“Seth material” search engine (Jane Roberts)

Popular novelists and writers are above all things people of their times. They are socially oriented, dealing with lively discourse. They cannot see beyond the times. As a rule, however, they enjoy people as people are. They enjoy stupid people, wicked people, cowardly people, bigoted people, and sometimes wise people too. They do not make demands. They share the belief systems of their times, and they are richly rewarded—generally speaking, now—for there is overall no great conflict between their natural works, their writing, and the world at large.

The world responds to such people’s acceptance. Obviously escapism is involved—but at certain levels of interaction the beliefs smoothly flow from creation to market. No great challenges are presented, and no real condemnations; and when these do occur they are of a conventional nature, perhaps already stylish accusations. They are part and parcel of the social world.

Not only is our own work rather unique, but you have no academic credentials. You have avoided, for example, holding seminars of that nature. In that framework many psychologists, for example, would feel comfortable, but you offer no such bridge to anyone. You avoid “the wild psychic world” of cults, semicults, and so forth, and above all you are individualists who do not play according to game rules.

To some extent you are unable to explain the secret nature of your own painting. You refuse to use it as collateral. Not only that, but your paintings are not an attempt to communicate with the world, or to get anything from it. You think you should—that is, you think you should sell your paintings, or make some effort in that direction. Instead they are communications between yourself and the universe, without the need, necessarily, that others approve or disapprove, or see or not see. In your writing, however, you want to communicate.

Ruburt’s work straddles all these issues—that is, it involves all of them at different times. Your stomach problem is basically the result of your feelings about what you consider to be a lack of communication, a blocking of your natural love. From your background, regardless of your intellectual beliefs, now, you learned to mask your expressions of love or exuberance, lest they be misunderstood. You learned to express love through worry or concern.

This is because those expressions were natural in your family. Love would never be clearly expressed through a clear channel. It might be expressed through action that did not, however, directly involve love’s expression. Your father might make things for you, for example. But after your childhood state he avoided caresses or verbal expressions.

He reacts practically, then, by avoiding what he thinks of as conflict, and you do not help in that regard, for by temperament you are not particularly attracted to the world. He feels he is so attracted, temperamentally, and so puts on physical guards. The bridge here involves the natural world, his love of nature, the connections between poetry, strolling the natural world as opposed to the social one.

(11:30.) Give us a moment.... He, however, needs by nature more contact with other people than you do. He has learned to repress feelings, and he believed heartily that repression was necessary to his work, to maintain your privacy, to provide time, to cut out distractions, and to focus attention and expression.

He felt that the female was not temperamentally equipped to naturally handle such problems, and so adopted the symptoms. Because you so often expressed your concerns rather than your love, your fears rather than your hopes, and because of his own nature, the outside world appeared more threatening. He is by nature rather optimistic. From you he believed he learned that optimism was shallow, unrealistic, and that people were not to be trusted. He never believed in conflict. He is not abject, but he believes heartily in having nothing to do with an arena of activity in which he feels he might meet ridicule or criticism.