“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.

Ruburt’s reading in college, and his friends there, led him to believe that the artistically gifted were not too well equipped to handle normal living. He thought they were fascinating, charming, self-destructive, and wasted most of their time in emotional and sexual excursions leading nowhere. He was determined not to fall into that trap. He did not realize that the people he knew — Nelson Hayes, for example, and Mauzet—were not basically artists, in this case writers. They would never write the books they talked about. But he made his judgment.

What attitudes do you have that still linger? How do you communicate them to each other? You both want Ruburt to walk normally now, and you are seeing results in terms of body releases and improvements. In the past you have been in the habit of putting off “distractions” until this or that book was finished until you were sure that you could cope with freedom. If Ruburt were better completely tomorrow, would he suddenly want to disrupt the whole applecart before “Unknown” was finished, and go to Florida?

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.

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.