oil on panel, 13 x 11 in. My dream of August 16 was difficult to visually present: How could I show my contact with Gus through the seemingly solid glass — show that, as Seth says, desire is action? I first sketched the dream late in August, but did’t finish the painting of it until December.» — pie de la tercera lámina, firmado por Butts: la dificultad de pintar el contacto con el perro a través del vidrio y la fórmula de Seth que el cuadro intenta; la guarda anticosido se apaga por las fechas del pie, releído en el crudo

«SESSION FIVE STYLES OF THOUGHT. COMBINING THE MAGICAL APPROACH AND THE SO-CALLED RATIONAL APPROACH. AUGUST 20, 1980 9:08 P.M., WEDNESDAY» — encabezado de la sesión cinco, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(W*

«Tam wanted illustrations for a first book. When he read of George’s sketches he instantly thought of illustrations. Sue, of course, wanted to do George a favor, to make up for old issues. There were other probabilities according to George’s situation, so that the affair at least opened up the idea that George could do other work for Prentice if he needed money. This gave him a sense of reassurance.» — Seth, según Roberts, en la sesión cinco, contesta a una pregunta editorial de Butts sobre las ilustraciones del libro de Sue Watkins y sobre el dibujante George Rhoads

«Seth emphatically says: THE PRESENT IS THE POINT OF POWER. According to him, the point of power is where flesh and matter meet with spirit.» — Butts resume en nota la fórmula que Seth repite en versalitas y el lugar que le asigna: la juntura donde la carne y la materia se encuentran con el espíritu

«That juncture embodies the actions and beliefs we choose to draw from all of our previous points of power. From our current present we project, for better or worse, those choices, plus any new ones we may decide upon, into each of the presents we’ll be creating throughout the rest of our lives. The contents of our projections, then, are of supreme importance.» — Butts explica en nota el mecanismo que atribuye a esa fórmula: lo proyectado desde el presente forma cada uno de los presentes por venir

«As Seth suggests, through even a five-minute exercise, in which we sit quietly and look about, we can become aware that the present is the point of power. In his exercise, we gently remind ourselves that we aren’t at the mercy of our past beliefs unless we think we are.» — Butts describe en nota el ejercicio de cinco minutos y la cláusula que lo sostiene: no se está a merced de las creencias pasadas salvo que se crea estarlo

«We have the full freedom to insert new creative goals in our point-of-power exercises. Next, we relax, to give our fresh suggestions time to begin working within us. Next, physically we make a simple gesture or act, no matter how modest, that is in line with our desires for the future.» — Butts enumera los pasos del ejercicio: insertar metas, relajarse y hacer un gesto físico por modesto que sea

«Periodically we repeat the exercise — but easily, without pressure, confident that we’re doing well. Action is thought in physical motion, Seth tells us. …» — Butts cierra la descripción del ejercicio con la fórmula que atribuye a Seth: la acción es pensamiento en movimiento físico

«In The Nature of Personal Reality, Seth deals extensively with the point of power, its exercises and meanings and benefits. See especially sessions 656-57 in Chapter 15.» — Butts remite en nota a otro volumen de la serie para el desarrollo del punto de poder, con número de sesión y capítulo; la guarda anticosido se apaga por las cifras de sesión, releídas en el crudo

«Tam Mossman was the editor at Prentice-Hall for both Jane and Sue. Conversations With Seth is Sue’s fine two-volume account of the ESP classes Jane held from September 1967 to February 1975.» — Butts identifica en nota al editor de Prentice-Hall y el libro en dos tomos de Sue Watkins sobre las clases de percepción extrasensorial; la guarda anticosido se apaga por las fechas, releídas en el crudo

«Tam’s enthusiastic and intuitive help was always invaluable to Jane, ever since he encouraged her to publish her first book, The Seth Material, in 1970.» — Butts acredita al mismo editor el aliento para publicar el primer libro de la serie; la guarda anticosido se apaga por la fecha, releída en el crudo

«country and in others. The connections can be conscious, unconscious, or both. Many of us will never meet physically, but as a group all of us are exploring related lifetime themes in ways that no individual can do.» — continuación de la nota anterior: Butts describe el grupo de contrapartes explorando temas de vida relacionados que ningún individuo agotaría solo

«Laurel is helping greatly as we put The Magical Approach together. She is doing invaluable work as a research and editorial assistant; studying Jane’s notebooks, journals, and poetry, and putting together material from those sources to be included in this book. She has also been working with and choosing the published and unpublished Seth sessions for The Magical Approach.» — Butts detalla en nota el trabajo de Laurel Lee Davies sobre este volumen: cuadernos, diarios y poesía de Roberts, y la elección de las sesiones publicadas e inéditas

«I feel that Laurel’s and my relationship is a clear case in which a long-standing “unknown” counterpart connection came into our consciousnesses when we were ready for it to, and that eventually it led to our meeting.» — Butts propone su propia relación como caso de conexión de contrapartes que asoma a la consciencia cuando se está listo, y lo dice como parecer

«Her boyfriend recommended Seth Speaks to her. Although he did not believe in metaphysical realities, he had heard the book was the best of it’s kind, and they found it in a used-book store in Seattle, Washington.» — Butts consigna en nota cómo llegó Davies a la serie: por recomendación de alguien que no creía en realidades metafísicas y que tenía el libro por el mejor de su clase

«For much more Seth material on the counterpart concept, see Session 732 and Appendix 25 in Volume II of The “Unknown” Reality (Published by Amber-Allen Publishing, Inc., San Rafael, CA).» — Butts remite en nota a otro volumen de la serie para el concepto de contraparte, con sesión, apéndice y editorial; la guarda anticosido se apaga por las cifras, releídas en el crudo

«To Seth, George and Jane and Sue and I are “counterparts” — entities psychically connected» — Butts consigna en nota el término con que Seth llama a los cuatro, contrapartes, y lo define como entidades conectadas psíquicamente; el tramo se corta en el cambio de plana y sigue en la 78 con *to each other, and to other men, women, and children alive now*

«SESSION SIX ANIMALS AND REASONING. THINGS BEYOND ONE’S CONTROL. AUGUST 25, 1980 8:49 P.M., MONDAY» — encabezado de la sesión seis, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(J*

«ane continues to show improvements. But she’s been bothered more than once lately by the contents of some of her mail — the letters of woe she attracts from readers who earnestly petition aid of various kinds from Seth and herself.» — Butts abre la sesión seis con el estado de Roberts y con las cartas de los lectores que le piden ayuda; el troceo pierde la capitular *J* de *Jane*

«About Seth’s reference to Mitzi: Last month both of our cats, Mitzi and Billy, came down with heavy cases of fleas — quite unusual for them even though they are often outside.» — Butts cuenta en nota el episodio del gato al que Seth alude, que el libro usa como prueba doméstica del enfoque mágico

«Last Saturday, on the 23rd, I bought another pair of flea collars. Mitzi in the meantime had become thoroughly miserable, and I had determined that I was going to get a collar on her somehow. A friend had suggested using a towel to prevent her scratching. When I set out to do the job that afternoon, Jane suggested using catnip on the towel.» — Butts narra el segundo intento y consigna la sugerencia de Roberts sobre la hierba gatera

«Jane wrote these notes in her journal last Sunday, the day before she delivered this session on August 25 — but I present them here to show how, from her own perspective, she very nicely covers events I too wrote about in connection with the session.» — Butts presenta en nota el diario de Roberts como la misma serie de hechos vista desde la perspectiva de ella

«SESSION SEVEN THE INTELLECT AS A CULTURAL ARTIFACT. CREATING ONE’S OWN EXPERIENCE. AUGUST 28, 1980 8:37 P.M., THURSDAY» — encabezado de la sesión siete, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(J*

«I’ve often hesitated to mention it, but as I did remark a few days ago, I feel her reaction to the weather must have other causes — that is, besides those having to do with simple environmental conditions. As it is, life within the environment becomes difficult. Nor am I discussing living in an “ideal” environment all the time.» — Butts anota su propia sospecha sobre la reacción de Roberts al clima, y la marca como punto de vista suyo

«The theme of the dream had interested me pictorially from the beginning, I told her, but I’d almost lacked the nerve to try a rendition of it in paint. Late last week I started the charcoal drawing for the painting, however, figuring I could only try to see what I could do… So far, so good.)» — Butts anota su propio reparo ante el asunto del cuadro y cómo lo venció empezando por el carboncillo

«In October 1979 Jane and I saw, to our dismay, that the Dutch publisher of the translation of Seth Speaks had violated his contract with Prentice-Hall by making many unauthorized cuts in the book. It was supposed to be published in its entirety, but language difficulties led to the mixup.» — Butts consigna en nota el litigio con el editor neerlandés que cortó sin autorización la traducción de otro volumen de la serie; la guarda anticosido se apaga por la fecha del tramo, releída en el crudo

«After hearing from Jane and me and her editor, Tam Mossman, the Dutch publisher agreed to market a new, uncut translation of Seth Speaks this year. This will be an expensive undertaking — one we feel bad about now that our initial anger has passed.» — Butts consigna el desenlace del litigio y el propio arrepentimiento por el costo que supone al editor

«SESSION EIGHT NATURE AS MAN’S CARETAKER. NATURAL MAGICAL REASONING AND TRUST. SEPTEMBER 3, 1980 8:55 P.M., WEDNESDAY» — encabezado de la sesión ocho, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(J*

«from Seth that he liked the way my painting of “the dog” — Gus, from my dream of August 16 — was coming. I finished the thin underpainting for it this morning and must now wait a few days for it to dry. In the meantime I’m going back to work» — Butts consigna al final de la sesión ocho lo que Roberts declaró haber captado de Seth sobre su cuadro, y el estado de sus trabajos de pintura

«SESSION NINE THE BODY’S REASONING AS LOGIC. BELIEF SYSTEMS. SEPTEMBER 8, 1980 8:43 P.M., MONDAY» — encabezado de la sesión nueve, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(“I*

«I come out, and look at my eyes,” Jane said half humorously. True, her eyes were relaxed into slits — although they gradually opened normally as we talked. “I’m glad I did that,” she said, meaning that she’d» — Butts consigna el estado de Roberts al salir del trance y su alivio por haber sostenido la sesión; el tramo se corta en el cambio de plana y sigue en la 102

«Seth is right, of course. As I well know, I am bothering my stomach, which is perfectly innocent in its own right. I’ve reacted to stress this way before. My stomach has been knotting up because I’m stewing over the reactions of those in charge at Prentice-Hall to Seth’s material in Mass Events about medical matters.» — Butts acepta en nota la corrección de Seth sobre su estómago y nombra la causa que le atribuye, el pleito con el editor

«My present uncomfortable state isn’t drastic, by any means, but it is getting my attention — which, after all, is the reason I’m creating it to begin with.» — Butts declara en nota que él mismo crea el malestar para llamarse la atención

«On the one hand Jane, Seth, and I want to see our work presented to the world as originally conceived, as a way to offer ideas to think about. On the other hand, I can visualize the dilemma those at the publisher’s feel when they’re being asked to print ideas that are, at least in part, so contrary to accepted belief structures in a very important field.…» — Butts consigna en nota las dos posiciones del pleito sin arbitrar entre ellas: la de los tres autores y la del editor ante ideas contrarias a creencias aceptadas

«SESSION TEN EDUCATION AND CULTURE. THE NATURAL PERSON. SEPTEMBER 10, 1980 8:48 P.M., WEDNESDAY» — encabezado de la sesión diez, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(A*

«t 8:30 this evening I finished typing Monday’s short session [for the 8th]. I’d forgotten to do it last night, so absorbed was I in working on the copy-edited Mass Events. Then I made a surprising discovery as I put the session in private notebook number 23 — for there I found my original shorthand notes for the September 3 session. I’d also forgotten to type that one, and for the same reason, evidently. I believe that’s the first time in well over a thousand sessions that I’ve forgotten to type one.» — Butts consigna en la apertura de la sesión diez el olvido de mecanografiar dos sesiones, primero en más de mil; el troceo pierde la capitular *A* de *At 8:30*

«However, we do have the testimony of many who know us, plus years of sessions on record, plus our own memories.» — Butts enumera lo que sí hay en lugar del registro médico: testimonios, sesiones y la memoria de los dos

«As we talked, Jane laughed and said she picked up from Seth that “the best books are yet to come.”)» — Butts cierra la sesión diez con lo que Roberts dice haber captado de Seth sobre los libros por venir

«Helen Bowman — Miss Bowman, my parents and I always called her — was my art teacher in the Sayre, Pennsylvania, high school from 1935 until my graduation in 1937. Through an arrangement with my mother, Stella Butts, Miss Bowman loaned me the money to attend commercial art school in New York City from 1939 to 1941. I was drafted into the Air Force in 1942, during World War II, and repaid the loan over my three years of service.» — Butts identifica en nota a la maestra de arte, el préstamo para la escuela de Nueva York y la devolución durante el servicio militar; la guarda anticosido se apaga por las fechas del tramo, releído entero en el crudo

«A note added 14 years after Jane/Seth delivered the magical-approach material: Miss Bowman died in 1994, at the age of 96.» — Butts fecha su propia nota catorce años después del dictado y consigna la muerte de la maestra; la guarda anticosido se apaga por las cifras del tramo, releídas en el crudo

«But these sessions, dealing with Jane’s improvements, validate the Seth material as it’s come to us over the years.» — Butts sostiene en nota que estas sesiones validan el material de Seth; el tramo se corta en el cambio de plana y la reserva sigue en la 108 con *This has a drawback, of course, in that we have no official evidence of her “symptoms” on the medical record*

«SESSION ELEVEN MULTIDIMENSIONAL SPIRITUAL DRAMAS. SEPTEMBER 15, 1980 8:52 P.M., MONDAY» — encabezado de la sesión once, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(T*

«At 8:40 she surprised me by calling out from the living room — I sat reading a magazine at the kitchen table — that she’d try to have a short session. “I feel something about religion. …”» — Butts consigna que Roberts anunció el asunto de la sesión once antes de entrar en trance, mientras él batallaba con una nota sobre la resurrección

«As I have before, I found the whole religious issue confusing and contradictory. And the last thing I’d expected of Jane tonight was any material on religion from Seth.» — Butts declara su propia confusión ante el asunto religioso y su sospecha de que ella recogía ese estado suyo

«Jane agreed with my own surprise that she not only chose to hold the session, but discussed the Christ material. She said that in spite of her being so relaxed, “There Seth was, right there. …” as soon as she went into trance.» — Butts consigna la sorpresa compartida por la sesión sobre Cristo y lo que Roberts declaró: que Seth estaba ahí pese a su relajación

«I’d let him. …” (“Well,” I said, “maybe he would have if I’d encouraged him to do so» — Butts responde a lo anterior poniéndose a sí mismo en la cuenta del retraso, y Roberts asiente: la responsabilidad queda repartida entre los dos sin arbitrar

«SESSION TWELVE INSERTING NEW IDEAS INTO THE WORLD. SEPTEMBER 22, 1980 9:04 P.M., MONDAY» — encabezado de la sesión doce, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(J*

«All week we’ve been doing additional medical notes for the copy-edited manuscript of Mass Events. Even today Jane talked to Tam Mossman, her editor at Prentice-Hall, about various matters involving the book. I dislike the whole situation intensely. 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.» — Butts consigna el pleito editorial del que sale la sesión doce, hasta la posibilidad de retirar el libro; el troceo parte *copy-edited* en el fin de renglón y aquí la conserva

«Now we have an idea for our own type of “disclaimer” for the frontmatter of Mass Events, based upon a very apt quote from Seth’s material that we found late in the book. I mailed Tam a copy of it today.» — Butts consigna la salida que los dos idearon para el pleito: un descargo propio armado con una cita del propio material

«Seth’s amused reference was to manuscript page 457 in Mass Events. Jane and I decided to use his passage, with a note, in the frontmatter of the book, for he stressed that until they’re mentally clear about their beliefs people should continue to see doctors.)» — Butts explica entre paréntesis a qué pasaje se refiere Seth: el que pide seguir viendo médicos mientras no se tengan claras las creencias, y que los dos llevaron al frente del libro

«For someone who hadn’t felt like having a session, Jane did very well.)» — Butts cierra la sesión doce anotando el contraste entre las ganas de Roberts y el resultado

«Seth was right. It never happened: For all of our worries, those in charge at Prentice-Hall did not decide to use disclaimers of responsibility in any of Jane’s other books.» — Butts consigna en nota, catorce años después, que el descargo temido no llegó a usarse en ningún otro libro

«Robert F. Butts (1919–): Beyond the Door. 1980. Oil on panel, 13 × 10⅞ in. It was impossible for me to even approach with mundane physical paint the pulsating brilliance of that tiny bit of the “light of the universe” that I allowed myself to experience at the top of the nearly-closed door.» — pie de la cuarta lámina, firmado por Butts: la imposibilidad de acercarse con pintura física al brillo pulsante que dice haber visto; la guarda anticosido se apaga por el año del pie, releído en el crudo

«Vision, 11:45 P.M., Sunday, September 21, 1980: “I lay on our bed, fully clothed, while waiting for Jane to finish in the bathroom. As usual, the little light on her bureau to my right was on.» — Butts fecha y sitúa en nota la visión de la luz que después pinta; el tramo se corta en el límite de chunk dentro de la misma plana, y la frase sigue con *I lay flat on my back*; la guarda anticosido se apaga por la fecha, releída en el crudo

«SESSION THIRTEEN ROB USING THE MAGICAL APPROACH. PRECOGNITION. SEPTEMBER 24, 1980 9:24 P.M., WEDNESDAY» — encabezado de la sesión trece, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(J*

«I wish there were words to use besides clairvoyance or precognition,” I said, since I was somewhat reluctant to attach them to the newspaper experience. That is, at the time I hadn’t had any feeling that those qualities or terms might apply to what I’d sensed — nor do I now. Perhaps I was merely afraid the experience wasn’t clairvoyant, I said, yet I felt our vocabulary was limited in some indefinable way in such cases.» — Butts declara su reparo ante el vocabulario disponible para nombrar lo que le pasó, y su sospecha de que el reparo pueda ser miedo a que no fuera clarividencia

«as a physical creature I’d be overwhelmed if ever I came even close to facing that awesome conscious and creative power.”» — Butts cierra la nota de la visión con lo que dice haberle dicho Seth: que como criatura física quedaría abrumado si llegara a enfrentar ese poder consciente y creativo; el tramo arranca descabezado y la frase empieza en la 121 con *Seth has told me that*

«Brilliant, hon,” I said to Jane as she quickly came out of her trance state. She was pleased. For someone who hadn’t known whether they wanted a session, she’d done very well, with her delivery being often fast and emphatic. I told her that it looked as though Seth used my newspaper incident to actually summarize in capsule form much of the material he’s been giving us in this latest group of private sessions. “You couldn’t ask for a better demonstration of the whole thing,” I said.» — Butts consigna su lectura de la sesión trece: que Seth usó el incidente del periódico para resumir el material de toda la serie

«A note: the way things “work” … On Thursday morning—the day after this session was held — Jane and I saw the three young men referred to in the newspaper article on a well-known variety show. Very interesting. One of them said he’d had “a dream” about having brothers. The others weren’t as definite, but at least indicated they hadn’t felt alone. The TV host never referred to the fact that the three youths were actually members of quadruplets — that a fourth brother had died at birth, according to the news article. Neither did the brothers. I also mentioned to Jane the similarity in the adoptive last names of two of the brothers: Kellman and Gelland.)» — Butts añade en nota el seguimiento televisivo del caso de los trillizos y consigna lo que el programa no dijo, que eran cuatrillizos y que un hermano murió al nacer

«Experience, 4:00 P.M., Wednesday, September 24, 1980. I lay down for a nap in the bedroom after Jane got up from her own. I had the following ideas as I lay in that state between waking and sleeping. I found myself musing about what I thought was a great idea for a novel.» — Butts fecha en nota la experiencia que Seth comenta en la sesión trece y la sitúa entre la vigilia y el sueño; la guarda anticosido se apaga por la fecha del tramo, releída en el crudo

«I thought of myself as a woman at the mall in Big Flats, near Elmira. As I went through a double revolving door I caught a glimpse of a young man, say in his mid-twenties, who was an exact duplicate of my own son, who I knew was not in the mall, but was away on business of some kind. The shock of seeing my son’s double was so great that instead of chasing him to question him, I had to sit down on a bench to recover.» — Butts narra el argumento que le vino en la duermevela: una mujer que ve en el centro comercial al doble exacto de su hijo

«The story unfolds when the mother uncovers evidence of a mixup in the baby complex at the hospital: She had been given only one of her children, or some such affair; either that, or she had managed to adopt a baby from there. Either way, she finds out through much detective work that a whole series of mixups had occurred in the hospital that day — that in the Elmira area there are several sets of parents who have been raising the wrong children all these years.» — Butts describe el nudo de su novela imaginaria: un enredo de recién nacidos en el hospital y varias familias criando a los hijos de otras

«I think that the idea of mixups in the hospital came from a book Jane and I have been reading the past week, written by a doctor who warns against medicine, delivery rooms, the whole bit, in the establishment practice of medicine. He wrote that such baby mixups are far from rare.» — Butts declara la fuente que atribuye a esa idea, un libro médico que los dos venían leyendo

«Then as we sat on the couch, I remembered that for the first time in literally months I’d forgotten to bring in the evening paper, so we could look at it while we ate and watched TV. I almost invariably bring in the paper before I lay down for a nap before supper» — Butts consigna el detalle del que depende el caso: por primera vez en meses había olvidado meter el diario

«I was quite struck by the similarities between the news story and my own experience. Jane thinks that because I forgot to bring in the paper before I lay down, I may have tuned into it, out there in the box beside the mailbox. I didn’t have any strong feeling that I had, however, but get a few thrills as I finish this account.» — Butts consigna la conjetura de Roberts sobre el diario y a la vez declara no haber tenido una sensación fuerte de haberlo captado

«I should add that I lay down at about 4:20. On weekdays the motor carrier usually leaves the paper in its box around 3:15–3:30, so the paper was “in position” for me to zoom in on it.» — Butts precisa las horas para que se vea que el diario estaba ya en el buzón cuando se acostó; la guarda anticosido se apaga por las cifras de hora, releídas en el crudo

«In fact, we can see our box on the road from our bedroom windows, looking slightly north. I pull the shades before lying down. I don’t remember if I happened to glance at the box today while lowering them.» — Butts consigna la objeción material que él mismo se pone: el buzón es visible desde la ventana y no recuerda si lo miró

«The box is perhaps 45–50 feet from» — Butts mide la distancia del buzón a la ventana; el tramo se corta en el cambio de plana y sigue en la 131 con *the bedroom windows, and its backend is toward our house*; la guarda anticosido se apaga por las cifras, releídas en el crudo

«the bedroom windows, and its backend is toward our house. I can tell if the paper has come, though, by looking across the road into our neighbor’s box. On weekends, when the paper is delivered in the morning, and is sometimes late, I often check the neighbor’s box.» — continuación de lo anterior: Butts consigna que el buzón da la espalda a la casa y que comprueba la entrega mirando el del vecino

«SESSION FOURTEEN THE SELF. RELAXATION AND EFFORTLESSNESS. SEPTEMBER 29, 1980 9:18 P.M., MONDAY» — encabezado de la sesión catorce, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(I*

«Jane had no idea of most of the material in the session — that is, she hadn’t known Seth was going to deliver it. Now, however, she remembered that just before the session she’d picked up the idea that Seth would mention effortlessness in connection with her own situation.)» — Butts consigna que Roberts no sabía casi nada del contenido de la sesión y a la vez había captado de antemano la palabra que Seth usaría

«SESSION FIFTEEN THE NATURAL PERSON AND THE NATURAL USE OF TIME. OCTOBER 1, 1980 9:31 P.M., WEDNESDAY» — encabezado de la sesión quince, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(D*

«So after all these years I find that out,” I answered. “What else haven’t you told me? How come the big secret?”» — Butts consigna su propia reacción ante esa revelación tardía de Roberts

«Jane has grown increasingly restless over the breaks in her activities that are caused by the rest periods she’s taking several times daily. At the same time her back, for example, has improved considerably. She was angry as we sat for the session. “I’m so mad I can’t talk about it,” she said — while talking about it for some 20 minutes. I told her I knew she didn’t want to take the rest periods, and that I had little to offer as an alternative, beyond her simply cutting down on them.» — Butts consigna el enojo de Roberts con los descansos obligados y su propia falta de alternativa que ofrecerle

«he following private material is from the regular 920th session. Seth often did this — whether we asked him to or not — closing out book and/or general sessions with comments of varying length for Jane and me.» — Butts explica el origen de la sesión dieciséis: material privado desprendido de una sesión de libro; el troceo pierde la capitular *T* de *The following*

«After the session I reminded Jane that she’d just given a terrific session — something that no one else could do — but that she didn’t give herself much» — Butts consigna el contraste entre la sesión que Roberts acababa de dar y lo poco que se acreditaba; el tramo se corta en el límite de chunk dentro de la misma plana y sigue con *credit for it*

«SESSION SEVENTEEN JANE’S SKILL AS ANCIENT AS MAN IS. THE SPECIES’ MULTITUDINOUS ABILITIES. OCTOBER 15, 1980 8:55 P.M., WEDNESDAY» — encabezado de la sesión diecisiete, la última del cuerpo, con su título, su fecha y su hora; la capitular de la apertura queda desplazada al margen como *(A*

«I’d speculated about any reincarnational connections that might tie her abilities to speak for Seth, without help of any modern kind, to the abilities ancient man had displayed, when, according to Seth, he’d been able to carry all of his history with him mentally. As ancient man had lived without the news media we’re so used to, so does Jane speak for Seth without all of that modern help.» — Butts consigna la conjetura que traía en mente esa noche: una conexión entre la facultad de Roberts y la del hombre antiguo que llevaba consigo su historia

«Jane called her book of poetry If We Live Again: Or, Public Magic and Private Love, and Prentice-Hall published it in 1982. Poetry was her first, childhood love, and it remained a powerful creative factor throughout her life. Indeed, in some of her earliest poetry we found concepts that Seth was to elaborate upon many years later. As Seth told us in 1979, Jane had been a poet all of the time, in its most profound meaning. She’d been letting If We Live Again grow for some time as she selected poems for it from the many she had written, and kept writing.» — Butts consigna en nota el libro de poesía de Roberts, su primer amor de infancia, y la anticipación de conceptos de Seth en sus poemas tempranos; la guarda anticosido se apaga por las fechas del tramo, releído entero en el crudo

«his appendix contains three of Jane Roberts’ (unfinished) essays on different kinds of “prediction” and precognition experience. Also included is one excerpt by Seth about Jane’s talents with a similar kind of experience.» — Butts presenta el apéndice A: tres ensayos inconclusos de Roberts sobre predicción y precognición más un pasaje de Seth; el troceo pierde la capitular *T* de *This appendix*

«She wrote these essays in 1980 and 1981. They were taken from her journals and edited as little as possible to preserve her original spirit. Jane usually wrote several drafts for her “own” books, but spoke her books by Seth in final draft form.» — Butts declara el criterio editorial del apéndice —editar lo menos posible para conservar el espíritu original— y una diferencia de método: Roberts escribía varios borradores de sus libros y dictaba los de Seth en versión final; la guarda anticosido se apaga por las fechas, releídas en el crudo

«Seth describes another sort of prediction experience of Jane’s in» — Butts presenta el pasaje de Seth que cierra el apéndice A; el tramo se corta en el cambio de plana y sigue en la 156 con *Volume II of Dreams, “Evolution” and Value Fulfillment*

«See the second session, with an edited version of Rob’s notes, deleting only highly personal material.» — Butts declara al pie del apéndice B el criterio de edición de la sesión que sigue: solo se quita lo muy personal

«APPENDIX B MAGICAL ORIENTATIONS AND THE MOTIONS OF PROBABILITIES. JANE’S MENTAL CONVERSATION SECOND ESSAY BY JANE ROBERTS: DREAMS FOR TWO AND SETH BEGINS A NEW PROJECT» — encabezado del apéndice B, que declara segundo ensayo de Jane Roberts lo que sigue

«Rob replied, “That test was just one of many we did. We didn’t discount anything. When you use coincidence as a handy explanation for everything, then you never get that far.”» — Butts, citado por Roberts, objeta al uso de la coincidencia como explicación cómoda de todo

«s her psychic abilities began to rapidly grow, following her initiation of the Seth material late in 1963, Jane couldn’t help but become more and more concerned about consciously enlarging her “scope of identity.”» — Butts abre el apéndice D con el crecimiento de las facultades de Roberts y su preocupación por ampliar conscientemente su alcance de identidad; el troceo pierde la capitular *A* de *As her*

«But naive creatures that we were, when we did begin to reach out we were quite unprepared for the skepticism we would meet from the learned “establishment.” In large part, that rejection was to continue.» — Butts consigna el escepticismo con que el medio académico los recibió y declara que el rechazo continuó

«Very understandable, then, that Jane, both for herself and for Seth, would write so eloquently about the disparity between her psychic abilities and “the currently scientifically-oriented blend of rationalism,” as Seth describes that quality earlier in this Session Six for The Magical Approach.» — Butts liga los escritos de Roberts sobre esa disparidad con la fórmula que Seth usa en la sesión seis de este mismo volumen

«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.» — Butts presenta a Laurel Lee Davies y el conflicto que ella declara entre el dominio racionalista y su propio potencial

«As she researched Jane’s published and unpublished notes, journals, and books for The Magical Approach, Laurel learned that my wife had originally intended to call this book The Magical Approach: A Jane/Seth Book, and wrote of it as being “a psychic-naturalistic journal.”» — Butts consigna el título que Roberts había pensado para este volumen y la fórmula con que lo describía, hallazgo de la investigación de Davies

«If Jane had planned to add to Seth’s original sessions, what might she have included? We found several of her relevant essays, and have presented them in these appendices and in her Introduction.» — Butts deja en pregunta lo que Roberts habría añadido al libro y declara el criterio de los apéndices: reunir los ensayos de ella que hallaron

«Inspired by Jane’s ideas, Laurel wrote on September 27, 1994:» — Butts fecha el texto de Laurel Davies que cierra el apéndice D; la guarda anticosido se apaga por la fecha, releída en el crudo

«Jane was a prolific writer in a variety of genres including poetry, short stories, children’s literature, fiction, and non-fiction. Her international bestselling non-fiction books include Seth Speaks, The Nature of Personal Reality, The Nature of the Psyche, and The Individual and the Nature of Mass Events.» — la nota biográfica del editor enumera los géneros de Roberts y sus libros de no ficción más vendidos, cuatro de ellos de la serie de Seth; el troceo parte *best-selling* en el fin de renglón y `span()` la devuelve fundida, *bestselling*

«Her enormously popular novels include The Education of Oversoul Seven, The Further Education of Oversoul Seven, and Oversoul Seven and the Museum of Time (now published as The Oversoul Seven Trilogy).» — la misma nota biográfica enumera las novelas de Roberts y el título con que hoy se publican reunidas

«Yale University Library maintains a collection of Jane’s writings, journals, poetry, and audio and video recordings that were donated after her death by her husband, Robert F. Butts.» — la nota biográfica consigna el fondo de escritos, diarios y grabaciones donado a la biblioteca de Yale por Butts tras la muerte de Roberts

«1Rob describes Framework 2 in Session One, Footnote 2. Seth discusses Frameworks 3 and 4 in The Individual and the Nature of Mass Events as creative environments to keep in mind also.» — la nota al pie del apéndice D remite a la sesión uno de este volumen y a otro libro de la serie para los marcos tercero y cuarto; el número de llamada queda pegado al nombre en el troceo y se conserva dentro de la cita

«CONTENTS Magic Show: A Poem by Jane Roberts Foreword by Robert F. Butts Introduction by Jane Roberts A Day in which Magic Comes to Life and Seth Describes What “The Magical Approach” to Life Is SESSION 1: AUGUST 6, 1980» — el índice del volumen declara su arquitectura: poema de Roberts, foreword de Butts, introducción de Roberts y las sesiones numeradas y fechadas; la guarda anticosido se apaga por la fecha de la primera sesión, releída en el crudo

«5. See Rob’s painting of Jane on the following page.» — la nota 5 a la introducción, plana que el troceo trae con este solo renglón, remite a la lámina siguiente y habla de Butts en tercera persona, al revés que las notas 1 y 3 del mismo bloque

«SESSION 16: October 6, 1980 Jane’s Positive Results. SESSION 17: OCTOBER 15, 1980 Jane’s Skill as Ancient as Man Is. The Species’ Multitudinous Abilities. Appendix A: Three of Jane’s Adventures in Prediction. Seth Comments. Jane’s Contents of the Mind. Appendix B: Magical Orientations and the Motions of Probabilities. Jane’s Mental Conversation. Appendix C: Jane and Rob Meet a Skeptical Psychologist and His Magic. Jane’s Poem: “Magic is public as the air. …” Appendix D: Jane’s Challenges with Her Scope of Identity vs. the Scientific Community.» — el índice cierra con las dos últimas sesiones y los cuatro apéndices, y adjudica cada uno: las aventuras de predicción de Roberts con comentario de Seth, sus orientaciones mágicas, el psicólogo escéptico y su pleito con la comunidad científica; la guarda anticosido se apaga por las fechas del índice, releídas en el crudo

Imaginación (phantasia) — Seth empareja el intelecto con la imaginación en las culturas nocturnas y sostiene que allí la intuición y la imaginación dirigían los usos del intelecto; en la sesión doce reprocha a los libros de texto que las cualidades de la imaginación y de la psique falten en ellos, y las llama amenaza para el statu quo.

Magia Natural — La obra identifica su enfoque mágico con lo natural y no con un arte aparte: Seth niega que existan métodos mágicos y los llama naturales, usados todo el tiempo; llama a la persona natural la persona mágica; y dice de los libros de conocimiento oculto o mágico que, llenos de distorsiones, son esfuerzos por descubrir el razonamiento mágico natural del hombre. Laurel Davies nombra el proceso magia natural al describir cómo el foco del deseo desaparece en los marcos y reaparece después.

Ocultismo (occultisme) — Seth consigna la existencia de muchos libros escritos sobre conocimiento oculto o mágico, los declara llenos de distorsiones y a la vez esfuerzos por descubrir el razonamiento mágico natural; Laurel Davies sitúa la metafísica como entretenimiento y ciencia de segundo orden, admitida para inspirar y no como verdad científica.