“Seth material” search engine (Jane Roberts)

(Long pause at 9:20.) Ruburt’s creative nature early began to perceive at least that man’s existence contained other realities that were deeper. (Long pause.) Some of this is difficult to separate. To leave the church, say, meant to carry still some of the old beliefs, but without the Band-Aids that earlier offered some protection.

He began to search actually from childhood in a natural fashion toward some larger framework that would offer an explanation for reality that bore at least some resemblance to the natural vision of his best poetry. I have said before that many creative people, highly gifted, have died young in one way or the other because their great gifts of creativity could find no clear room in which to grow. They became strangled by the beliefs of the cultural times.

In that regard, Ruburt’s creativity kept struggling for its own growth and value fulfillment. His psychic recognition or initiation represented a remarkable breakthrough, meant to give him that additional psychic room that would insure the continued expansion of the abilities of the natural self. The Sinful Self concept is a personal one for each who holds it, but it is also projected outward onto the entire species, of course, until the whole world seems tainted.

At the time the sessions began (pause), the world was beginning to seem senseless, truly incomprehensible, to anyone who held any sense of poetry or sanity. Your private lives were showing their own difficulties, and the national situation was horrendous. Ruburt’s creativity broke through those frameworks to provide our sessions and to release the psychic abilities that had earlier been nearly but not completely repressed.

(Long pause.) Ruburt broke through both psychically and creatively—that is, the sessions almost immediately provided him with new creative inspiration and expression and with the expansions needed psychologically that would help fulfill his promise as a writer and as a mature personality. He was still left, however, with the beliefs in the Sinful Self, and carried within him many deep fears that told him that self-expression itself and spontaneity were highly dangerous.

In that regard, you have what amounts to a creative dilemma.

(Long pause.) The superself image itself seemed to condemn him, of course, since he felt he could not live up to it—and therefore along the line somewhere both the superself and the Sinful Self became in their ways joined, or at least allied. Through all of that Ruburt of course looked for further creative developments and intuitive breakthroughs, for, again, he needed more room.

With his mother dead it seemed highly unsporting to cast, for example, any aspersions or express fresh anger against injustice. In the meantime, his own understanding was growing, and his creative capacities. In my book we rather elegantly pinpointed those precise problems that have so tainted your world, and in God of Jane Ruburt made an excellent attempt to uncover the nature of the Sinful Self, and to outline the dilemma.

Now those books were the result of value fulfillment and creativity. They were necessary projections of understanding and growth. They were also bound to bring the entire concept into light, to bring the problem to the surface. Ruburt therefore encountered newer bouts of symptoms that effectively demonstrated and mirrored the feeling of lack of mobility. Again, he needed room to grow.

(10:08.) The psychic abilities and the creative abilities—nearly impossible to separate—themselves provide all of the help that he requires, but the concept of the Sinful Self prevented him from using those abilities sufficiently—for how can the expressions of the Sinful Self be trusted?

The creative abilities, again, can help provide the necessary psychological motion and direction—they have in a large regard in the past, but they have not gone far enough. They have not gone far enough because Ruburt did not come to terms with his private version of the Sinful Self, and therefore still kept himself open to all of the negative conditioning that is so involved there: a conditioning that views all creative expression with distrust.

(Long pause.) Those beliefs to some extent or another appear without their strong religious connotations in your own life and background also, and this will also be discussed in the series. The idea of Ruburt’s book (on rationalism) is a good one because it represents creative impetus—undertaken, however, in the light of newer understanding, and I will have more to say concerning that issue.