“Seth material” search engine (Jane Roberts)

The person, therefore, often “cannot live up to his art.” Ruburt wants to embody his art. He expects himself to possess all of the qualities that his art tries to entice from human nature. If man can be a natural healer, and he says so, then he personally should heal others and himself. That is his reasoning. If he is gifted with words in writing, and gifted in speech, then he feels that he should go out bravely into the public arena, and speak out his message to 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.

(10:15. I told Jane about my insight, involving her eyes and “Unknown” Reality. She agreed. We’d finished with Volume 1 in early 1977—February, say, and she recalled that by March she’d started having eye trouble. But what’s the connection between eyes and the threat of exposure? I told her she didn’t have to answer the question now. It should be listed, though.

Give us a moment.... Fears turn into severe anxiety, however, formless, when they are not identified and understood. The Silent Gallery people epitomized Ruburt’s fears in a fashion, and though I have given material in several ways pertaining to the fears, Ruburt never consciously acknowledged them, but shoved them under. The subconscious should be reminded of the help that is available from the source self, for its fears began before it had that information, and the fears themselves caused blocks that prevented assimilation of the knowledge later.