“Seth material” search engine (Jane Roberts)

Now. (Pause.) Your questions about the operation of Framework 2 seem certainly to be simple, straight-forward questions, answerable in three or four or five pithy paragraphs (with humor)—and of course I will try to give you a straight-forward reply.

Now: We want to publish the book—and I will here continue, for our purposes, dealing with a book’s production rather than a painting’s. Still, however, we will keep the idea of a painting for a different reason. Now think of the book’s production and everything connected with it as being part of the same kind of creative activity, but in an arena where events as you think of them become the medium. It is as if—forgive the crossing analogies—the production of the book (pause) is transferred to another level. A living peoplescape in which each person who plays a part in that book’s production now joins the creative act at this secondary level as far as you are concerned.

Now: When you concentrate mainly (underlined) in Framework 1 and its communications with Prentice, then while overall you do achieve results of a beneficial nature—the publication and distribution of the books in a largely adequate form—there are glaring discrepancies also: entanglements that you do not like because you have taken your intent from Framework 2, where the creative event began, and placed it into Framework 1’s communication system almost entirely. Obviously you need Framework 1, with its letters, telephone calls, and so forth—but Framework 1’s communication system, while physically handy, also is somewhat like a very poor telephone connection, with static at both ends.

Now: Framework 2’s communications system is set into motion as a primary rather than as a backup system of communications. When you learn to cut through the static—if you trust the system of communication—this is how it works.

(“I was going to ask about why I had those problems with the urinary tract when I got sick earlier this month. They’re better now, but they’re not cleared up completely yet.”

If you want, make a list of questions that you want to ask. Remember, however, to concentrate now upon, say, Prentice’s failings are an exercise in negative meditation, in negative suggestion, so try, each of you, to avoid that. This session can help, particularly if you make comparisons yourselves along these lines between the private creative event and the mass one. Do you have questions?