“Seth material” search engine (Jane Roberts)

He also felt that you reacted to his improvement by feeling threatened yourself, that you disapproved of it. Two particular beliefs here: The party at Bega’s, and your “tirade” —his interpretation, about his dealing with Prentice on one particular occasion. For reference it is in his notebook.

These two events made him pull in his horns; or rather, his interpretation of them in the light of your relationship. He always felt now, and work this out yourselves, that you focused upon the most negative aspects of his condition, and ignored any improvement as minute. But more, that you almost disapproved of them, that you expected him to be in poor shape. So he would hide any he felt from you often for fear you would crush them, or make him lose whatever small confidence in himself physically he’d gained.

He then began to mistrust any improvements himself, and to think “So what? It has happened before, and to no overall advantage.”

When he did not then get even those small improvements that generated even small hope, he became truly frightened.

Finally it came to that, where earlier he believed he could reverse the process. Now he is at the point where he is beginning to believe he can indeed reverse the process. The point of power is in the present. You must believe it, regardless of what has happened in the past, in your terms. This applies most personally. Improvements can begin and continue in this present. The ideas in Ruburt’s paper tonight are important.

In the light of that picture improvement was not reasonable, not to be expected. What was projected finally however was your complete statement that you no longer agreed with the methods, that you would no longer go along with them, and this was to the good.

As probabilities operate in each moment of your life there are minute improvements in Ruburt’s condition, and minute backslidings; pulsations, really, of reactions. Now if you concentrate upon the improvements with this understanding that facts grow from that creativity, then you begin to structure your attention in the line of those improvements, minute as they appear. And they grow, sometimes slowly, or by leaps and bounds, and the backslidings begin to disappear, and become less and less apparent or meaningful.

If instead you structure your attention upon each backsliding, minute as it might appear, then the improvements seem to become meaningless and less apparent, until they seem to disappear. You have your choice. I believe you have the information to put it to use—and if it does you any good to know it, and it should, I am highly optimistic.