The Nature of Personal Reality: Specific, Practical Techniques for Solving Everyday Problems and Enriching the Life You Know

«'m proud to publish this book under my own name, though I don't Ifully understand the mechanics of its production or the nature of the personality I assume in delivering it.» — Jane Roberts abre su introducción reclamando la firma del libro y a la vez declarando que no entiende ni la mecánica de su producción ni la naturaleza de la personalidad que asume al entregarlo; el troceo pierde la capitular y la reimprime a media frase (*I don't Ifully*).

«I had no conscious work to do on the book at all. I simply went into trance twice a week, spoke in a "mediumistic" capacity for Seth, or as Seth, and dictated the words to my husband, Robert Butts, who wrote them down.» — Roberts describe el procedimiento: trance dos veces por semana, habla en capacidad *mediumística* para Seth o como Seth, y dicta a su marido Robert Butts, que escribe.

«I consider the book "mine" in that I don't believe it could have been written without me and my particular abilities. On the other hand, I realize that far more is involved. I had to read the manuscript to find out what was in it, for example; and to that extent the book doesn't seem mine. But what does that mean?» — Roberts sostiene a la vez la propiedad y la ajenidad del libro, y deja la pregunta abierta en vez de resolverla.

«My idea briefly is this: Our usual orientation is focused pretty exclusively in what we think of as the "real" world, but there are many realities. By shifting our consciousness, we can glimpse these alternate realities, and all of them are the appearance that Reality takes under certain conditions. I don't believe that we can necessarily describe one in terms of another.» — Roberts enuncia su tesis: hay muchas realidades, todas ellas apariencias que la Realidad toma bajo ciertas condiciones, y ninguna se describe en los términos de otra.

«For years I've been confused, trying to define Seth in the usual true-and-false world of facts. There he's accepted as an independent spirit —a spirit guide by those with spiritualistic beliefs — or as some displaced portion of my own personality by the scientific community.» — Roberts consigna las dos lecturas ajenas de Seth —espíritu independiente para quien tiene creencias espiritualistas, porción desplazada de su propia personalidad para la comunidad científica— y en la línea siguiente declara que no pudo aceptar ninguna de las dos sin diluir.

«Actually, I think that the selves we know in normal life are only the three-dimensional actualizations of other source-selves from which we receive our energy and life. Their reality can't be contained in the framework of our creature-hood, though it is being constantly translated through our present individuality.» — Roberts propone su alternativa: los yoes de la vida normal son actualizaciones tridimensionales de yoes-fuente de los que se recibe energía y vida.

«The "spirit guide" designation may be a handy symbolic representation of this idea, and I'm not saying that spirit guides do not exist. I am saying that the idea deserves greater examination, for the spirit guide may represent something far different than we think. The idea can also be limiting if it always places revelatory knowledge outside of us, and tries to make literal some extraordinary phenomena that may be beyond such interpretation.» — Roberts acota su objeción: no niega que existan guías espirituales, sino que advierte contra hacer literal lo que quizá no admite esa lectura.

«Seth's personality is quite observable in our sessions, for example, but the source of that personality isn't. For that matter, the origin of any personality is mysterious and not apparent in the objective world.» — Roberts separa la personalidad observable en las sesiones de su fuente, y generaliza la distinción a toda personalidad.

«Seth's books may be the product of another dimensional aspect of my own consciousness not focused in this reality, plus something else that is untranslatable in our terms, with Seth a great psychic creation more real than any "fact." His existence may simply lie in a different order of events than the one we're used to.» — Roberts ofrece su propia hipótesis en condicional: aspecto dimensional de su consciencia más algo intraducible, con Seth como creación psíquica más real que cualquier hecho.

«In this book Seth is saying that you can change your experience by altering your beliefs about yourself and physical existence.» — Roberts resume en una línea lo que el libro sostiene, y lo atribuye a Seth.

«While Seth was producing this book, my own life was immeasurably enriched in unforeseen ways. Frequent psychedelic-type experiences paralleled Seth's dictated material, and my own creative and psychic abilities developed into some entirely new areas.» — Roberts narra en primera persona lo que le ocurrió mientras Seth producía el libro: experiencias de tipo psicodélico en paralelo al dictado.

«Sumari refers to a "family" of consciousnesses who share certain overall characteristics. There is a language involved that isn't a language in usual terms. I think that it operates as a psychological and psychic framework that frees me from normal verbal reference, letting me express and communicate inner feelings and data that lie just beneath formalized word patterns.» — Roberts define el Sumari como familia de consciencias con un lenguaje que no es lenguaje en los términos usuales, sino marco psicológico que la libera de la referencia verbal.

«Seth defines the Speakers as teachers, both physical and nonphysical, who constantly interpret and communicate inner knowledge through the ages.» — Roberts consigna la definición que Seth da de los Speakers: maestros físicos y no físicos que interpretan y comunican el conocimiento interior a través de las edades.

«To me this all means that there is a rich vein of creativity and knowledge available to each according to his abilities, just beneath the surface of usual consciousness. I believe that it is a part of our human heritage, accessible to some extent to any person who explores the inner dimensions of the mind.» — Roberts generaliza su experiencia a herencia humana accesible a quien explore las dimensiones internas de la mente.

«I know that Seven and his teacher, Cyprus, exist in certain terms, yet their reality can't be explained either in the usual fact world. For example, the novel included many Sumari poems and portions of Speaker manuscripts; and when I sing Sumari I identify with Cyprus, who is supposed to be a fictional character.» — Roberts consigna, sin resolverla, la paradoja de identificarse al cantar Sumari con un personaje que su propia novela presenta como ficticio.

«Yet quite as strongly I'm often scandalized intellectually by the same events that intuitively intrigue me, or by the interpretations placed upon them. It does no good to pretend otherwise, and I think there's a good reason for this sometimes uneasy blend of intuition and intellect.» — Roberts declara su propio escándalo intelectual ante los mismos hechos que la intrigan, y no lo presenta como defecto.

«And perhaps my own refusal to accept pat answers leads me to search so intensely, and is responsible to some degree for my "bringing in" a Seth instead of a Mad Hatter.» — Roberts atribuye a su propio rechazo de las respuestas hechas el que lo que le llega sea un Seth y no un disparate.

«In the meantime all I can say is this: We live in a world of physical facts but these spring from a deeper realm of creativity, and in a real sense facts are fictions that spring alive in our experience. All facts. Seth, then, is as much a fact as I am or you are, and in a strange way he straddles both worlds.» — Roberts sostiene que los hechos son ficciones que cobran vida en la experiencia, y que en ese sentido Seth es tan hecho como ella o el lector.

«The Nature of Personal Reality not only enriched my creative life but challenged my ideas and beliefs. I agree wholeheartedly with the concepts Seth presents here, while realizing that they run counter to many accepted religious, social, and scientific dogmas.» — Roberts declara su acuerdo con los conceptos del libro y a la vez que corren contra dogmas religiosos, sociales y científicos aceptados.

«In one I write Sumari poetry and in another I translate what I've written. At a different level I sing Sumari songs, showing musical knowledge and accomplishment far beyond my normal talents or background.» — Roberts enumera los estados alterados del desarrollo Sumari, entre ellos uno en que canta con un conocimiento musical que declara superior a su talento y su formación.

«Seth's main idea is that we create our personal reality through our conscious beliefs about ourselves, others, and the world. Following this is the concept that the "point of power" is in the present, not in the past of this life or any other.» — Roberts resume la tesis central del libro y su corolario, que el punto de poder está en el presente y no en el pasado de esta vida ni de ninguna otra.

«"We are gods couched in creaturehood," Seth says, given the ability to form our experience as our thoughts and feelings become actualized.» — Roberts cita la fórmula de Seth sobre los dioses arropados en criatura, y la liga a la capacidad de dar forma a la experiencia.

«Seth first mentioned The Nature of Personal Reality in Session 608, April 5,1972, only shortly after Rob and I had finished reading proofs for his previous book, Seth Speaks: The Eternal Validity of the Soul. He actually began dictation on April 10,1972, but our personal reality was suddenly disturbed when we were caught in the flood caused by Tropical Storm Agnes. As a result, as you'll see in Rob's notes, further work on the book was delayed for some time.» — Roberts data el arranque del libro y consigna que la inundación de la tormenta tropical Agnes interrumpió el trabajo.

«Seth often uses episodes from our lives as specific examples of larger issues, and our experiences with the flood served as a starting point for his discussion of personal beliefs and disasters. In several other instances he also used our life situation as his source material — an intriguing turnabout.» — Roberts señala que Seth usa episodios de la vida de la pareja como material de origen, y lo llama un giro intrigante.

«Since the early days of our sessions, which began in late 1963, Seth has consistently called me Ruburt, and Rob, Joseph, saying that these names refer to the greater selves from which our present identities spring.» — Roberts data el inicio de las sesiones a finales de 1963 y consigna los nombres que Seth le da a ella y a Butts, referidos según él a los yoes mayores.

«As usual, Rob methodically records each session in his own version of shorthand and then types it. This is much easier and faster than taping each session, replaying it, and then typing. Periodically Rob notes the passage of time, to show how long it takes Seth to get through a particular passage. Seth himself dictates the words to be underlined or put in quotes or parentheses. Often he indicates the placement of colons and other punctuation as well.» — Roberts describe el registro del dictado en taquigrafía propia de Butts y consigna que el propio Seth dicta los subrayados, las comillas, los paréntesis y la puntuación.

«Jane Roberts Elmira, New York November 6, 1973» — la introducción va firmada y fechada en Elmira, Nueva York.

«The conscious mind directs unconscious activity and has at its command all of the powers of the inner self. These are activated according to our ideas about reality.» — Roberts sostiene que la mente consciente dirige la actividad inconsciente y dispone de los poderes del yo interior, activados según las ideas propias sobre la realidad.

«The message is plain: We are not at the mercy of the subconscious,» — Roberts formula la consecuencia práctica de la tesis; el folio impreso parte la frase a media plana y la continuación va en la línea siguiente, *or helpless before forces that we cannot understand*.

«PREFACE BY SETH THE MANUFACTURE OF PERSONAL REALITY SESSION 609, APRIL 10,1972, 9:29 P.M. MONDAY» — el volumen rotula el prefacio como obra de Seth y lo fecha por sesión, hora y día, que es el formato de encabezado de todo el libro.

«If there are strongly negative characteristics present in your most intimate thoughts, if these actually form bars between you and a more full life, still you often look through the bars, not seeing them. Until they are recognized they are impediments. Even obstacles have a reason for being. If they are your own, then it is up to you to recognize them» — Seth sostiene que las características negativas íntimas forman barrotes que se miran sin verlos, y que aun el obstáculo tiene razón de ser.

«Your conscious thoughts can be great clues in uncovering such obstructions. You are not nearly as familiar with your own thoughts as you may imagine.» — Seth propone los pensamientos conscientes como pista de las obstrucciones, y niega la familiaridad que el lector supone tener con ellos.

«An examination of your conscious thoughts will tell you much about the state of your inner mind, your intentions and expectations, and will often lead you to a direct confrontation with challenges and problems.» — Seth enuncia el método del libro: examinar el pensamiento consciente para leer el estado de la mente interior.

«Your thoughts, studied, will let you see where you are going. They point clearly to the nature of physical events. What exists physically exists first in thought and feeling. There is no other rule.» — Seth formula la regla del volumen sin excepciones: lo que existe físicamente existe primero en pensamiento y sentimiento.

«You have the conscious mind for a good reason. You are not at the mercy of unconscious drives unless you consciously acquiesce to them. Your present feelings and expectations can always be used to check your progress.» — Seth niega que se esté a merced de los impulsos inconscientes salvo por asentimiento consciente, y ofrece los sentimientos y expectativas presentes como medida del avance.

«Each thought has a result, in your terms. The same kind of thought, habitually repeated, will seem to have a more or less permanent effect. If you like the effect then you seldom examine the thought. If you find yourself assailed by physical difficulties, however, you begin to wonder what is wrong.» — Seth sostiene que el pensamiento repetido tiene efecto casi permanente, y que solo se examina el pensamiento cuando el efecto desagrada.

«Sometimes you blame others, your own background, or a previous life — if you accept reincarnation. You may hold God or the devil responsible, or you may simply say, "That is life," and accept the negative experience as a necessary portion of your lot.» — Seth enumera las adjudicaciones habituales de la culpa —otros, el propio origen, una vida anterior, Dios, el diablo, la vida misma— y las presenta como aceptación de lo negativo.

«If this is the case, then regardless of what you have told yourself thus far, you still do not believe that you are the creator of your own experience. As soon as you recognize this fact you can begin at once to alter those conditions that cause you dismay or dissatisfaction.» — Seth adjudica la incapacidad de revertir un efecto a que todavía no se cree ser el creador de la propia experiencia.

«No one forces you to think in any particular manner. In the past you may have learned to consider things pessimistically. You may believe that pessimism is more realistic than optimism. You may even suppose, and many do, that sorrow is ennobling, a sign of deep spiritualism, a mark of apartness, a necessary mental garb of saints and poets. Nothing could be further from the truth.» — Seth objeta la idea de que la pena ennoblezca y sea signo de espiritualidad profunda, y en la misma frase la nombra como creencia aprendida, no como realismo.

«The very consciousnesses within the smallest molecules cry out against any ideas of limitation. They yearn toward new forms and experiences. Even atoms, then, constantly seek to join in new organizations of structure and meaning.» — Seth extiende ese impulso a las consciencias de las moléculas y a los átomos, que buscan nuevas organizaciones de estructura y sentido.

«Seth was one of my first metaphysical teachers. He remains a constant source of knowledge and inspiration in my life.» — blurb editorial de Marianne Williamson, firmado *author of A Return to Love*; es voz de solapa, no del libro.

«The Seth books present an alternate map of reality with a new diagram of the psyche . . . useful to all explorers of consciousness.» — blurb de Deepak Chopra; la elisión de puntos suspensivos es del impreso.

«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.» — blurb de Louise Hay, que data en los primeros setenta la canalización del material.

«The Nature of Personal Reality had an important influence on my life and work. Seth's teachings provided one of the initial inspirations for writing Creative Visualization.» — blurb de Shakti Gawain, que adjudica a las enseñanzas de Seth el impulso inicial de su propio libro.

«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.» — blurb de Sanaya Roman.

«I count Jane Roberts' brilliant book, The Nature of Personal Reality, as a spiritual classic and one of the influential books in my life. As I closed the last page, I looked up at a new world — boundless and filled with possibility.» — blurb de Dan Millman, que atribuye el libro a Roberts y no a Seth.

«Quite simply one of the best books I've ever read!» — blurb de Richard Bach, firmado *author of Jonathan Livingston Seagull*.

«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.» — blurb de Gerald G. Jampolsky.

«* New editions co-published by Amber-Allen / New World Library, 1994 and 1995. ** New editions published by Amber-Allen Publishing, 1995, 1996, and 1997.» — la doble nota del catálogo separa los títulos reeditados por las dos casas de los reeditados solo por Amber-Allen; este volumen lleva un asterisco.

«Cover Art: Robert F. Butts Cover Design: Beth Hansen Typography: Stephanie Eichleay Printed by: Malloy Lithographing, Inc.» — el pie de imprenta adjudica a Butts también el arte de cubierta.

«Seth, (Spirit), 1929-1984 The nature of personal reality : specific, practical techniques for solving everyday problems and enriching the life you know» — la ficha de la Library of Congress que el volumen reproduce encabeza la entrada por Seth como espíritu, con las fechas de Roberts, y da el subtítulo completo del libro.

«Through channeler Jane Roberts, Seth reveals a power we all possess"-Cover.» — la misma ficha cita la cubierta, que presenta a Roberts como canalizadora y a Seth como quien revela.

«1. Spirit writings. 2. Reality-Miscellanea. 3. Self-perception -Miscellanea-I. Roberts, Jane, 1929-1984 II. Butts, Robert F. III. Title. IV. Series: Seth (Spirit), 1929-1984. Seth book BF1301.S38 1994» — la clasificación temática del catálogo inscribe el volumen en *spirit writings* y lo adscribe a la serie encabezada por Seth.

«Originally published: Englewood Cliffs, N.J. : Prentice-Hall, 1974. (A Seth book) ISBN» — la ficha declara la primera edición, de Prentice-Hall en 1974, y la serie a que pertenece.

«This book is dedicated to Robert Butts "Joseph" Without whose dedication and work it could not appear in its present form» — la dedicatoria nombra a Butts por su nombre de entidad y le adjudica la posibilidad material del libro.

«BOOKS BY JANE ROBERTS The Bundu. A short novel in The Magazine of Fantasy and Science Fiction (March, 1958) The Resellers (1963) How to Develop Your ESP Power (1966) (Also published as The Coming of Seth) The Seth Material (1970)» — el catálogo de obras que el editor imprime al frente —material bibliográfico, releído entero, con los años entre paréntesis que dispara la guarda anticosido— abre la lista por la novela corta de 1958 y el manual de ESP, y consigna que este último se publicó también con otro título.

«The Nature of Personal Reality. A Seth Book (1974)*» — el mismo catálogo bibliográfico data este volumen en 1974 y lo marca con un asterisco que la nota al pie explica (guarda anticosido apagada por ser bibliografía).

«*For those who have forgotten: Chromosomes are microscopic bodies into which the protoplasmic substance of a cell nucleus separates during cell division. They carry the genes, the "blueprints" mat determine hereditary characteristics. Occasionally a footnote like this will be included in order to point up Seth's own material. Often he'll "take off' from such standard definitions in his own way.» — nota al pie de Butts, marcada con asterisco; él mismo declara aquí la función de sus notas, que es apuntalar el material de Seth y señalar de dónde arranca.

«*A note added later: The Seth Material and Seth Speaks contain some references to the reincarnational connections that Seth postulates involving himself, Jane, and me. Such personal data is outside the scope of this book; but in Chapter Nineteen, Seth does go into his ideas on reincarnation, time, etc., in a more objective way.» — nota añadida por Butts: remite a los dos libros anteriores de Roberts para las conexiones reencarnatorias que Seth postula entre él, ella y Butts, y declara ese material fuera del alcance de este volumen.

«In answer to many queries, I'll explain here why I prefer to write these sessions down instead of using a recorder. Shortly after Seth began to speak through Jane in late 1963 we tried recording the material, but I soon learned that I can type a session from my notes a lot faster than I can from a tape.» — Butts explica por qué transcribe a mano en vez de grabar, y data en 1963 los primeros intentos con grabadora.

«When Jane speaks to me as Seth her delivery is slower than it is during a class session, for instance. This, along with Seth's own instructions, makes punctuation easy. The copy is concise; after an occasional correction it's ready for publication.» — Butts consigna que el dictado en sesión es más lento que en clase y que el propio Seth da las instrucciones de puntuación.

«The flood was the worst on record in this section of the country. It grew out of Tropical Storm Agnes — which, somewhat ironically, had lost its hurricane status by the time it began its erratic course up the East Coast from Florida. Agnes was preceded by days of heavy rain that extended on a broad front for hundreds of miles. The storm unexpectedly veered inland after picking up new strength off the Virginia Capes, and when it stalled over New York and Pennsylvania flooding became inevitable.» — Butts describe la crecida de 1972 y su origen en la tormenta tropical Agnes, que había perdido ya rango de huracán.

«Jane and I decided to remain behind when, finally, last minute requests to evacuate our section of Elmira were made before dawn. Our decision, of course, contained deeply symbolic meanings for us that we still only partially understand.» — Butts consigna la decisión de no evacuar y le atribuye un sentido simbólico que declara comprender solo en parte.

«I suggested that Jane "tune in" psychically to see what she could learn about our situation. "It's hard to be calm when you 're really scared, " she said, but began to compose herself. Gradually she attained a very relaxed state. She told me that the water would reach its highest level late that afternoon; incredibly, it would become almost ten feet deep in the yard and reach halfway up the first-floor windows of the house next to ours. We would be safe as long as we stayed where we were.» — Butts narra la consulta psíquica durante la crecida y consigna las cifras que Roberts dio, incluida la altura del agua.

«The flood crested within fifteen minutes of the time Jane had given, and within three inches of her projected high-water mark.» — Butts mide el acierto de la predicción en minutos y en pulgadas; es el modo en que el volumen consigna sus propias pruebas.

«It had been destroyed; several of its spans had been washed out.» — Butts consigna al día siguiente la caída del puente de Walnut Street, que Roberts había anticipado en trance.

«And so, like Seth Speaks, this is really two books in one: It's not only about the nature of personal reality, but the circumstances surrounding Jane's production of the material and the many ideas she has concerning it.» — Butts declara la doble naturaleza del volumen: el libro sobre la realidad personal y la crónica de su producción.

«*In Hinduism and Buddhism, karma is thought of as the total moral sum of an individual's acts in any one life — thus determining the person's fate or destiny in the next. Seth sees reincarnational lives as all existing at once, so there is constant give-and-take among them. A "future" life, then, can affect a "past" one, so karma as it is usually considered does not apply.» — nota al pie de Butts: glosa el karma en hinduismo y budismo y consigna que la lectura de Seth, con las vidas simultáneas, no admite el término en su sentido usual.

«*Jane learned on her own some time ago that a very moderate amount of alcohol goes well with the sessions. So does tobacco. Subsequent reading informed us that both substances depress the central nervous system. We think Jane combines the resulting spontaneity with her natural psychic abilities in these sessions. She doesn't begin tasting any beverage, however, until the session is under way.» — nota al pie de Butts sobre el alcohol y el tabaco en las sesiones, con su propia hipótesis sobre la espontaneidad resultante.

«The possibility had been indicated often: witness Seth's ability to discuss a variety of subjects with the members of a group, even if they were strangers to Jane.» — Butts consigna como precedente la capacidad de Seth de tratar temas distintos con los miembros de un grupo desconocidos para Roberts.

«As we sat waiting for the session to begin at 9:20, Jane told me she'd just "picked up " the heading for Chapter Three of Seth 's book: "Telepathy and Belief Gathering" — or "Idea Gathering"; she wasn't sure which. We'll see how close she came.» — Butts registra la anticipación del título del capítulo por parte de Roberts y deja abierta la comprobación, que es su modo de consignar estos episodios.

«She lit a cigarette and looked off to one side and down, her attention already turned inward as she prepared to psychically join a very familiar "energy personality essence, " as Seth calls himself.» — Butts nombra aquí la fórmula con que Seth se designa a sí mismo, *energy personality essence*.

«*In larger terms Seth's ideas as to what the "whole self" is take in a great deal — with reincarnation and probable personalities, for instance, being only two of the concepts involved. The safest thing to say would be that each session, even, adds to our knowledge of what a constantly expanding whole self can be. See both The Seth Material and Seth Speaks.» — nota al pie de Butts sobre el alcance de la noción de yo entero, con reencarnación y personalidades probables, y remisión a los dos libros anteriores.

«She had doubts, though, about her ability to come through with the very technical data for the young scientist who had called her before the last session. She felt somewhat "remote" from his questions while she was so involved in producing this book.» — Butts consigna las dudas de Roberts sobre el material técnico pedido por un científico, y la distancia que sentía mientras producía el libro.

«Dick Bach felt that he didn’t really write Seagull himself. By now the story of that book's conception is well known: Late one night in 1959, Dick was walking beside a canal near a West Coast beach when he heard a voice say, "Jonathan Livingston Seagull. " No one eke was around. He was astonished. He was even more so when, on his return home, the voice initiated images that gave him the bulk of the book in three-dimensional form. Then it stopped. On his own Dick tried unsuccessfully to finish the manuscript. Nothing happened until one day eight years later, when he suddenly wakened to hear the voice again — and with it came the rest of the book.» — Butts narra el origen que Richard Bach da a su propio libro, una voz oída en 1959 y reanudada ocho años después.

«Who wrote it? Dick didn't claim authorship. He came across The Seth Material, saw similarities in Jane's and his experiences, and came here to see if she or Seth could explain the phenomenon. There are points of correlation, of course, only Jane is presented not with just a voice but with an entire personality, Seth, who then writes books while she is in an altered state of consciousness. So she and Dick were highly interested in what Seth would say.» — Butts consigna la correlación y la diferencia entre el caso de Bach y el de Roberts: a ella no se le presenta una voz sino una personalidad entera.

«To Jane, these states are all aspects of the same kind of highly accelerated creativity that finally "goes beyond itself into levels — or aspects — of reality that we don't understand clearly yet. The whole question is also relevant in cases involving automatic writing, painting, singing, musical composition, etc.» — Butts consigna la lectura que Roberts hace de todos esos estados, y la extiende a la escritura, la pintura y la composición automáticas.

«*In this book there are many examples of various kinds of altered states of consciousness on Jane's part. In addition to Seth's volume, these sometimes resulted in very' creative products of her "own": Some of the psychic experiences connected with her book of poetry, Dialogues of the Soul and Mortal Self in Time, which she began in November, 1972, are described in the 639th session in Chapter Ten. And in the 653rd session in Chapter Thirteen, we go into those involved with the writing of her long poem, Dialogues of the Speakers, on April 2, 1973.» — nota al pie de Butts que remite a las sesiones donde se describen los estados alterados ligados a la poesía de Roberts.

«Now here are some near-verbatim quotes from the information Seth gave Dick» — Butts declara casi literales, y no literales, las citas de Seth que siguen; la nota al pie parte la frase, que cierra en la plana con *Bach and company on the evening of September 27, 1972*.

«Briefly for those who have asked me: The pendulum is a very old method. I use it, with excellent results, to obtain ideomotor— "subconscious" — responses about knowledge that lies just outside my usual consciousness. I hold a small heavy object suspended by a thread so that it's free to move. By mentally asking questions, I obtain "yes" or "no" answers according to whether the pendulum swings back and forth, or from side to side.» — Butts describe su propio uso del péndulo y lo declara método de respuestas ideomotoras; el corchete es suyo.