“Seth material” search engine (Jane Roberts)

(Upon waking from her nap this afternoon, Jane again felt blue, deserted, and alone except for me in the world. Feelings about writing were also mixed in, and time, she said. Again, I wanted Seth to comment.

(Our daily pendulum work continues, and continues to get good results. Each day brings something new. Jane has been extremely sore in her arms, shoulders, rib cage, and so forth today, yet she was able to stand taller, by leaning against the bathroom door frame, than I’d seen her do in a very long time. It’s part of the rhythmic healing process going on in her body, as Seth described it recently, moving through different areas successively, followed each time by new releases. Jane said her knees felt very light and considerably looser.

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.

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.

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.

(9:50.) Most artists, painters now, are lost, so to speak, in the moment or moments of the painting’s creation. The painting becomes the creation, and also it is the passing time of reality. Most artist, painters, do not feel the need, then, to “later” examine the moments of creativity themselves, nor to form still another subjective platform from which to examine the creative process.

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.

I have a few suggestions for both of you. I am not speaking of schedules. You have a responsibility to time and to timelessness. I would like you to make a list of what you want to do in a day—that is, in a 24-hour period, and to think of that period, now, as a gift of time, to be used as you desire.

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.

I want you each to make a list, then, of what you want to do in a day. You can quite properly decide, if you want, how many hours you want to devote to given activities, but do not think of schedules, but instead of the flow of timeless energy into time. When you have decided, and see where your prerogatives lie, then stick to them.

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.

You determine the time you want to spend with “Unknown”—time you want to spend, say, in the yard. For now the pendulum sessions are involved. You do not need to worry about hurting your friends or neighbors, who will understand quite well. You have only to firmly state your position, and they will follow, expecting this of you.

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.

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.