“Seth material” search engine (Jane Roberts)

First of all, the advances, the physical advances, and I will come to Ruburt’s physical condition, have come about because he is making certain advances psychologically.

Largely, he has stopped projecting negatively into the future. There are a few lapses, but overall he is changing that habit—and the point of power has helped him considerably there. He is discussing his feelings openly with you. That, plus your pendulum work, prevents fears from going underground again. He is quite importantly beginning to change the viewpoint from which he previously viewed his reality. There is a line in the point of power material to that regard.

He has not as yet changed his viewpoint to that of a normally flexible person, but it is vastly improved from the one he had only a short while ago. It is true that he is quite aware of his bodily conditions, and yet overall he is not concentrating upon them, or regarding them negatively. The new viewpoint, with its new attractions—helping with work, helping with house chores—these automatically take his mind elsewhere, and act as further stimuli. And remember, they are the result of loving creative inspirations, again, the table and the chair, you follow me?—

The releasing action causes the odd stomach sensations. The eye muscles change constantly almost, as the huge motor area of the neck alternately releases and relaxes. There are rhythms, so that Ruburt had, for example, two excellent days—Thursday and Friday. The body was resting, its activity more or less at a state of balance. He cleaned portions of the house, and was quite active.

The weekend brought new activity in that neck area, bringing discomfort, but also new releases to the shoulders and the rib portions, loosening the stomach muscles. It was natural enough that he has periods of disorientation walking—but overall he has handled this well. The released ligaments can feel unstable, particularly when they first relax. There are other times when he definitely feels like putting his weight upon his legs, and walking, and he should be very faithful about following that impulse. As the muscles change, there can be some difficulties with depth perception regardless, since the muscles are used to reaching out only so far, and must change their orientation.

Yesterday Ruburt received some excellent ideas for Seven, which shows that he is beginning to change his attitude, and he should continue to read those work sessions.

Give us a moment.... The creative artist can be in somewhat of a quandary, according to his beliefs, for he wants to preserve the precious moment, the fleeting thought, the daffodils, the perceived insights. At the same time he often feels the need to stand apart from life, from the fleeting thoughts, the daffodils or the insight, so that he will not be lost completely in the moment, but able to form almost a second self with a larger viewpoint, who can then more clearly examine and understand the thought, the moment, or the insight.

The creative artist can be afraid of letting himself go completely in his life, for fear that he will become so involved that he will forget to stand apart, to look or to listen. Now to some degree that is Ruburt’s quandary, and to a lesser extent, your own.

You do, however. Ruburt does also in his writing, for he then becomes another self who watches the creative self. So both of you form subjective extensions that you must one way or another put together in physical time. (With gentle humor:) My books represent vast creativity, and yet you perform your own additional subjective leaps, forming subjective platforms that then deal with the circumstances of the books.

Ruburt, therefore, became somewhat overly concerned with physical time. He must allow himself greater freedom creatively, in a playful manner, forgetting all thoughts “at the time” of time.

Ruburt can begin now with his three hours, this to be a free creative time for thinking, or writing. He likes to paint, but he does not regard that in the same way, so let him allow himself an hour a day for painting, or so many hours a week—whatever he wants.

The library takes little time, but he should turn his focus more toward his timeless encounters, and toward the playfulness of his creative and psychic abilities.

Truth is not like a specific prescription. It is an aura that pervades all reality. Ruburt is upset on two levels. He loves the pursuit of truth for its own sake, and the pursuit of truth is basically a playful creative endeavor, in which children indulge all the time.

On the other hand, he becomes upset if people cannot make truth work in literal terms. He is very touchy on that point, and yet he becomes very angry if people try to make truth too practical. Why can’t truth make people want to live? Why can’t truth be used as a prescription? The suicide story bothered him simply because it reminded him of Will (Ives), who had attended classes, and of a friend of Venice’s, who committed suicide many years ago, although a session was held for her.