“Seth material” search engine (Jane Roberts)

(Long pause at 9:49.) In a way, the external politics of the situation within your country is helping Ruburt to understand his own position far better than he did earlier. It is helping him clarify some issues. There were always two faces to his endeavors—the private search for understanding, and the public expression as a writer. In a fashion this applies to most endeavors of a creative kind. The painter’s painting is a result of a private search, but in a gallery it becomes a public expression.

He was taught to be very cautious lest that livelihood be taken away. The only private fears he had were also old ones, having to do with the whole false-prophet syndrome, the fear of leading people down the garden path, and so forth. Those private and public arenas became connected, however. (Long pause.) He was worried that his natural expression and search, publicly expressed at that point in history, was dangerous because it put him in the gaze of a growing band of fanatics on the one hand, and also roused old fears of a private nature, having to do with the overall validity of revelatory information.

There is much material, of course, dealing with the hostage situation, for as it in a fashion echoes Ruburt’s own situation, so it also symbolizes the situations of many people, which is why the affair captures the attention of the world. Have Ruburt use his recorded suggestions again for a while. (Pause.) Ruburt feels that some of the threats he felt hidden in the world are now out in the open. They actually seem less dangerous than they did before for that reason. To some extent or another there are always social as well as private aspects to a person’s state of health.

At the same time he feared that the spontaneous self could get him into difficulties (long pause), because he had no way of knowing where his own search might lead him—and particularly he feared that it might lead him into conflict with the rest of the world.