“Seth material” search engine (Jane Roberts)

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.

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?

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

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.)

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.