“Seth material” search engine (Jane Roberts)

You did lose communication for some time. He did not know if you were really satisfied with your work or not. If you were, then he did not see why you did not take the chance. If you were not then all the more reason why you should take it, to give yourself the additional time. He felt deeply disloyal to think that you should be doing something you had obviously decided not to do as yet.

(This is the material Jane told me about, tearfully, at supper time, etc.)

The psychic work took up more of your time. The obvious to him was to quit your job (Jane, as Seth, almost laughed), paint, and have the time you needed. You seemed willing to make no adjustments of any kind. At the same time he felt you would begin to resent the time spent from your work, but you would cling to the job like a lifeline until it was too late.

He appreciated the time you gave him, but he did not want the sacrifice of yourself. It was to his way of thinking a perverted gift, for which he could give no adequate acknowledgment—a gift that denied what you wanted was no gift but an unendurable burden.

He felt you resented his being home. You used to say “You don’t know what it is to punch a time clock,” he thought resentfully. He took it as an accusation. He felt deeply that you had no one but yourself to blame if you did not quit. The money was there to be used, and you were blaming him when he did not deserve it to that degree.

(10:14. At break Jane experienced a real outburst, during which she said most forcefully that she wouldn’t get a job, had no intention of doing so, etc. I thought this was material she had harbored for a long time. I hadn’t asked her to get a job recently. Anything I said concerning Jane and jobs referred to past experiences, which hadn’t worked out, etc.

He felt that it was inevitable, or should be, for you at one time to devote yourself to your painting, that you knew this, that is was always ahead of you, and that it was being unnecessarily put off.

He was afraid that you would grow more deeply to resent this, and that you would not rouse yourself in time to do what you must do. In the beginning he was afraid of taking the chance, but not taking the chance became finally unbearable. He was afraid you would not do it. He did not want to be the one to apply the stimulus. He wanted that to come from you.

Automatically the living conditions will be far more to his liking. You will automatically have a freedom with time and space. He is banking on the stimuli to bring about greater book sales, greater productivity, further books and sales to help finance the establishment while you encounter your own abilities.

There are other endeavors that can be tried, and any of them will pay off financially, and help you and others and free your minds; even though they may take some time from say, your work, they would be united concerns, reflected in your work, not energy directed completely outside of your concerns. I am speaking now of some of the ideas Ruburt listed.

Your society is not going to offer it freely. On the other hand, only those with the determination to seize the chance will take benefit from it in the conditions at the present time.

(Seth now made some comments, here not recorded, about my using our recorder for more information, but as usual I was hesitant because of the time involved later in transcription. This was the end of the session. Jane’s trance had been deep all evening, the pace fast.

After a pause Jane said, “There’s more. That’s all you got, but there’s more to it.” This was another surprise. At 11:30 she went back into the Sumari trance and delivered the balance of the poem. It isn’t included here since she has made her own copies for her Sumari notebook, of this one and the three poems that subsequently followed. My original notes contain a list of the times each poem took – only a few minutes – plus a few comments. The session ended at 12:15 AM.

(Jane was really bleary and sleepy by the time she was finished. I thought her performance remarkable, and the poems of high quality. “I just sit here and they come out,” she said, but obviously there is much here for us to learn.)