“Seth material” search engine (Jane Roberts)

Working on his book today (Aspects), Ruburt made some important connections. I will put these into context, and add other information that he did not get on his own.

Now I told you that when issues are brought out into the open, there are certain conscious stresses and strains that earlier were not apparent, but hidden. The morning issue is finally rising into the significance that was buried before, and not dealt with. Your presence and help have been highly supportive, and also as I planned, your presence has made Ruburt more aware of his morning behavior and thoughts and sometimes he has tried to verbalize them.

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.

Some of the difficulty began when Ruburt started to connect writing with work. Remember his literal mind, and also that he does sometimes operate with extremes. Work was not play, then. It involved making money, definite hours, a routine and also adult status. He felt he needed that.

Work means conforming to Ruburt. Work meant working hours like other people have. They should be over at a certain time. You often said that other people could relax after supper. Their work was done while you and Ruburt were still busy.

Ruburt’s normal “work periods” would often involve nonconventional hours, however, precisely because they were nonconventional. Each morning he felt it his duty to get up at a decent hour to go to work. At the same time artistic work had other connotations. Everything else was unimportant by contrast, so that other pursuits became taboo. If you went out in the day people knew you were not working. You early used the word “chores” for activities in which Ruburt took a childish delight. With his literal-mindedness, and for reasons given in the past, he also began to think of them as chores. Otherwise he would want to do them and not work.

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.

Now: When Ruburt’s high level of creativity happened to be strong enough to easily include five or six hours a day he improved, since his inspiration took as many hours as he thought his work should.

Your own speaking about distractions, chores contributed. Your habits are fairly, though not entirely, native to your nature. They were not to Ruburt’s. He felt he did need discipline, however, as given in other session. The worries about money, age, all contributed so that he tried to work harder.

A note: in creativity play and work are invisibly entwined. In your society however work often implies something you have to do, a chore that must be performed for monetary reasons. With Ruburt the play-work elements that had once been together became separated; from play-work to work-play, and occasionally the combination simply became work.

Both of you must examine your beliefs, then, for some of them, Joseph, held you back creatively. You are far more a follower of the Protestant work ethic than you realize, and to some extent, for reasons given, Ruburt picked this up from you. That is, you are not to blame for this situation, bust I am dealing with that area this evening. Do you follow me?

Ruburt has always tried to adapt to your natural schedule. To some degree your own natural schedule is also the result of your own beliefs about your creativity. There is much more here, but I had better stop.