“Seth material” search engine (Jane Roberts)

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?—

You want to examine life, to experience it, and yet in some way find in time a safe dimension apart from time. What you want is a second life in life, in which to appreciate and examine life’s experience. The ordinary distractions of life immediately then cause conflict. On the one hand, they are living, these distractions. They are life. On the other hand, they rob you in time of that second life you want, in which to examine your experiences.

Since you set yourselves such a course, then you obviously have a certain responsibility to both lives. They are your creations, after all. Almost all of Ruburt’s difficulty with time, and your own, spring from this basic quandary. For most people do not try that hard to preserve the living moment, or to understand it, while they are still involved with time’s physical package. Hence, to some extent your difficulties with “Unknown”—that is, with the notes—for you are trying to fit one dimension into another. A bold venture, and one that fits in quite will with your intents jointly to understand and preserve fleeting reality, and one that conflicts with your attempts to do this in the context of one physical time that passes.

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.

Do not think of breaking it up into segments, but rather as the rhythmic flow of desired activities. You will want to paint, to prepare “Unknown.” Now painting is in one regard timeless, though it will flow into time. “Unknown” is timeless, yet it will flow into time. Yard work is not timeless. It can be a joyful exercise of the body, the natural life being reinforced, and it can also provide feelings of timelessness, so that in that regard your love of timelessness can be combined with your love of the moment.

Think of the entire 24-hour period, however. If the two of you stick together, there will be no problem, and particularly if you view this not as a schedule but as a way in which you want to mix time and timelessness, and merge the “two lives” that each of you try to live in the one life. Distractions may occur, but you can deal with them if your attitudes are clear, and if you see that overall you are doing what you want. Then any distractions will not be that important.

The story in the paper rearoused those old conflicts. But truth involves insights of a most peculiar kind, for they cannot indeed be truly specified, and the more specific you try to make them the more you distort them, or the more you dilute their original power. You make your own reality. You cannot force an individual to live, nor can you force him to die, through the use of the truth. One and one is two—that is a fact in your world, and you can use that fact in millions of ways, but it involves no truth.

Ruburt’s feelings after his nap involve the material given earlier, primarily on two lives in one, but also are based upon old feelings you are now handling in your pendulum work, that are in the process of being resolved but the strong time elements are strongly involved.