“Seth material” search engine (Jane Roberts)

(At the end of last Saturday’s session, I thought of two questions for Seth. They were based upon his discussion of the Cézanne book, and our changed attitudes, as demonstrated by our sending the books out. Jane suggested I write them down for tonight.

(2. Did Cézanne “himself” have any sense of awareness, or of completion, connected with Jane’s book and the New York City show happening at the same time? Seth had said that William James did, in connection with Jane’s book about him, and his interest in gifted mediums. My own thought at the moment was that something different, or at least not the same, was involved with the Cézanne events—less personal.

(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.

If he is considering his own personal situation, however, let him remember that the firewalker utterly believes in his ability. He does not worry that he will be burned. He walks on coals as automatically as Ruburt writes, or speaks for me. His feet are not burned simply because he has faith that they will not be. The performance is evidence of the fact that beliefs have a far greater effect upon the body and its capacities than is anywhere seriously considered. The man’s focus is there, as Ruburt focuses in his work. He has learned to focus faith in a highly specialized fashion, and has built up a backlog in that area.

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.

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.

His inspiration comes now from all of history, and from that larger reservoir he forms the new focus of his art. It was his secondary interest in writing, largely unexpressed in life, that formed some connective between he and Ruburt.

The thighs are being worked on considerably. Following these procedures, the body posture can gradually right itself, and the necessary muscles will already have been activated and strengthened. Again, concentration should be on his creative activities, though he should read his statement, as he has been doing. The process also includes psychic insights and experiences, and all of these patterns fit together in ways that will be quite apparent after he has recovered.

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.

I will end the session for the sake of his mouth now—