“Seth material” search engine (Jane Roberts)

The poetry provided a direct expression of his ideas, and a protective coating as well. He lived by those ideas, however. As stated, this brought conflict with the church—a painful-enough period for Ruburt, but he was sure in his convictions. At the same time, poetry was and is creative play, and it sprang from the depths of his being. You do not have to try and make poetry practical.

Our sessions began, really, as an extension, a natural enough development, the results of a personal search. Give us a moment.... I have given more material than I can say on the subject of Ruburt’s attitude toward creativity and what happens when he emphasizes the idea of work as work, or as a career, above his spontaneous creativity. I got my message through to some degree on several occasions for example, when his arms were suddenly free. It is the overemphasis upon work and career—overemphasis, now, that brings about or triggers the fears behind the difficulties.

When he is emphasizing his own creativity, encouraging it, encouraging its spontaneity, then that flow has its own impetus and direction. It is freeing spiritually and physically. That flow releases or incites solutions, and is overall, say, of itself fear-banishing.

It keeps him in touch with the powerful portions of his personality that search for truth, out of joy in the activity for the quest itself. The doing is important. When he considers work as paramount, however, or thinks in terms of “the work of my life,” that emphasis inclines (with amusement) him to think primarily of results rather than of doing. It inclines him to see his ideas as existing in direct conflict to those of your contemporary times. That focus inclines him to a quite literal insistence that his creative material should in its way act like some supernatural doctor’s prescription that can be at once taken like a pill to solve each and every problem of each and every correspondent, and of course to solve his own problems as well.

The truth, as he interprets it, is no longer the joyful, curious, creative, free search for truth, let it lead where it will; but the idea of a life’s work makes him think “Who’s following me? My truth must be the real truth, for I do not want to lead others astray.”

(10:15.) Of course the personal material did threaten him, with his beliefs, for how could the person responsible for such a weighty lifework have any weaknesses? Certainly the weaknesses said that the material was not true – because when he emphasizes work over creativity he becomes overly conscientious, overly concerned with responsibility, and puts himself in a situation where old fears are indeed triggered.

In those circumstances, free creativity itself almost becomes suspect, for supposing his creativity turns up an element that is contradictory? Or again, that will be misinterpreted, that will be used “wrongly” by others? In that kind of a climate, both inner and outer worlds to some extent must be protected against. I have given material saying that most clearly on innumerable occasions.

(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.

I will answer it, and at our next session, when you remind Ruburt of the great creative climate in which it can be “answered.”