“Seth material” search engine (Jane Roberts)

Give us a moment.... Art always serves as some self-disclosure, in which the art stands for the person, and the art is sent abroad, for example. The art stands for more than the person. In a way it reaches higher than the person, in that it expresses dimensions of imagination or inspiration that are heroic, and often by nature it speaks of capacities that cannot be fully expressed except through art.

I am not making value judgments of my own here in the following remarks. His subconscious, however, knowing its own beliefs which were given it by the conscious self, after all, feels highly threatened, for it knows not more about Ruburt than he does, but more than Ruburt will admit he knows. He expects himself to do such things, and the minute he gets better, he says, he will go thusly out into the world.

Ruburt decided to brazen it through—to do his thing and be paid for it. At the same time Ruburt carried the fears mentioned. He hoped for the world’s approval, for he knew his work was good. On the other hand he carried the beliefs of this afternoon’s dream—that originality made a person instantly suspect, and that in the ordinary world, if you put yourself in the world’s eye its people would hunt you down. In opposition, he carried the belief that he should go on television, make tours, and so forth, and expose himself in direct opposition to those fears.

Ruburt became frightened, for example, of out-of-body travel when he began to get it in his head that “all the nuts” were doing it too, and that out-of-body activity involved him in an inner public environment, in which he might meet “all those fools” who were then not bound by physical restraints. He did not fear death, for example, at the hands of others, then, but too close emotional contact. He felt people “could get at him” that way.

The secrecy of childhood is connected because of Welfare, and your own statements to him often, years ago, not to tell people anything. Those statements reinforced earlier beliefs.

Now you are exceptional people, and exceptional people in your work are quite simply exceptions. You deal with relatively rare, different kinds of achievements and challenges. Many of your correspondents are quite average, though to you they seem deplorable. They are not used to dealing with imaginative concepts, or conceptual thought, or of applying the intelligence to the realm of the imagination. Often they cannot discriminate between good work or poor work, artistically. They are drawn to what emotionally arouses them or offers them hope, even though they may only be able to put a small portion to practical use. They deal with emotional realities that are rather apart from your own concerns.