“Seth material” search engine (Jane Roberts)

(1. Was there any connection between Jane’s Cézanne, and the New York City Cézanne show appearing at practically the same time? Did this have Framework 2 connotations? Both projects had been underway for a long time before surfacing to the public. See the note about William Rubin and the Museum of Modern Art, at the start of the last session.

(Last night we watched on television Alan Neuman’s show on the paranormal. We liked most of it quite a bit. See the clipping on file. His secretary wrote Jane on October 13. After the show, Jane wondered about Framework 2 immediately responding to the efforts shown by some of the gifted people on the show—those doing the firewalking, moving objects, fogging film, etc. The results were obtained without delay, evidently from Framework 2. Of course, Jane wanted these results for herself, also. She wondered if Seth might comment on this question, as well as the show itself. She wrote Alan Neuman a letter; this morning I mailed him a copy of Cézanne.

(Instances of the operation of Framework 2 keep cropping up. Two happened today, or at least I felt that one happened today, and we heard about the other one today. Frank Longwell cited a case whereby his brother Waldo obtained encouraging answers to a set of business problems that had been bugging the Longwells for some time. The setting was a restaurant Waldo had never been in before; the urban renewal director came up to Waldo and offered just the help needed, without being asked or previously contacted, etc. This is a simplified version.

(The second instance involved the hassle we’ve been involved in with Elmira Video over mistakes in our billing. Has been dragging on since July. All the details are on file if needed for reference. Friday afternoon, when we received another erroneous bill, Jane called Elmira Video; the bookkeeper, Mrs. Trafzer, promised to call Monday to tell us what we owed. Over the weekend I found myself stewing about the silliness of the whole thing several times. I thought of legal action, among other things. Monday morning as I painted, I found myself doing the same thing. Rather irritably I told myself that I was throwing the whole thing into Framework 2, and that I wanted it taken care of.

(At breakfast I’d even considered paying the whole bill demanded of us—I told Jane—just to be rid of the entire affair. Late this afternoon Mrs. Trafzer called, as promised to tell us that we were to forget the bill and to send in the regular monthly payment of $15.94, instead of the $33.00 we were charged with. Something about her not being able to trace the skein of payments and errors through their computer, she said. We expected to pay more, of course. It took me a while to realize that I had received an answer from Framework 2, and that for us it couldn’t have been better.

The man not only walks, but he walks on fire—to most, a seeming impossibility. It seems to Ruburt that the firewalker must have an instant rapport with Framework 2, that Ruburt does not possess. Ruburt is in fact in constant rapport with Framework 2 when he is writing or psychically involved, and often he has contacts with other frameworks also.

It is difficult to explain some of these issues, for in doing so I have to watch your attitudes, to avoid any concentration upon seeming contradictions. (Long pause.) The fact is that the processes necessary to the desired end are instantly put into action in Framework 2. There is immediate response in Framework 1, though it may not be apparent because the conscious mind is not always equipped to recognize significances that are outside its usual context.

The firewalker’s performance involves one overall clear-cut performance, in which faith has already been achieved, as in Ruburt’s writing, say. In the case of Ruburt’s physical situation, the response from Framework 2 has been immediate. The conscious mind is not able to follow the pieces of the puzzle, so to speak, as it is being put together. A sensation here, another one there, a pull of tendons, a sudden softening of tissue—such matters cannot be consciously interpreted. The response has not been complete, but it has been immediate.

(9:58.) Give us a moment.... I do not want Ruburt to try too hard, but I do want to explain the characteristics of Framework 2 as they interwork with your world.

It is possible, then, to have a sudden complete healing. In most such instance, however, the inner work has been progressing in Framework 2, and suddenly emerges in Framework 1. Desire, faith, and beliefs are the keys.

Frank’s experience concerning his brother is a case in point. His brother did not know that the urban renewal gentleman was in that particular restaurant where the two might meet, and until the meeting did occur nothing showed in Framework 1, though much was occurring in Framework 2. The creative potential knows exactly what changes must occur in Ruburt’s body so that he can walk normally. It also knows what changes must occur in his mind—what conflicts must be resolved, and all of this is being taken care of. The process of his complete recovery includes body events and other events that may seem to have no connection—events perhaps that will change an attitude here or a belief there.

Your lack of knowledge can lead you to insist upon your own ideas of what must occur, or how or when. All of those people who might in any way help Ruburt change certain beliefs, for example, are notified in Framework 2, so that the most auspicious psychological events occur, triggering further body releases.

Give us a moment.... Ruburt, you see, does not say “I must have a certain new book next week.” He is so sure of his ability that he produces far more books in any given time than the majority of writers. Only his doubts lead him to worry that recovery might take too long. The recovery is taking place now in Framework 2. The now is important.

The Cézanne book, the show, your own interest in Cézanne, and your own painting abilities are also connected in Framework 2, along with the fact that Cézanne himself had a secondary interest in writing, that fell by the board, so to speak. Your own art interests have always attracted artists to our books in general, through Framework 2’s constant communication. There are individuals who go through many lifetimes with one main interest or desire, attaining finally a culmination that they have sought for. Cézanne was such a one. In those terms, his interests are now the same, but he no longer looks upon his historically known works, but considers them as background pieces, so to speak. He paints in another reality to which his own intent has led him, except that his creativity has opened up so that he no longer feels the same need for isolation.

Remember that the organizations in Framework 2 are different than your own, so you cannot know the means, but trust they will be taken care of. The statement and release of desire is all-important, and some psychological activity on Ruburt’s part has already occurred lately, that will be very important here.

You are also being treated, so to speak, with a variety of examples of how Framework 2 operates, and you will learn to recognize when you are making excellent contact there. Framework 2 includes all of the creative work behind the scenes, and your desire brings all of the necessary events together.

Ruburt’s desire to walk normally for that matter comes from Framework 2, for it is a natural desire, in harmony with his basic being, that would flow into actuality on its own—had he not put impeding beliefs and contradictions in the way, so that the desire itself was buried beneath, say, debris.

—but you should have further experiences yourselves with Framework 2 before our next session. I believe you can count upon it.