“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.

Ruburt wanted to make creativity work financially so that you could both be free to pursue it. Through the years the goals of one level of consciousness— though I am putting this simply—became tied to the goals of another level of consciousness. Overall, ideally speaking, the two could be fused. Practically, however, this is like trying to build two pieces of furniture with different materials, then forming them into one cohesive whole. In both of your lives, those experiences, however valid, that did not fit both categories, gradually went to one degree or another by the way.

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.

When you had a job the issue was clear for each of you: in your free time you felt you had a perfect right to paint or write, do relaxation exercises or psychological time. Later, when you did not need jobs and the books began to sell, then your creative time also became productive-money time to some extent.

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.