“Seth material” search engine (Jane Roberts)

Some of the buried fears have been stationary, residing or taking up residence in their physical materialization in certain areas of the body. Each one definitely has an effect physically upon any of the thousands of muscles, and usually the same fear affects the same area of the body. You end up with blockages therefore that may show some variation in intensity with surface moods, therapy or momentary good news, but then reassert themselves in the same areas.

They are of course blockages of energy. As different fears are expressed the blockages disappear. One fear, expressed, will bring with it through association many others, relieving also various areas of the body. The fears must be consciously recognized, emotionally felt, and then discussed or cleared away.

When one fear seems to be handled in such a manner, after a week or so it should be looked at again. Less emotion should be felt at each time. The pattern of worrying over many trivial affairs, of constant brooding, has been a camouflage to hide the basic fears. Now as the fears are faced these other habits will dissolve.

Your discussion this evening, and events since our session have been to the point, and beneficial. Particularly your comments concerning Ruburt’s behavior with the first husband. When the two of you have had any personal difficulties then Ruburt became twice as angry and fearful about your parents. At one time he equated you with Walt in his dreams. The dreams were meant to show him he was repeating a pattern of behavior.

When Rebellers was published your attitude was a poor one, but it was drastically received by our friend, who could not understand it and felt then and there that you no longer loved him as you had. Because he felt you loved him for his talent alone, then his books became also gifts to you beside their meaning for himself. But not only gifts as much as reassurances, you see. “I still have my talent. I am using it, so you can love me.”

All of this has been unconscious on his part. He has not been that aware of it. He felt then that he had no one to turn to or to help him. He was also afraid that his fears about physical reality now and in the future were so drastic that you would also be terrified, and that together you could not solve the problems. He was terrified of doing anything that might make you ill, and determined to bear any worries or problems alone.

He keeps minute by minute count of you when you are working—all unaware, yet he makes it a point not to ask you about your painting a good deal of the time. To show concern you see to his way of thinking would be to admit, even briefly, he has any fears at all regarding your work. The charge had so built up that if you had one bad afternoon painting, he saw this as a sign of complete failure on your part; and he did the same with his own work.

The physical effects in Saratoga at your last trip (summer 1970) were caused by guilt, Ruburt feeling that he was so close and would not visit his mother. Now take your break. One point: These attitudes and feelings must not remain simply a part of a session. They must be discussed by both of you with emotional interplay allowed for, emotional release.