“Seth material” search engine (Jane Roberts)

(I might add that Frank Longwell has suggested that Jane’s extreme slowness of movement currently stems from healing changes taking place in her muscles, and that such movement is protective in nature. Perhaps, I said, but the slower motion doesn’t appear to be leading anywhere, as one might expect it to. We gather that Frank isn’t particularly in favor of contacting the medical establishment, but what is one to do, I asked Jane, if one cannot bring oneself out of his or her difficulties unaided? Jane has been having steadily increasing difficulties in the bathroom ever since the last private session was held—and, of course, even before that. Seth has said often that just because one has physical difficulties does not mean those problems are fated to get endlessly and progressively worse, but this hasn’t been born out in Jane’s case —so far. How much longer dare we wait? Jane herself said during Jim Adams’s first visit that “I don’t want to go to any hospital for tests.”

(Jane had thought she might not be able to have a session tonight, but she began to feel Seth around soon after I began writing these notes, at about 7:30. She did well in the session, if rather slowly, but at the same time I became more upset and frustrated as Seth spoke.)

The physical condition itself, on that level (pause), is caused (long pause) by “improper” relationships—that is, things not working together well, though the parts themselves are not diseased, per se—and that is the result of stress, habitually applied, of bodily habits. Ruburt’s reaction to the books is partially responsible for the latest difficulties, but so is the creation of the crisis situation itself.

(For the record: Seth referred to Tam’s letter in which he informed Jane that Prentice-Hall had granted her a continuation of the old contract terms and royalty rates. The new organization at Prentice-Hall, the General Publishing Division, has announced a new, reduced system of royalties, but Jane continues as she has been. Tam also sent Jane a copy of the new Prentice-Hall contract form, but informed her that she can continue to use the old one she’s accustomed to, if she wants to.)

(Pause at 8:30.) His fears have to a strong extent come out into the open: the fear that he will not be able to go ahead or of blockage, that fear being physically translated—but again, it stands for an inner fear that he has creatively blocked, or psychically blocked, that he has learned—that his own fears stand in his own way and cannot be resolved, or that he is at an impasse.

Ruburt’s nature leads him toward the kind of creativity he is naturally embarked upon. It represents his true nature. The fears and difficulties may be deeply ingrained, but they are largely learned. To cut down on creative activity will not alleviate the situation. An overconcern (underlined) about the mechanics of publication, or the necessity of publication, or the wheres and hows of publication, or a sense of responsibility about the work, can indeed cause difficulty, but the basic creative expression—which has been impeded in the past by fears—should still be encouraged.

Our material does not work by providing bandages, but by providing an overall aura of creativity that in itself generates self-healing and self-understanding—and that is how other people are helped.