“Seth material” search engine (Jane Roberts)

I will try again. Give me time to develop this in my own way.

Forget ideas of good and evil for our discussion. For one thing, men who perform seemingly evil acts but who believe those acts to be right and justified, can be carried along in relative safety for some time before their errors catch up with them, because the power of their own self-approval is so strong.

Beneath all of the other issues and reasons at any given time, and perhaps the answer to your earlier voiced question, is the act that, more important than you realize, that for some time in vital areas you have not approved of yourselves. You have not had your own approval. An animal approves of itself unthinkingly. It certainly does not judge itself against any other animal. It knows quite well that some are stronger and some weaker, but it approves of its own uniqueness—glories in it, without having any other picture in its mind of what it should be. It has its own approval.

Ruburt believes he should be a TV personality, a healer, a writer, an excellent psychic versed in all of the most esoteric traditions, a magnetic personality. He believes he should be objectively intellectual, cool and calm, and spontaneous at the same time. He should be in glowing health—glowing—and shine amid the multitude. A rather impossible task, that would make any individual feel quite inferior by contrast.

You expect yourself to be a great artist, lost in the intricacies of what you think of as an artistic emotional reality, innocent of any interfering intellectuality. You berate yourself on the one hand for an intellect that it seems to you separates you from immediate emotional contact with painting and with others. At the same time, of course, you would certainly berate a Van Gogh for his overly emotional behavior.

Ruburt emulates your own work habits, and tries to regulate his creative life so that it bears a resemblance to yours. He tries to be disciplined, put in his time, temper his emotional nature, so neither of you approve of yourselves. “Unknown” simply became the platform. It shows the excellent ways in which your natures interact, and that is what the reader will perceive.

Ruburt’s creative work is highly spontaneous. It comes in bursts, in its own way outside of time. He is very impatient at the work involved in inserting it into time. The misunderstandings—and this has been covered—lead to overreactions on both of your parts, and lead both of you to misinterpret your contributions, because initially you do not approve of yourselves.

These books are more than the work of one personality. They cannot be anchored to conventional ideas of time. In a strange fashion, they go faster than your lives, so physically you do have “catch-up time.”

Give me a moment.... You have, far more than you realize, utilized our ideas in your daily lives, both to insure financial comfort—but more, to achieve the satisfaction that you are indeed reaching others, helping to change their lives for the better. You have the knowledge that many do not possess—that you are indeed affecting your times.

When you do, however, you see results. You pick up each other’s negative moods, however, so you ride emotional storms. Ruburt does not feel he can properly see his way out. Your feelings of spontaneity and discipline go back and forth. Ruburt should stop telling himself that he does not want to see people. He may not want to have visitors at times. On other occasions he enjoys spontaneous encounters. The eye problem has to do, physically, with his present stance—the lack of balance between the two sides of his body, causing pressure on one side of the jaw, and the ear canal, which further aggravates the fullness in the sinus, hence affecting the eyes.

(“How is all of this hooked up with the walking difficulty?” By the question, I meant how has Jane’s walking difficulties through the years resulted from her feeling that she should be all those things Seth recounted at the start of this session—a TV personality, a great psychic, writer, and so forth. I didn’t make the question clear enough, so Seth answered it in more immediate terms—which is also valuable information, of course, that we can act upon. However, the original question remains, and I explained it to Jane after the session; she suggested I ask it again next time.)

He favors at this time one side, and all his weight and emphasis and direction bears him to the right. The left leg is longer so that the stress is presently applied to the right side. Both the angle of his head and jaw, and the position of his arms, are involved. But the neck, those ligaments and muscles, largely bear the strain so that pressure is put upon the jaw on the right side, and this to some extent impedes sinus drainage in that area.

That entire situation however “ideally” should have passed some time ago. Ruburt’s individual and your joint fears, however, prolong his tension, lengthening what should be a transitory period.

(10:28.) Give us a moment.... His feeling that his work pattern should be like yours makes him worry when he becomes very relaxed. The suggestions I gave you about suggestion fell short largely because at the same time you could not jointly find a position of calmness. It should be easy for you to see that when Ruburt was ready you were not, or vice versa.

His ommm exercises can serve a good purpose; they calm body and mind at once, that is at the same time, and they can serve you also. They allow a period of disengagement in which the benefits from Framework 2 have time to act. I have said before to apply your creative attitudes in this area—and when you have, again, you have seen results. You have not felt free to express your fears to each other, for fear one will upset the other, and so the fears simply grow and then explode.

All of Ruburt’s concerns about that book have to do with his impatience in time terms. That has to do with his misunderstanding for he has not seen, really, that he is producing work for two personalities that cannot be squeezed into conventional publishing rhythms.

He quite understands the overall creative triumph. It is only when he tries to become overly literal that he becomes overly concerned with time. He has also reacted to your own doubts and fears about the book, and has picked up often your own ambiguity in that regard. Had he really been so against the idea of the book being produced as it was, he would have said so indeed.

Your feelings of hopelessness are your enemy. They must be encountered, not shoved under the rug. Often one could help the other, but when the feelings are not voiced they go underground. Ruburt should give himself so much time a day—an hour and a half, say—for free creative thought, writing or whatever that turns into poetry, painting? All right.