“Seth material” search engine (Jane Roberts)

(This session came about because of a phone call I took today from the publicity department at Prentice-Hall. The young girl made an innocent-enough request about Jane doing a radio-phone interview with a station in Houston, Texas. A few weeks earlier Jane had tentatively okayed with publicity the idea of doing an occasional radio-phone interview, based on the condition that first she obtain one of those desk microphones/telephones so that she didn’t have to hold the phone for an hour or more. She’s tried once to locate the equipment, but failed.

(For several days now I’d been thinking about a remark of Seth’s in one of the earliest of this group of sessions, to the effect that Jane’s symptoms would get worse before they got better as we tried to cope with them. I’ve wished, often that I’d asked him to elaborate at the time—or at least marked the session so that I could find the remark later. Well, now Jane’s symptoms are worse. Before the session began I tried to locate the remark, but couldn’t. I felt considerable frustration, and finally laid the book aside. “Well, I hope I don’t ever have to find a specific remark in these sessions any more, “because it’s becoming impossible.”

(“But it’s the same old story,” I told Jane when I asked that she have a session tonight, to deal with her hands and arms, and Seth’s remark. “I’m the one who’s asking for it, not you.” What I wondered, of course, was why she wasn’t the one who demanded the help.

Now. I will answer your main question this evening—but I will approach that material of course in my own way, and I will begin by reminding you of some important issues mentioned before.

(Long pause.) As creative people, and as certain kinds of creative people —not being audience performers as musicians, for example—you deal with the creative construction of artistic worlds in which as your friend (painter) William Alexander would say, you are the master magician perhaps—but it is your world primarily, created according to your vision. All of the activities that bring you the largest pleasure in life generally are of that nature. This does not mean that you do not enjoy companionship, or that you do not have a give-and-take with society.

Ruburt began to feel a pressure as the books became better known to carry out a kind of responsibility, not simply to sell books, for example, but to get the message out into the world, to help others—all considerations that seemed to be—he thought—the acceptance of adult behavior on his part: actions that would be more or less expected of him. Again, they were actions that to a large degree went against the grain. They could be performed, however, to some extent, at least some of them, and he could on occasion enjoy them, and he did well enough, for example, with public speaking or the few shows that you did.

He writes because he wants to create a unique world, one in which during the act of creation as a creator he is in charge, and yet while he is in charge he is in contact with a certain magic of creativity that gives him experience with greater realms of being. People of that nature have very private ways, and to some extent now those ways involve a deliberate (long pause) repudiation of the ordinary world—not that they need to stop relating to it, but that they must momentarily forget it in light of another vision. This applies to you as well as to Ruburt. (All very intently.) You do not feel the need to go on tours, for example.

(9:38.) In a way, Ruburt’s symptoms ended up as providing a system of controls, serving in several rather than one area, but areas that he is now exploring in rather concentrated form. The symptoms did serve partially as face-saving devices, and for both of you to some extent, to explain behavior of your own that perhaps you did not understand—though this largely involves Ruburt’s behavior, of course.

The overdone sense of responsibility can erode love and satisfaction. Ruburt “loved” to do housework at one time. Later his ideas of responsibility told him he should be working—not because he wanted to be working, but because he should be. At the same time those same worldly concerns led him to wonder about the validity of his own “messages”—and how responsible he was to the world for them—so the symptoms also served to give him a greater sense of caution, to temper creativity, for all the reasons stated in the Sinful-Self material.

(“You did on the hands and arms, but how about more on the remark you made in that past session, about Jane’s symptoms getting worse before they get better?”)

I did believe that I had answered that question this evening, specifically concerning the radio interviews, but also pertaining to the entire matter of Prentice publicity for the books just published.

Ruburt is just about over those intensifications of symptoms, however, they could be expected simply because the old ideas were being consistently threatened, which added some additional stress. Overall, however, he did not back down, but has persevered.