“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.

(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.

(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.

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.

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.

(10:25. Jane said that she didn’t feel that she was “quite with it, tonight,” for some reason, although I thought her material was as good as ever. Not that she didn’t feel like having a session, she added. She was speaking with a number of long pauses interspersed. Resume at 10:35.)

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.

(10:51 PM. I was tempted to ask Seth what life he was referring to, but that would have kept Jane talking longer.)