“Seth material” search engine (Jane Roberts)

(I did want the situation resolved, however, because I could see it drifting toward a larger hassle with Tam and publicity at Prentice-Hall. Prentice-Hall was bound to be confused about our motives and intents, and also there was the latest evidence that the uncertainty or resistance would lead to aggravated symptoms on Jane’s part.

(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.”

(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.

Why didn’t he go on television like other psychics, or have an organization, or at least have workshops, or seek out learned men and women “in the field,” when it seemed that the dictates of normal behavior would suggest such activity?

No conscious decisions were ever really clearly made, because Ruburt felt that ideally (underlined), if he were giving himself true freedom and being true to all his abilities, he would and should be performing in such a manner. He would naturally want to be at least on the most intelligent of television shows, for example, or speak to those groups for which he had some respect.

As he began to understand to some degree that he need not be expected to do tours and so forth, he thought of the radio shows as alternate ways of fulfilling his responsibility. The information I gave about his arms in the past was correct. It is also true, however, that his hands and arms became more aggravated in their condition precisely because he did not want to be able to hold the phone to do an hour show. In response, he thought about a gadget that would automatically allow him to speak without holding the phone for so long—this in response to Prentice’s latest project. Tam hinted some time ago that additional ads and advertising to that effect would probably take place. Chronic physical disabilities and problems drag on in a certain fashion because they serve many purposes, and the last groups of sessions show the interior and exterior kinds of controls that those symptoms have provided.

I do not mean to make derogatory statements concerning your social world. Generally speaking, however, the kind of person who performs as a public figure is not the kind of person who could produce highly creative material of an original nature. The public format requires a kind of social shorthand that does not allow for the development or expansion of ideas or creativity, so that the attempt to explain anything like “our work” would be extremely difficult in that regard. We are not speaking to the mass world, and television is set up for the mass audience, for the other-directed part of people.

In Ruburt’s case throughout these years, the idea of responsibility took over too much prominence. (Long pause.) His difficulties with inspiration arise when he forgets his ideas of natural enjoyment and replaces those with the idea that “he has a responsibility to use his abilities”—as if he would not fulfill them motivated by his own enjoyment and love.