“Seth material” search engine (Jane Roberts)

The crisis situation led him to concentrate upon his difficulties, which aggravated his stress, of course. The discomfort and concentration cut down on his creative abilities, which added to the problem. The books were held up, mine being only recently released, and as yet he has had no reader response, which does provide him with a kind of feedback.

(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.

All of the material I have given about attitudes toward revelationary material are important in that context, and please realize that I am categorizing. To that degree and in the light of this discussion, you end up with what I will call —and have in the past called—the overly conscientious self, which attempts to deal with the attitudes of the Sinful Self by checking and double-checking all the time, by being, in other words, overly conscientious: is Ruburt dealing with “the truth,” and so forth? That kind of question is endlessly considered by the conscientious self. You are taught as children to be honest in very literal terms, and often children’s natural imaginative abilities and creativity get them in a good deal of trouble.

When our material began to deal directly with the world, then, Ruburt’s questioning intensified. At the same time, however, the self will not be denied its creativity, and it will most stubbornly seek out those areas of its own expression, so not working on my book will not help solve Ruburt’s difficulties, and may indeed aggravate them, simply because of the further inhibition of expression.

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.