“Seth material” search engine (Jane Roberts)

You doubted that your own good work would bring any financial success at all, while you believed that commercial work would; but you do not like commercial work. Somewhat like George (Rhoads), you believed that your best work would not be appreciated. It would not sell, while “inferior” work, by contrast, would.

The fact that you did do our notes gave you confidence, while you did not feel threatened by failure as an artist. There is a lot here not pertinent tonight, but interesting in the interweaving of your beliefs. If you would forget such ideas as selling your paintings and simply do them, you could clear some barriers.

(This I have decided to do.)

You believe you can make money. A simple declarative belief, but it is qualified. You believe you can make money—if you are a commercial artist, or if you take a job, or if you do almost anything else but your best work as an artist. You believe you are a good artist—a simple declarative belief. Between the two beliefs however there is some conflict, since you believe you also need money for your self-respect, but that you cannot get it by being an artist, which you feel is your focus of identity, and highly concerned with self-respect.

A child might result in your working out full time, in which case you would never, he felt, develop as an artist. Social contacts were kept at a minimum. The isolation he felt you needed would be given you. At the same time his own abilities would be concentrated upon also. It was a do-or-die effort on his part. Once embarked, there was to be no turning back, until finally his own work and your reactions began to hint of difficulties, and his own body reflected them. He tried to keep you from family connections and complications for what he thought was your own good.

The beliefs cause the effects—most important—and you must each follow me here: for the following week continue with my book as given, but concentrate upon your work, each of you, your daily joys. Above all do not concentrate upon the problem, and in your minds to whatever extent possible, minimize it.

(Louder:) That last sentence is not beyond your abilities. Unless you believe that the problem is insoluble, out of your control—and if you believe that you had better immediately examine that belief, for it is false. You cannot concentrate upon the problem as a problem. And solve it. Concentrate upon it, if you must, as a challenge. You would do better if you forgot it as best you could.

Ruburt gets over here quicker in the morning. Both of you believe it. Now: take any one, any one simple area, like rising from a chair, and using the point of power see Ruburt performing better in that area, whatever you choose. Do nothing else. Do not tell yourself, “He will do better,” but see it being done in the point of power. Then forget about it.

Do you have questions?

You have freedom to concentrate your attention. Choose simply to change that concentration away from Ruburt’s symptoms, each of you, whenever you find yourself concentrating upon them. You do not have to deny the effects that you observe. Simply tell yourself to concentrate upon something else.

I bid you a fond good evening, and I expect my suggestions to be followed. Do you have questions?

Let Ruburt return to the definite 3-or-4-hour writing period, involving what he understands of Sumari time, interspersed with what you are doing to change the environment in the apartments—a good mixture of the mental and the physical. Now good evening.