“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.

Ruburt as a woman took all precautions so that he would not be considered frivolous. The creative abilities do follow your conscious intents to some degree. One portion of you is not blind to the needs of other portions. The creative abilities are quite capable of helping your physical survival, economically speaking, when they are freely followed. To some degree you both decided that you would ration your freedom. You cannot ration freedom—you have it or you give it up.

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?

(If he was, and did, I’d go.)

You both believed you had to fight to survive—particularly as artists—against the society; and Ruburt believed he must fight his own biology.

If you are a creator in those terms, you will use any society as a part of your medium. You think of a work of art as composed, say, of a theme or overall design, of various techniques and personal idiosyncrasies; and yet works of art, while transcending time, are indelibly impressed by the times also. A Rembrandt living today would be an entirely different Rembrandt, granted that he used his gifts fully.

You have used your own abilities, both of you, and done well with them despite your overly protective attitudes toward them, and despite methods you used, Ruburt in particular, to insure their use. You cannot cut down physical freedom without inhibiting creative freedom, so to some extent Ruburt’s methods have inhibited his creativity. You cannot inhibit spontaneity in one area and not in another, but he did not get it properly through his head that spontaneity did not mean license, or that spontaneity was going to work against his work if he gave it half a chance. (Very intently.)

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.

This is bound to inhibit creative inspiration to some degree. He felt he needed financial freedom in order to work, but in those terms work was equated with the Protestant work ethics, where spontaneity was frowned upon. Artistic work will show its own regularity. It will find its own schedules, but your joint ideas of work hours were meant to fit in with a time-clock puncher’s mentality, and not your own.

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.

(11:29.) If he feels like a nap, there is a reason for it. He may not be relaxed enough of mind so that that particular nap yields what it is supposed to; then he becomes angry for the lost time. He is afraid that if he trusts himself he will not work the proper number of hours. That is what you have taught each other, as if your natural drives and abilities would not automatically seek their own expression within time, but must be forced to do so.