“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.

The body itself is responding beautifully. Ruburt went in a very short period of days from doing relatively little physically to giving the legs rather constant stimulation with the chair. The leg ligaments have released and loosened rather considerably even since our last session. The ankles and feet are beginning to respond to the new requirements, and the knee joints themselves, now, are increasing their lubrication, and gently beginning new motion.

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.

(9:30.) The gradations will be less apparent before too long, and Ruburt will be able to do more and more without such obvious changes in the body—that is, they will occur, but in this period, very important ligaments have been released, and they are bound to be felt.

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.

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.

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.

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.

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.

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.