“Seth material” search engine (Jane Roberts)

When he is proficient with the bathroom routine, which you were very wise to begin, we will start some other simple new routines, one at a time, instilling appropriate body reaction to a safe universe. Ruburt’s actions were appropriate for the horror program, and so were some of yours when you were afraid of painting because it did not bring in money. Our books bring in money, simply because money at your level of activity is a natural result of spontaneous creativity. Your paintings will bring in money when they are the result of spontaneous creativity. Ruburt’s spontaneity escaped all of his “language,” in other words. His physical mobility will result from the body’s spontaneous creativity. He is not to walk normally because he should, any more than he should write “because he should.” He is a writing kind of being, and he is a walking kind of being.

Dramas are built around hypotheses or scenes, and these scenes in physical life determine your experience. When you realize you dwell in a safe universe, such defenses are unnecessary—and later perhaps you will see that they are as comical as a child is who screams in terror at a bogeyman. If there were a bogeyman the child’s screaming would not bother it a bit. You can expect—if you continue as you are—far greater mobility in Ruburt’s neck, head and shoulders, clearing of the ears completely, greater relaxation of the entire face and throat area in rather quick progression.

Inner mobility during this time will be sensed in the legs, though not as quickly apparent. (This is also happening.) The improvements are working from the head down. Tension in the head and neck floated down like ripples into the body, and for every obvious improvement in this kind of mobility (Jane waved her right arm about vigorously; it is much improved), inner small releases occur in the legs.