“Seth material” search engine (Jane Roberts)

All of this material applies to your lives in general and to Ruburt’s physical condition, because you must be clear in your minds as to your own status in that regard, and much of this material will clear the air and dissolve lingering doubts; doubts that cause both of you — but Ruburt in particular — to hold on to the rational approach in a misguided effort to maintain what he thinks of as a balanced viewpoint and open mind. 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).

Ruburt, having interpreted your dream, looked wide-awake but relaxed through his studio into the kitchen. He thought of asking you to take a snapshot of the table with your camera, showing the partially-opened front door, so that later he could paint the scene. Your camera could not take in all of that, a fact he never thought of. Less than two minutes later, you came out into his studio with the camera that you had not used for months. Ruburt had also been thinking newly about the magical approach from ideas in your own notes² that he had just read. You came out as if in answer. As if to say, “Yes, the magical approach does indeed operate, and this is how.”

In terms of Ruburt’s condition, he often thinks that he is “faced with the evidence” that his condition is not improving, that it is growing worse, that all the evidence says such conditions do deteriorate rather than improve. He sometimes thinks that he is being realistic with such thoughts.

(“Do you want to give an example?” I asked Seth, but Jane went on speaking so smoothly that I wondered if he/she had heard the question.)

Ruburt has had some release in the past week of the jaw, neck, and shoulder areas. His eyes at times, on three or four occasions, read remarkably better. For some time his ankles and knees have had greater freedom of motion — in certain motions — but all such evidence is ignored, largely — or worse, it is viewed ironically, since he is not walking any better.

You picked up the information about the Brenners because you were in correspondence with that environment. You picked up inner evidence in that regard. You ignored countless other bits of information. Ruburt picked up your own camera activities because he was in correspondence with you. 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.

“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. It lay on its side with its back to us. 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. The house had been owned by the Maynards, who had no children. When my next-youngest brother and I were in grade school, our family had lived a few houses down Harrison from the Maynards. Mr. Maynard had been a carpenter. He and his wife and my parents had been friends. All of us kids in the neighborhood had been fascinated by the deer, which had been painted brown. We had climbed all over it. My father had photographed it.

“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.

“The statue of the deer represents that idealistic image of the past; finding it broken in Brenner’s yard connects its real environment where Rob lived as a small boy [on Harrison Street] to Wilbur Avenue where he lived later; meaning that he’d idealized both backgrounds. 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.

“Floyd Waterman represents someone who has a connection with living animals in the present [on his farm], and connects the times in the dream, since he also is in the construction business and does carpentry work —and the man who owned the deer was a carpenter. Rob’s also had other dreams involving Floyd and animals. …”

“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. Her comment reminded me of some material I’d written last month, and had mentioned to her a few times since — that over very long spans of time the earth and all of its creatures stay the same, relatively speaking, and that only human beings, with their ideas of ‘progress’ and ‘development’ change.