“Seth material” search engine (Jane Roberts)

(Jane has been employing to good effect Seth’s suggestion about using the red star, as he gave that idea in the last deleted session. Various changes continue to take place throughout her body. For myself, I wanted Seth’s comments on the Spanish Framework 2 connections that he detailed last session, re Ryerson, Macdonnel, our books being translated, and the card from Carlos Smith; I wondered what had initiated any Framework 2 connections for us via Spain, since we had no interests of note there.

(Last August Jane received a letter from Nelson Hayes, who was one of her professors at Skidmore. Actually, it was a note from him to Prentice-Hall, asking for review copies of the Seth books, and that his note be forwarded to Jane. He wanted her to write him. I kept the letter, finding it after it had been initially misplaced, feeling for some reason that Jane shouldn’t answer it at the time: I trusted my intuitions, then. This was before Seth began the Frameworks 1 and 2 material, I believe. Jane mentioned the note at various times, wondering what had happened to it.

The Protestant work ethics give you great technology sometimes. Sometimes they provide a backbone, an impetus, a direction, a framework, in which people not specifically gifted can find a place, sometimes. Protestant work ethics do not produce great art, and they can finally undo the good that they have done, by turning all work into a meaningless performance in which the product itself becomes a means to an end, and loses any esthetic value.

In that framework, you each found yourselves artistically gifted. While you went to art school, you recognized that in larger terms art cannot be taught, merely basic techniques. Ruburt recognized that no one can teach you to write. You could not therefore count on a series of well-known steps to bring you to your own, as a carpenter or a doctor, or a dentist (humorously) can.

You had no social or cultural framework, then, ready-made for you to follow. Nor did you have any certainty that any self-imposed period of training and learning would succeed in leading you to your goals. In practical terms your goals were nebulous enough, in that there would be no degrees granted you, to say you had achieved them. You also had to survive economically.

In Framework 2 your abilities from birth seek their fulfillment, not at your expense, not despite your own best interests. Your biology, your abilities, your mind and your emotions, are not conflicting elements, one battling the others so that you must fight to attain your goals. In Framework 2, effortlessly all patterns are set into motion at your birth, opening up innumerable probable pathways, each leading to the best fulfillment of your potential, so that events, chance encounters, everything works together.

The instances of Framework 2 activity as you become aware of them will show you the true nature of creativity, and acquaint you with the mental feeling of freedom and spontaneity. You have not understood the connections between your work and your life. A problem in a painting or in a book might be solved through an hour’s lovemaking, for often what might seem to be a problem of technique is, as you are beginning to understand, an emotional equation instead. None of your impulses are meaningless. You cannot separate your work from your life. Spontaneity as you understand it now, in the light of your knowledge, can only add to your work, for it is not meaningless license, nor is it composed of impulses contrary to your work.

(10:35–11:05.) If you are born into a time that does not seem conducive to your talents, it is because that society offers needed counterpoints to questions that concern you, or because it provides a particular kind of framework that will color your abilities in a certain direction, bringing out nuances or accomplishments not possible otherwise.

His intent in Framework 2 was so clear that his creative spontaneity was retained to a large degree despite the blankets he threw upon it. He equated, again, the writer or poet as highly gifted but emotionally not stable, so that he thought he had to set himself against his own nature in order to produce.

In Framework 2, your writing abilities were also known, of course, and they continue to develop, continue to seek for outlet, continue to search for a pattern; despite your relative abandonment of them, they came to the fore. It may not seem so, but only your ideas of time, and not time itself, relatively closes your mind to the idea of a book of your own. For once stated, that desire —which is a desire—would lead to insights and inspirations that would collect in odd hours, scribbled down in a few moments, that would lead quite easily to a finished product.

I want Ruburt, again, to encourage spontaneity in all areas, and to trust that the spontaneity is the result of quite orderly sequences in Framework 2, and of larger patterns of creativity that are not yet consciously apparent. I want him to allow for greater physical spontaneity, to perform a physical act when he feels like it, and for greater psychic and creative spontaneity, both in his working hours and outside them; to concentrate on creativity, not time; for then you use time and it does not use you.