“Seth material” search engine (Jane Roberts)

(Jane said she’d first called me for the session at 8:20, but I had been working in the studio closet and hadn’t heard her. She called again at 8:40. It was 9:00 by the time I got settled—and she still didn’t “feel him around”—meaning Seth, of course. She added that she was having the session because she supposed she ought to.

This applies to everyone, of course. All of you have a hand in the formation of world events. Those connections are worked out at all levels of reality, in the waking state through your communication devices and culture, and through the far more complicated arena of the culture of dreams. Your dreams are your own, yet they interact with others, and the dreams of others are background issues in your own dream encounters.

In your times the individual problems of masses of people are bound up with such issues, and as they work toward their own solutions, then in their own ways they help solve problems at the level of world action. You are quite correct: Ruburt spent many years “building up his defenses.” Determined to use his abilities, while also determined to protect himself, and from (pause) any danger that those abilities themselves might carry with them.

Your country, for all of its obvious errors, still is one in which such issues can best be worked out both philosophically and practically. Now in both of your lives, you have managed to express creative abilities to advantage, to draw upon these not only at isolated periods of your lives, or in partial form, but in such a fashion that they have provided you with continuing frameworks of self-discovery and creativity—so when you are counting accomplishments, remember that (in reference to question 2.

(9:49.) There are qualitative leaps that exist impossible to bridge with the intellect alone that separate, say, well-meaning, adequate-enough attempts toward artistic achievement, and works that are of themselves naturally artistic exhibitions. A lifetime of concentrated effort and intellectual concern alone will not, for example, turn a poor poet into a good one. Techniques may improve, the work may become more polished, but the quality of the poetry itself is what is important.

Ruburt then has indeed been involved in working out his dilemmas, both in their private and public nature through the use of such dream techniques, the subsequent feelings aroused in the daytime, and the intuitive resolutions and insights that then occur. He has not “given up” the book sessions, by the way, but suspended them for these sessions, to give you more time, but they are merely in abeyance.