“Seth material” search engine (Jane Roberts)

(At 8:45 PM I used the pendulum to clear up an ache in a tooth. I learned the trouble was based on my fear that Jane wouldn’t accept, or believe in, the statement. My action led Jane to tell me about her teeth and sinus bothering her before and during our trip down here, for about three weeks. I told her I was floored to learn that she’d let something like that go for so long before trying to learn anything about it’s causes, etc. This of course was a tie-in with the repressions on her part that I’d written about in the statement today.

His mother’s scorn told him this was a part of a bad blood heritage, an inevitable part of his condition. Ruburt felt that his mother only liked him because of his writing. In the early novels his repressed feelings could be expressed. They were creative, but also safety valves. I made art out of them.

I need freedom and agility of thought, where he tends to repress me unless I conform to definite ideas of good and wrong. I found the conscientious self then an uneasy partner, and a growing hindrance.

The repression in one way I used in the novels, but when the habit becomes too ingrained I find it difficult to retain, to transform into art. Some of my material comes from Ruburt’s repressions, but when the habit allows for too strong a charge, constantly rebuilt, this is a hindrance.

I often help, and have, by recharging him, as I did in all the creative developments to date. But then he must think “Is this good or is this bad? Am I being too free?” I can handle the early repressions. The habit of repression dropped its hold to a great degree when he met you. The situation of your illness brought it back, and from there it gained hold again.

You know that panic is behind such repression, and a misguided idea of self protection. Inhibiting thoughts inevitably inhibit body motion. For his own benefit and mine, two or three times a week he should sit down and write out his feelings, as he began to do last summer. All kinds of repressions will come to the surface.

When you became ill then the repressive state reasserted itself. You follow me there: because of the mother situation it was not safe to speak of illness at all. He could not bear to be responsible for your condition.

From that point on he kept any negative thoughts or criticisms to himself, and during that time he feared that you almost disliked him completely. The habits of repression took great root. Rather than hurt you he would put himself into harness. Once begun, these feelings attracted to them others from the past, so that I was appalled and finally had great difficulty.

For all of these reasons the habits of repression continued, for any critical comment could bring up the whole barrage. The slightest remark that you made that he did not agree with was the symbol for these inner deeper feelings. He dared not criticize you for anything, or even disagree in normal conversation, the charge was so great.

You did not communicate yourself too well. Because of his abilities he picked up your feelings all too clearly, but because of his fears he picked up your negative feelings. He was afraid you were not an artist after all. He knew you were not a Sunday painter, but he felt you were greatly repressed in your work, and that any breakthrough could only come when you focused upon it, your work, regardless of other consequences.

Though you have left the job, the habit of repression is still strong. I know this is a burden on you, but it is important that both of you understand the repression. In some ways he has made poor judgments—for example in dealing with editors. Part of this was caused by this need for approval.

For many years, at least seven, he has been deeply concerned about your work, a repressive element in it, and the psychic freedom he felt you needed to release it. Because of the age difference he became very worried. Your best energies were going into your work, he felt, at the job, not into painting, and the very focus divided you. He felt it disloyal to recognize the repressive element in your work, and tried to pretend he did not see it.

(9:37.) One of the best influences on him are the few pages in a book by a psychologist about the creative personality. He knows what they are. (The Essence Of Being, by Abraham Maslow.) They release him to a strong degree, but in the past there has been a bearing down afterward, a renewal of repressions, if he became frightened if the spontaneity has worked.

The passages allow him to give me freedom, and also release the physical mechanism to some notable degree. If he does not repress any fears following the release, then improvements will continue. He did not realize this, so the information above will be of great help.

I am an ally because I can help express those repressions. I have the energy to do it creatively if I am not hampered. Read this together with the other statement. You are on the right track. Once repression is really faced as a problem it can be overcome, because all portions of Ruburt’s personality now realize the danger involved, and know that the pattern must be broken.

The very fact that all of this now comes into the open is most advantageous; though it has been mentioned before, the peculiar tie-ups have not been described this well or this adequately. Please read this carefully. You need not fear that you must watch every word, and so forth, as long as communication both ways is maintained. Your own habit of repression in the past helped reinforce Ruburt’s, so greater communication helps you both.

(Jane’s suggestion that she can consciously know whatever she needs to know is a good one. She has been using it before sleep for two nights. Last night after the suggestion, she received a good insight, and was able to examine it instead of repressing it. And again this morning.

(February 24, 1972. Thoughts—after the 3 sessions here in Marathon, of February 16, 19, and 21, it finally dawns on me—I finally put the material in the sessions together—and realize that a more basic quality behind Jane’s symptoms is repression. The task then is to learn what causes this. A good question would be: “What am I so afraid of?” This is much simplified, of course.

(I got the insight at noon that the conscientious self, or “it”, was so tyrannical because it is being constantly fed charged material, fears, that are steadily repressed. These come from her childhood, her religious upbringing, her own strong moralistic and literal nature, plus probably reincarnational data about which we know very little. Plus overidealizations about me and my work, etc.

(The two instances cited here actually represent good improvements on Jane’s part, in that she allowed me to learn what was involved. I think the continual repressions over the years have let the conscientious self grow out of proportion. I think also that the conscientious-self or “it” made a creative advance on February 19 when it stated its tactics were bringing about the very thing it did not want—Jane’s inability to work in freedom. My thought at the moment is that more expression on Jane’s part will free the conscientious-self to perform its own balanced role, and to actually retreat in doing so.

(I told Jane I think that if it is not fed a steady diet of repressed material—which it may not even want—the conscientious or creative self is perfectly capable of doing its job without excesses. There will be no fears of unrestrained sexuality, or not working creatively, of overidealization of me, or my work, etc. All of these ideas, I feel, evidently grow out of repressed, unexpressed fears that have built up over the years, and have been taken over, or dumped upon, the conscientious and/or creative self.