“Seth material” search engine (Jane Roberts)

Now: you know generally how associations work in your own mind, seemingly bringing memories or images to you out of context—that is, not following the usual patterns of time or cause and effect.

You were quite correct: it was not coincidence, for example, that you heard from Bill Macdonnel just after the Burt Ryerson story. The Spain connection with your friend the traveler, Carlos (Smith), and with the question of foreign translation of the books. There are obviously many patterns—some prominent and some subordinate, but they all work, often invisibly, adding up to seeming coincidences.

(I didn’t think of any foreign book-publishing rights being involved, though, as Seth indicates. Last month we were informed through Tam and personal letter from Switzerland that a foreign translation of Seth Speaks may be in the works, but nothing concerning Spain that we know of. Tam wrote that Prentice-Hall wouldn’t notify us of such deals unless they go through, usually, so perhaps a Spanish publisher has expressed interest? We don’t know....

(It may simply be that Seth was referring to a foreign publisher in any European country, as one of the ingredients in this story of the workings of Framework 2. Card from Carlos attached to this session for reference if needed.)

(10:10.) Ruburt has been worrying, rather than concentrating upon his creative work. Neither of you have moved mentally, even playfully, ahead in terms of imagining what you will do. Ruburt’s fantasy that I mentioned—that was an attempt. The imagined motel trip a beginning, a mental move. I suggested you imagine a vacation. Neither of you have done so, though Ruburt did make a few attempts. You must move mentally, and you will move physically.

You have faith in your work. You use Framework 2 beautifully, both of you, in that regard. Your intents insert plans for action in Framework 2. Ruburt has had some results. The difficulty with walking, physically now, is caused by the head and neck areas, which are being released. Physically now, tension causes the head and neck difficulty. The eye problems are, as I gave them, related.

(10:28.) This session is highly important. You make mental plans for your creative work. You are both highly reluctant to change your mental habits, much less your physical ones. You have no idea of the creative potential you are missing. The idea of a night in a motel, easily accessible on the ground floor, even with dinner in your room, is a beginning, out of all proportion to any events involved. That particular event or fantasy, nipped in the bud, is simply an example of the way that you nip such possibilities even in your imagination.