“Seth material” search engine (Jane Roberts)

(The session was not held last night because of Tam Mossman’s visit.... I told Jane before the session that all day I’d been thinking that there was still a cause or causes for the symptoms that we didn’t know, or hadn’t uncovered yet. Perhaps a relationship between the intent to publish the sessions, and the idea of exposure or threat for not “toeing the mark.” [Tam is Jane’s editor at Prentice-Hall.]

Then he feels that he is in at best an ambiguous position, for the world continues doing as it will, and his correspondents, solving one problem, immediately write with another. This kind of situation of course then triggers old fears of doubt or threat. Those fears are then not admitted, for he thinks that they must indeed be beneath a person whose entire life work is devoted to a search for the nature of reality, and therefore a person who must possess, or try to possess, the answers to all of the questions.

In such a situation, Ruburt thinks of work as work, and finds himself wanting—for a doctor after all heals patients, a lawyer solves cases or whatever, so it seems to Ruburt that his work must—underlined three times—make truth practical, and of course beneficially so. That emphasis alone, with the material I mentioned, and the triggering fears, further opens the door to other worries.

I want to comment on your pendulum sessions, however. First of all, the fact that you do them together is highly significant and beneficial, more significant than you realize. Ruburt’s experience with you in the bedroom was an excellent example of your enduring loving relationship, and represented your single and joint decisions to utilize your love and devotion to solve the difficulty.

It was important that Ruburt state his position, for example, by saying clearly that the symptoms threatened him, and that they threatened him more than any scorn, and important also that he state that the symptoms inhibited his writing. Once the pendulum shows you that the subconscious does understand, however, it is all right to check now and then,but those statements can act as negative suggestions otherwise. Each session should be thought of with its questions in consecutive terms, so that later questions follow the reasoning pattern already given.

(10:40.) Rest your fingers.... The most important thing, of course, is that you have set up communication, so that Ruburt’s fears are no longer being inhibited. But those fears must be considered in the light of the material given this evening. Remember, I am speaking of an overemphasis upon the idea of work, not about a normal concern about book publications, or career concerns, those are certainly reasonable. The overemphasis brings up the public image idea, so that Ruburt compares himself personally against some composite image that he imagines other people have of him. First of all, truly creative “work” is timeless. It must appear in time, but its nourishment is not like that of a baker’s loaf, and its “practicality” cannot be reduced to such terms. Ruburt’s lifework so far has been produced—again, so far—because despite such erroneous beliefs he has still allowed himself a creative spontaneity. But in the recent past that spontaneity has had to emerge against those resistances.

You asked the question about the subconscious this evening, before the session, and Ruburt immediately interpreted it in the light of the following: the weight of the responsibility it carried for all those psychologists, and all of their patients, and his responsibility to obtain, in capitals, the answer, not only for himself but for all those other people. The idea behind the question does of course spring partially from your private, practical concerns right now, and yet it also springs from Ruburt’s and your great natural curiosity.

The overemphasis, again, upon the work alone triggers the old fears about poverty, and toeing the mark and so forth, for it arouses worries about “making the work pay.” Remember, when Ruburt wrote short stories he slanted them for the market. The woman could not win out in tales for Playboy, so when Ruburt thinks in that fashion about work, he thinks he is not only not slanting his material for the market, but often telling people precisely what they may not want to hear at all—hence this would arouse worries about the sale of the books.