“Seth material” search engine (Jane Roberts)

(No session was held Monday night.

(Jane relied on her impulses and Framework 2 for her decision—actions that she would have probably found very difficult to carry out earlier. “I still can’t believe I called up a publisher and told them to send back a book they wanted to publish,” she said more than once. “You can’t say I wasn’t spontaneous,” she added, “or that I was cowardly or wishy-washy....” Actually, a string of events, evidently out of Framework 2, were involved, and would make a most interesting study of how Framework 2 aids one in making decisions or bringing about events they want to see happen. Oversoul Seven is also involved in some fashion, especially the movie aspects —for when Jane called Eleanor Friede to offer her Emir, Eleanor told Jane she was about to call her about Seven, the call having to do with possible motion picture connotations, through a well-known screenwriter; that is the kind of event intertwined with the whole affair; nor have Jane and Eleanor contacted each other for probably a couple of years.

(All in all, the whole affair is proving to be quite instructive in a number of ways. Eleanor is to see Emir for possible purchase. Jane’s ability to deal with others is obviously better. Her physical condition continues to show beneficial changes. I don’t think it any coincidence that Jane contacted Eleanor, who is the editor for Dick Bach, who is a counterpart of Jane’s. [Jane first called Pat Golbitz, but Pat was out of her office—so Pat doesn’t get to see Emir first.]

His early background was relatively different: an invalid mother, no father, on welfare, et cetera, so his environment alone to some extent placed him in a different light in the eyes of his contemporaries. Added to this, from the beginning he did indeed –relatively, now—stand out. His unusual vitality, abilities, and intelligence were apparent, but they were not conventional abilities. The ability alone did not win friends and influence people.

Ruburt’s intelligence was not one to follow blindly, and so his marks were not outstanding. Even in school, both religion and science teachers found him troublesome in that regard. Writing poetry is hardly extremist behavior. Neither did the circumstances surrounding his college dismissal come about as the result of any extremist behavior.

By then, however, Ruburt began to fear that he was headed for trouble—that he was too impetuous, headstrong and impulsive. Leaving Walt for you on a moment’s notice, so to speak, was not extremist behavior either, for he had spent three years in that relationship, and gave it indeed all the trial period it deserved. And though he loved you, he did not “plunge” into marriage with you either. In not wanting children, a good amount of discipline was used by both of you—the kind of discipline that simply would not be possible for people “driven” by impulsive desires. Ruburt finally did put an end to his menstrual cycles a good deal earlier than might have happened otherwise. It is easy enough to say that that was extreme, but many women have hysterectomies for the same purpose.

I want to make these points because Ruburt’s physical condition in part was the result of his feelings that left alone, in good condition, he might resort to “extreme behavior.”

Now, what would that extreme behavior consist of “at its worst?” He felt that if he were a person given to extremes, then to use his abilities he must apply due discipline so that his head was not turned, so that he did not become a victim of fame, as many other writers and artists did—or so it seemed. It certainly should be obvious to Ruburt now that his personality contains some quite conservative aspects—a marriage going into two decades and more does not exactly make one worry about promiscuity. So many old fears were based upon misconceptions on the part of the personality that in younger years found itself to be quite different than its contemporaries, and gradually began to set up defenses against them.

When the psychic development began, Ruburt was triumphant, for his abilities were flowering, and intuitively he sensed that direction, but the part of him that also dealt with the world was somewhat appalled, for again, such behavior was not conventional, and it was not particularly “the way to make friends and influence people.”

He wrote poetry as a child because he is a poet. He never consciously asked himself why he did something for which there was so little practical reward in the childish world. As he grew older it did put him in the papers, as he won poetry awards, but it was not a thing that others understood.

In the past, Ruburt didn’t realize fully that his nature was both flamboyant and conservative—that his nature was protected by a natural inner caution that would make the path for his flamboyancy clear. He did not need disciplinary methods that led to physical restrictions of the body.

Your own attitudes, however, have changed more than you realize, and the inner changes in Ruburt’s body will begin to show themselves in exterior improvements in performance. Ruburt knows he stands easier in the bathroom, for example, but did not realize that was significant.

(I asked Seth for his interpretation of my dream on Sunday morning, June 25, in which I was highly upset to see my father careening backward in a truck, down Pinnacle Road. A copy of Seth’s comments is attached to the dream.)

Ruburt’s interpretation was correct.

He interpreted it thusly. It was a statement of fear, and fear’s resolution. Your father was the symbol of yourself. You were afraid that you were doing everything backward—specifically with “Unknown” Reality, and that the affair would be a disaster—or the car would crash.

Mixed into this were feelings about your age, and that you were spending too much time on the project. Instead, you discover the car does not crash—and not only that, but your father is much more vigorous at the end of the dream than he was in the beginning. You still had not quite recovered from your fear, however. Your father was used as the main character, of course, because he is referred to in your notes, because you planned photographs of him in the beginning, and because in the dream he represented the disapproving portions of your own personality.

The dream was meant to do two things: point out the fears that were still present, and to show you that though present, they were groundless. The car, which was the vehicle of expression, would not crash. It was not going backward. The backward motion referred to time, and how much time you felt existed between the book’s dictation and the delivery of Volume 2.

(“Well, I was going to ask why we’re getting all those returns on Volume 1.”)