“Seth material” search engine (Jane Roberts)

(Today Jane had been very upset because her control of time seemed so faulty that she wasn’t getting all the things done through the day that she wanted to accomplish—writing, exercises, seeing an occasional visitor, using the phone—whatever she might have wanted to do on any particular day. I’d had somewhat the same feelings today, having managed to “work” at painting for but a couple of hours this morning. The rest of my time had been devoted to chores, it seemed, and both of us felt the day had slipped by without our knowing it.

(Before the session Jane showed me the paper she’d written this afternoon, on the direction she felt that Seth would be taking in Mass Reality. I planned to attach it to this evening’s session, but did not since this is private material. It may be added to the next, possibly the 844th, session.)

It might take you years, possibly, to thoroughly discuss all of the ramifications of that insight, but the original creation comes from Framework 2 into your time. Taking it for granted, again, that physical limitations of time exist. Nevertheless when you become overly concerned with the seeming shortness or lack of time, it is almost always because you have fallen back to conventional ideas: you have only so many moments in a day. But the conventional version says, really, that those are surface moments; that you, say, run from one to the next, as if time were a moving sidewalk with the past moment vanishing forever.

In the first place, your intuitions are of course always working. Regular working hours can give you a time framework you need, in which those ideas can appear, but the ideas themselves, and the insights, often come to you particularly when you are not thinking of work. When you are doing any of a number of other things, encounters with others that often appear as distractions, are instead springboards for insights that you may not have had otherwise.

(10:12.) What I am saying, again, is quite apart from your having regular working hours, but you would do far better to choose another word than “work.” Your intuitive hours, perhaps, or your creative hours—even better—for in that kind of atmosphere the greatest works would result.

Framework 2 and its creativity takes advantage of your time—and will appear within it. But it operates according to the processes of association, and those processes dip in and out of time constantly.

(10:18.) Now: Ruburt’s body is responding far more than either of you presently realize, and this is because in that regard Ruburt’s beliefs have been changing at a fast rate. Here the ideas of responsibility also have some application. He does not have a responsibility to sit constantly at his table, as if creative ideas could only find him there. This does not mean, again, that there is anything wrong with his sitting at his table five hours steadily if he wants to, but that he must loosen his beliefs about work and responsibility.

He did not remember this afternoon’s message. The reason he did not is also the reason why people often do not remember certain dreams. The real communication is not verbal. It is not, say, a simple declaration, but involves realizations and insights of vital import that are given purposefully in such a way that they will gradually be sifted into consciousness because consciousness, the consciousness, would not be able to interpret the meanings in usual terms. This is not a good analogy particularly, but it is as if you received an important communication, say, three paragraphs of great import, with all the individual letters appearing, but not in their proper sequences, and gradually the letters would float together to form the proper words, and then the words would float together to form the proper sentences, and so forth.

Ruburt’s books and my own—that is, Ruburt’s psychic books—are considered nonfiction, clear and simple. The Seven books are considered novels, yet they are not science fiction. It is understood that the author is breaking new ground—but metaphysical ground. Some people who read our other books are afraid to read the Seven ones—for if Ruburt writes fiction, which means not fact, then they fear the line between fact and fiction blurs, and where is the Truth, in capital letters?

(“Oh, about five million of them—but none right now.”)