“Seth material” search engine (Jane Roberts)

His problems are cosmic in their proportions, or so it seems to him. He has excitement, again, drama, some freedom. These are his boons. On the one hand he knows that he is involved in a façade, playing a game, pretending to be mad. On the other hand, the game itself is becoming too real, getting out of hand, and it has prevented him from learning ordinary skills, say, which seem to be mundane and too ordinary and beneath him.

I am doing my best to explain. I do not want you to think I am without compassion. Novelists create heroes who must overcome obstacles. Some such characters are brave and upright; some of your heroes are scoundrels. Then there are, say, the hunchback of Notre Dame or Frankenstein. In your living you literally bring your ideas to life. You form the story of your life. You are involved in a study of the full dimensions of experience, in the interpretation of events themselves. You are involved in a living process—but one of such multidimensional activity that sometimes you see of course but one chapter in a saga whose full complexion is far different.

When the entire affair really frightens him, he will look for another solution, and it is too bad your institutions of therapy do not help. Guided imagery could help him, for example, but he would need supervision. Ruburt was quite right in the method he used in speaking to him, and my presence would not have served. He would only have used it, as Ruburt said he would. The creative challenge is there for him, and it is one he chose himself.

All of that is quite in keeping with your own intents, and with the study of human nature with which you are involved. You are then further motivated to seek other answers than the official ones.

Give us a moment.... Be sure you do not close your eyes to the miracles of the world. Your point was a good one—the young man walked a good way—the energy was there to sustain him even over his delusions. Beliefs show themselves, however, far more clearly, and can be examined better, through the type of experience those people bring.

Always remember the vitality that sustains them, and that supports them. It is not withdrawn, even though the constructions they form may seem to be extremely faulty. There is much left unsaid, simply because some information available to me cannot be translated properly in ways that will make sense to you. There are explorations of emotional content, for example, very difficult to explain, in which intensities of emotion are explored for their own sake, as one might experiment with the values of red or black—not caring what the form of the painting was.