“Seth material” search engine (Jane Roberts)

I want Ruburt to read his last session daily (of August 2, 1972). He has not done so. He has made an attempt however to follow the suggestions, and this has given him some pointers about his subjective state of mind. Some improvements have indeed shown themselves. But the entire session is important, and each of the suggestions is geared for him.

I am afraid I am holding him to the line with that particular session If he wants my help, therefore, he can no longer avoid following my advice—and tell him that I know he has been, but he must do so more completely, with that session.

I am repeating myself for a good reason. The concentration must be on projects, and the more concentration is placed upon projects, the less will feed the symptoms. Have him tell you of the Rochester incidents.

Now the affair with Venice’s friend involved the false prophet idea again. It seemed to Ruburt, with his understanding, that if his information was coming from a paranormal source, and that source was good, then it must also prove itself to be infallible, or he was a false prophet. He also felt accused by you, believing that if he was using his abilities really fully, as you wanted him to, then there would have been a way provided so the woman would not die.

He felt that the burden rested upon him, which of course was hardly the case. He also felt that Venice needed the proof of that woman’s complete recovery, and felt that perhaps his own doubts or fears prevented delivery of the particular information that might make the woman decide to live.

At the same time he was feeling that he would not be a great writer either, you were telling him he was using only about a tenth of his abilities, and so in both areas he was not living up to his expectations or yours, to his way of seeing. There are other old tie-ins here, in that he was always considered very good or very bad, in that people always liked him instantly or disliked him instantly. You could not ignore him. But the contrasts were always stressed in early life, so that if you were not the one you were the other.

He was giving a good deal of time to our sessions. The woman’s session, to him, was to some degree a test of the material’s practical worth to someone in deep trouble. The woman’s death obviously meant that it did not pass. Again, he forgot the integrity of the personality. It must make its own choices, and may accept or refuse help given. The woman did not want the session, and had made a decision she did not intend to change. Venice’s will or anyone else’s could not stand against that.

In the picture of reality he has been accepting, for the reasons given in past sessions, he did not believe he could move capably. As matters progressed he did not believe it was possible for him to perform physically in a normal manner. You must act in accordance with your idea of reality. You cannot do something unreal.

Some important blockages would therefore come when he tried to tell himself he could do something, such as walk downstairs correctly, when at the same time he did not believe it possible. This was in my suggestions I emphasized the ends rather than the means. It is also why I want the session read so often, assuring him as it does that even in his present physical condition alone he can perform with much better flexibility—

Try to adjust your own attitude as you hope Ruburt will adjust his. Encourage him therefore to follow the session, and assure him that you believe he can follow it. Do not tell him ahead of time that he will not succeed. Do you follow me?

The emotional rapport, and your greater acceptance of him, expressed, helped in making this inroad possible. The dent in his armor, as you put it.

Now. Thoughts have their own energy. Your thoughts and everyone else’s. Your own greater awareness now, with Ruburt, to him represents the first real break in your armor. It will also serve to release feelings of joy that you have inhibited. These feelings are released not only in paintings that you are working on, say, now, but on paintings that were completed earlier. Your emotional reality permeates everything with which you come in contact—across the board, regardless of the time element.