“Seth material” search engine (Jane Roberts)

Psychological events have their own integrity, wholeness, but as the dimensions of an object can be more or less ascertained and agreed upon by many, the greater free flow granted to psychological events allows for no such easy conventional recognition. An object such as a piece of furniture comes to you manufactured in a particular fashion. Psychological events are automatically manufactured by each individual, and no one but the individual can really ascertain the quality of the product.

You can return a badly wrought piece of furniture and get your money back—but what do you do when you understand that you form your own reality, and also decide that you aren’t pleased with large segments, at least, of the product?

It is for a while perhaps more difficult once you understand that you do form your own psychological reality, for you feel responsible for events that earlier gave you concern, perhaps, but no feeling of inadequacy. When you believe that the world is indeed chaos, then you are thankful for any portions of order or creativity you find within yourself.

It is at first appalling to discover that the negative as well as the positive events are formed at automatic levels, but in response to your expectations and beliefs. World events such as those you read about in your newspaper are the result of conventional ideas and beliefs—those with which you were reared. They will always form part of the fabric of your existence in this life. There are no reasons, however, why they should predominate. They represent a species of consciousness, a classification.

The events of your lives are in part caused by the psychological results of that level of consciousness, but only in part. Your own lives show well the stamp of still other classifications of consciousness. Events are formed then by various levels of consciousness intersecting. The mixture of those levels of consciousness, and their points of intersection, are up to you.

You are trying to live your lives, speaking simply now, at two mutually exclusive levels, combining two lines of belief that contradict each other. As a result any one action you take does not satisfy you, for you are equally drawn to the other direction. Events then are not clearcut or satisfying. You cannot thoroughly relax or thoroughly go ahead. You cannot thoroughly enjoy your solitude, or thoroughly appreciate your friends and normal social activities. You see in Ruburt’s physical condition the clearest representation, but this is simply the clearest sign of events that exist in your own private experience also. You go out into the world to do the chores, grudgingly, but you go. Ruburt goes ahead creatively, lately, grudgingly, but he goes.

Give us a moment.... The acquisition of your house is on its own a creative achievement—almost purely a side effect of your creativity. But the ideas you have projected upon it belong to that other level of consciousness that erode the joy and accomplishment that should be connected with it.

In one area, that of money, Ruburt is fairly free, finally. You consider taxes as a symbol of the creator’s support of the mass world—that is, you feel forced to contribute to a world with which you do not agree. You feel that that world threatens you, and yet you must support it. But the threat—and you must try to understand me—the threat does not exist in that world, but only in your beliefs toward it. You are in that world of threat only according to the degree of power you allow it to have over you.

You can learn to dismiss it—not as a reality to which others may not give acquiescence, but one that you realize is basically powerless. You can no longer afford to serve two masters.

You have a clash of beliefs, some hangers-on, in other words, but those hangers-on are troublesome, for they are precisely those that prevent you from utilizing techniques with which you are quite familiar, that could vastly enrich your situation.

Give us a moment.... You have made for yourselves a framework in which you can indeed be creative—a formidable accomplishment, but you have not been really able to take advantage of it.

Those worries on each of your parts tie down your highest aspirations to goals that are unbecoming to them, and impede the very creativity you hope to foster. Because you feel that the world is a threat you rouse to battle against it. Time becomes a battleground. I realize of course that you live in time, but I also know that the quality of creative work is not bound to time, but defies it. Your own feelings about publishers, for example, impedes the creative processes so that you must then labor over notes that would otherwise come clearly and quickly.

In no way should that tending take away from your creative work, but add to it in ways that defy conventional ideas of time. With that understanding, such work would vastly enrich your painting, your writing, and the tenor of your life. With that understanding you can have help without conflict, or do the work yourself without conflict.

You have been straddling levels of consciousness, in other words, so that the events of your lives have shown gaps that we want to close. Please understand that these gaps are also the results, partially, of certain achievements—as your conflicts about taxes could not have existed years ago. That is simply a small example. When you began to expand your ideas of reality, you naturally attached them to goals that you held earlier, and tried to make them fit. Some of those goals were quite worthy, but carried beliefs along with them that were detrimental.

Ruburt began to allow only psychic experiences that could be translated also—not primarily, you see—but also into financial productivity. You also wanted to wed your abilities in the same manner. You felt you could not afford free creative work. Ruburt felt that creative work could pay. Because of your ideas about time and creative work you felt that painting could not pay. Ruburt tricked you quite cleverly into doing the sketches for Dialogues—for your own good, he felt, and you did not enjoy the experience, allowing your beliefs to contaminate your creativity. You do not feel the world deserves creative work. Yet you have a nature that demands that you produce it.

I will have more to say about that particular subject, but first I want to start you with proposals. You may wonder how they are to be carried out, though they are simple. They will come into conflict with your concepts of time, and will automatically begin to alter your subjective realities if you follow them. If you do not matters will continue as they are. I will leave your hours up to you. While you have regular daytime hours, I suggest the following pattern.

This particular pattern is a suggestion only, however, but it will be of benefit. It would apply to each of you. It would apply to you alone whenever Ruburt works at night instead. When you are on the same time schedules, then bed at midnight. Set your alarm for 7:00, and get up. Be at your respective places —Ruburt at his desk, you in your studio—by 9:30, and work clearly, without interruptions, for three hours.

Television at your dinner hour is advantageous, as long as it is not news. Occasionally you are helped by relaxing in such a manner for several hours. Often, however, this is dead time because your worries have so tired you. Several evenings a week, therefore, I suggest that the two of you pursue a period of psychic activity, as per Ruburt’s library, though with whatever variations suggest themselves. You need not be overly earnest at such times, however. I am not concerned about our book, the latest one. I am intent, however, about a new beginning, a new dedication, so that your own purposes become clearer, and your abilities better used. Conventional ideas of the psychic world have eroded both of your attitudes. In many cases, as with Kubler-Ross, it is again an issue of high insight occurring but put at the service of conventionalized beliefs.