“Seth material” search engine (Jane Roberts)

(Through the day Jane herself received periodic insights from Seth about the condition, mostly having to do with her fears that she wasn’t walking enough, and not trusting the body to do its own thing in the recovery process. The gist of the impressions seemed to be that she ought to ease off walking while the body recovered —a very strange state of affairs, it seems to me, and a situation that has bothered me often before: Why should the body give up certain functions if it’s in the process of recovering? I doubt if I for one will ever be able to fully comprehend that kind of reasoning—whether from Seth or anyone else—since I think that as the body —any body—recovers, its range of activities expands correspondingly instead of shrinking. Yet Jane said the material from Seth blamed her panic-stricken attempts to see if she was walking enough each day.

First of all, many of the questions reinforce the idea of fear, for example, or lack of safety, each time they are asked. Am I afraid of the world? Am I afraid of my neighbors? Am I afraid of inspiration, or whatever? Do I trust the world or inspiration or whatever?—but your questions themselves are now loaded with built-in negative suggestions. Besides this, in an odd fashion, they lack a certain specific nature, as I will shortly explain, and there are too many of them by far to be handled at one session. That is, their number precludes any one single clear path, specifically noted. I want to stress the purposes they have served, and their general nature and so forth did help to bring up a variety of important issues. You now have too jumbled a variety of material to effectively handle.

Now walking is obviously good for him, and I have encouraged it. I realize now that I simply cannot expect either of you at this point to trust Ruburt’s body to know what it is doing. There are times, according to the changes occurring, when naturally it would not walk, say, for a good part of the day, and often left alone, it might suddenly want to exercise new positions. But you both become frightened, adding to the body’s stress further.

You do not trust that beneficial changes are occurring in the body until you see what you consider are the proper results, particularly in better performance.

The fact is, of course, quite unapparent to you both, that there is better performance, in that the legs are lengthening, the ankles are loosening. They are not becoming tighter. The main fact is, however, that you still do not trust the process, and that you concentrate upon the poorest aspects of physical evidence and therefore continue to perceive it.

(10:25.) I cannot change my stand on that issue, regardless of your opinions of it, the two of you. Everything that I am saying tonight is an effort to minimize Ruburt’s discomfort, and to quicken the healing. I am going to suggest a program, and regardless of what you think of it, the two of you, I would like you to try it, and urge you to do so. I do not expect that you will approve of it entirely, but I can assure you that it will be beneficial if you try to place trust in what I am saying.

Again—Cézanne did not show in any way on the outside, yet the “work” was largely prepared before the first line was written. You trust the creative process in art. Only in dealing with Ruburt’s body do you both become so literal, so determined. It seems you cannot trust the creative abilities’ biological translations—but the body is certainly as creative as the mind, in those terms. Whenever the two of you manage to free your creative abilities, and set them to work on the physical situation, you do see some results.