“Seth material” search engine (Jane Roberts)

(Just before the session Jane told me that Seth could give us what she called The Christ Book at any time. In last Monday’s deleted session Seth had included a section on Jerusalem, which I’ve included in the records as the 678th session for September 3, 1973. Seth told us we could have more on Jerusalem and related events whenever we want it, or have the time, so presumably the Christ Book idea stems from that. A good title.)

A good deal of what I will say explains the morning episodes. Since I am dealing with this particular area I will not include other issues. For the book he was exploring creativity and other ideas of work and play. Long ago you first used the word “work” in reference to your painting, and to Ruburt’s writing. In the material given and given, the reasons are there as to why he latched onto some of your ideas—so I will not go into those here.

All of his ideas of responsibility became attached to the word “work.” In the past as given, he wanted to prove to you that he was working at home while you worked outside. Later when money became involved, then for a while fun writing had to come after working hours.

In the meantime you had changed many of those ideas, and Ruburt felt betrayed and furious at you for leaving him to carry on these principles in which you had once so heartily agreed, in his eyes, you see.

When the work idea is carried to extremes than he is not even free in his so-called work time, because then he inhibits what he thinks of as nonwork ideas, and therefore much creativity. He has usually buried spontaneous desires to do other things, particularly in your apartment, so there were frequent dilemmas, finding of course physical expression in symptoms. There has been some improvement physically however since we began the latest group of sessions; but spasmodic.

He chose writing initially because of the spontaneity it offered, but his ideas of work directly conflicted with this. A writer could take a stroll anytime. Someone who worked had to keep at the job. A writer could make love in the afternoon. Someone who worked had to inhibit such impulses.

You followed the ethic to a larger degree than you realized, yet often in reverse fashion. You picked up the idea of work but frowned upon certain aspects of creativity as not safe or profitable—as your father’s creative, inventive aspects did not produce financially in your family, and in terms of work did not pay off in social or family terms.

Now: your own ideas of work also to some degree impede your progress. The faces that you alone can paint can leap into your mind no matter what you are doing, and they are not dependent upon good lighting, though your final rendition of them might be.

Your creature feelings toward night, dawn and dusk, have much more to do with inspiration, though a painting, once inspired, may then take so many hours to execute. But your idea of specific work time automatically divides that time according to your beliefs from other times when you may be shopping, or doing something else far divorced from work.

The yard at 2 or 3 in the morning might amaze you, and ideas of paintings leap up. Your whole concept of work time brings about limitations also. You personally do not think of the dream state as work time, and therefore inhibit very definite inspirations. I want you then to also examine your ideas about work and creative activity.

I am pulling an Oversoul Seven on you, but I am gong to give you an idea for a painting, in the next three days, waking or sleeping—I will not tell you which—but I want you to be playfully alert to it. When you were doing commercial art you were utilizing some important aspects of creativity, though you were not matured enough to use them except in limited form.