“Seth material” search engine (Jane Roberts)

(1. My stomach. Have had a lot of discomfort lately. On June 22 the pendulum told me that my stomach bothers me not because I don’t spend enough time painting, but because I feel guilty at spending the time I do, in view of all the other work with Jane that I feel I should be doing: working on sessions, “Unknown” Reality, etc.

(2. Did I go overboard on “Unknown” Reality? Why did I choose to do notes for that work, let alone publish it in two volumes? [Jane agreed to these procedures, of course.] Were these decisions mistakes?

(5. On the decision we made—Rob to finish “Unknown” Reality, then Psyche, perhaps with my help. [This decision leaves Jane free to do fresh creative work—whatever she wants to do. I understand that it’s vital that she have this freedom.]

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.

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.

The society is supporting you. It is accepting your work, and in your terms—those terms that exist because of your beliefs and your attitudes. The books are being read, though you do not go on tours. You do not play any of the games, and you do not have a healthy give-and-take with that society. You are ahead of the times, and behind them—yet through the point of power you affect those times. You change them.

Ruburt is verbal. He loves to talk. He likes to hear you talk. Oftentimes your stomach upsets you because your love for Ruburt makes you concerned, and in most instances the stimulus is money. An occasion will arise, or a period of time, in which your love for him wants to find expression. You do this by expressing your concern that his work is not being duly appreciated in monetary terms (as I did this evening).

You might feel he is being taken advantage of. You do not say “I love you. I admire your work so that I want to see it duly appreciated.” Verbally oriented, Ruburt hears only an implied order, or criticism. The conflict with the stomach always involves money, however—taxes sometimes, for example—and implies a period or situation in which you think he is being taken advantage of.

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.

(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.

You do not expect the world to understand good work. You expect the artist, in whatever field, who is truly good, to be shunted aside. Your own hopes rise despite those beliefs, and have worked for you. But you have felt jointly that it was unsafe to trust the world; unrealistic; and while you could maintain a mental isolation, Ruburt adopted a physical one.

(12:01.) His worry about his condition added additional tension. The working men (for Frank Longwell) made him feel as if the world intruded, and by its standards he felt to some extent exposed. Here were the two of you, doing what in the world’s eyes he felt was in direct opposition to its standards—the brawny, outdoorsy, hearty, family oriented males involved.

Put into practice the last session, particularly with Ruburt playing with his ideas, instead of concentrating upon his work. (Louder:) Amen.