Session 445

SESSION 445 NOVEMBER 4, 1968 9:07 MONDAY Good evening.

(“Good evening, Seth.”)

A few notes for you.

As you have probably supposed, the contents of closets have significant meaning. (Smile.) With Jane, now, they represent the resources of the subconscious. (To me:) Generally, your attitude is that you want your own subconscious relatively clear. You resent unused paraphernalia, however neatly arranged, because it reminds you of your childhood home.

The paraphernalia, arranged in neat cubbyholes, to you represented paraphernalia of a subjective nature that stood between your father and the use of his abilities. The periodic clearing away in which you and Ruburt both indulge is beneficial from several viewpoints.

(During the last couple of days Jane and I have been going through the apartment, getting rid of accumulated items seldom or no longer used.)

I do not want to go into this particularly this evening, but mention it because of the recent activities. When Ruburt throws anything old out, he does so because he feels he can afford to. He can afford for example to discard old ideas, even those for which he may have some sentimental attachment.

Now give us a moment. (Pause.

(To me:) Your own creativity has also had a psychic basis, and often you have translated such information into your paintings without ever having been aware you have done so. You put up what you could loosely term a psychic screen to protect yourself in your parents’ home. On several occasions you almost allowed yourself to see through the screen to become aware consciously of telepathic data received from them.

On one occasion you were 12, and on another in very young manhood, perhaps 17, but in your last year of school in any case.

(I graduated from high school in 1937 at the age of 17.)

Both occasions panicked you. (Pause.) During one your mind was extremely passive. You were sitting down. I see you bent over a table, either reading or drawing, in the front upstairs room.

You picked up thoughts from your mother, directed against your father, and your father’s telepathic reply. Both of your parents supposed themselves to be thinking about the other. Neither was aware that the other was receiving the thoughts, answering them. They were indeed carrying on a conversation without speaking. Your father was in the living room and your mother in the bedroom. Your two brothers were not in the house at the time of the later event.

The younger may have been in the yard. It was in late fall or winter, early evening. You very clearly picked up the thoughts, convinced yourself that imagination was involved, but knew very well it was not.

The constant line of chatter developed by your one brother (Loren, a year younger than I am) was of course a defense to close out the constant telepathic storm. Your young brother (William, 9 years younger) never set up adequate defenses, so that his own mood swung, willy-nilly, as the psychic climate varied.

Your defense was a creative one however. It turned your natural psychic ability and channeled it into artwork. (Long pause.) The children literally were buffers between the parents. Remember however that there were also reasons having to do with past life experience, and that all of you chose these conditions.

You should however do very well now in periods of quiet in any telepathic experiments, for the screen is no longer needed and you have largely discarded it. The same sort of events occur with infinite variations in family life. At times the natural telepathic abilities can help nurture the children. And remember that you also received many supportive impressions from your parents also.

You may take a break and we shall continue the session.

(9:33. Jane left trance rather easily. Her pace had been average. She said that while speaking as Seth about me, she saw me, within, seated at a table or desk in the front upstairs bedroom of my parents’ home in Sayre, Pennsylvania. I was not seated at a drawing table such as I now have.

(This agrees with my circumstances when I lived at home. In my school days I did not have a drawing table, but worked bent over at a card table in the front upstairs room, with a small drawing board in my lap, resting on the edge of the card table. I shared this room with my brother Loren. Jane has been in the room many times of course, but did not know the particular circumstances of my working just described.

(Jane saw me bent over with my right hand moving, either writing or drawing. I did both at the card table. She did not say from what angle or position she saw me, and I neglected to ask her.

(During break Jane began to get further impressions on her own, and they are noted below. If she was in a trance now it was a very light one. Seth was not involved. It is interesting to see how association works in such cases.

(Jane now said she picked up something about my mother and dishes. My father, Jane said, had to go to a meeting of an organization like the Lions Club. Dues were due; there was something about money. There was a name, Gale, not that of a woman, connected with father .

(“No,” Jane said, “it’s not Gale, it’s something windy, it’s that Dr. Martin. I always think of him as a windbag. He was going to the meeting with your father.” (This is good data also. Jane knew my father had belonged to the Lions Club. She did not know Dr. Martin was also a member, or that my father had been secretary of the club, and consequently handled money in the form of dues. I remember the big book my father used to keep the record of the club members’ dues, etc. In fact, my father and Dr. Martin were charter members of the Sayre Lions Club, initiated many years ago.

(Jane now said my mother had talked with Dr Martin’s wife Emma on the telephone earlier in the day. Emma had bought a new satin gown that day, and my mother was jealous. She was also mad at my father because he couldn’t afford such things for her. Jane said she “was sort of aware of a dress, and a telephone conversation between your mother and Emma.” (A bit later Jane saw my mother in a gray dress with a pin and pearls. She was smiling and happy, Jane said, and went to the meeting also. It was ladies’ night.

(The material given above, aside from the specific points verified by me, is typical of possible situations involving my parents and the Martins, who were good friends in those days. I saw many similar situations evolve and resolve themselves, involving my parents, the Martins, and a few other couples who moved in the same circle.

(9:50. )

The earlier incident involved your father and the coal bin.

He was shoveling coal up into buckets, very angry. You stood in the doorway and actually heard his thoughts in your head. (Pause.) You were so startled and frightened that you ran. In your father’s anger he had wished that your mother was dead, or that she would leave and take her brood with her. (Pause.)

There seems to be another occasion when you and a brother jointly received such telepathic impressions simultaneously. (Pause.) Do you have any questions?

(“I’d like to contact Joseph.” See the Joseph material in Session 444.)

You should be able to do this when you are painting. Do not try too hard. Take it for granted that he will appear to you in the studio, somewhat in the same manner as your other visions, But alone, normal size. You may feel his presence first, and then look around to see him.

(“Can there be an exchange between us?”)

It is possible, of a telepathic nature, and at the same time that you see him.

(“Why does my brother Dick want to stop here in Elmira to see us before he goes on down to Sayre to see our mother on Saturday?”)

For support of an emotional nature.

He may also ask your opinion as to whether or not he should ask his mother to live with him. Whether or not he asks, he has been strongly considering it. It would be a very poor move.

(“Yes.”)

It would also break your mother’s heart; for she does not understand this son at all. Of course he is concerned over his own health. You are too guarded when he asks for recommendations, and Ruburt’s impulse there has been correct. He also looks to you for guidance, and basically (underlined) seeks your support.

Do you have further questions?

(“No. Why don’t you just continue?”)

Give us a moment. (Pause.) Do you want more material in the line of what has been given this evening?

(“No, I guess not.”)

Now. As a rule anything that you know is categorized by you as either memory or present experience, since usually you do not realize you have practical knowledge of what would seem to be the future. Your own knowledge of Joseph is, for example, from both past and future.

In dreams and reverie you may recall past existences. (To me:) You will not reincarnate again in physical terms, but those who will can also have dreams in which they catch a glimpse of their own future life.

(“Could I reincarnate again if I chose to?”)

If you chose to, you could indeed. (Smile.) In your terms, you have already chosen not to. You can however have dreams in which you can catch a glimpse into your own next existence, which will not be in your known physical plane.

(“As far as you know, in our terms, will I ever again have anything to do with physical manifestations?” (Smile.) Now. You will indeed. But you will not exist amid objects that are taken at face value alone. Do you follow me?

(“Yes. That’s what I meant by the question.” (I thought this a neat bit of telepathic exchange, for as I asked Seth the question, I expected to receive just that kind of answer. I thought I would see physical manifestation again, and in an environment that was not slavishly dependent upon objects.)

Both you and Ruburt, in your dream states, have already to some degree become acquainted with what your work will be. Because of your love of images, and Ruburt’s love of words and rhythm, you will both still utilize these characteristics. Shortly I will tell you what this work will involve.

(“Has this love of words and images always run through our various lives?”)

It has indeed.

(“But it hasn’t come out as the artist and the writer in these past lives?”)

Ruburt, at one point was an artist as a male. Give us time here. (Pause.) You at one time combined music and words. You did not write music. (Long pause.) Both of you have always been strongly creative, have always been concerned with translating inner reality outward.

You were involved in some cave drawings of animals, and have always been drawn to animals. We will try to get this clearer on another occasion, and you may question me on it. For now, Arpennez (my phonetic interpretation) comes to mind in connection with the caves.

(Long pause.) You may take a break or end the session as you prefer.

(“We’ll take the break.” (10:23. Jane left trance easily enough. She remembered little of what she had given. I explained to her about what I really meant by my question concerning physical life in the future, and she then said that Seth was going to comment on our experience in physical reality in new ways in the future, rather than experience a lifetime of continuous physical creatures.

(10:29. )

Now. Your abilities will be developed as far as you can develop them within this plane of existence.

You will then develop them further. (Smile.) You still have 4th-and-5th- dimensional art to learn. You have only gotten your feet wet. (Leans forward, eyes open, emphatic.

(“Good.”)

You will be able to create so that your creations exist in more dimensions than they do now. You will have more challenges and problems. Those who view your creations will also have more abilities than they do now.

Your creations then will endure according to the intensity you give them. No natural elements will destroy them, yet they will only be observed by those who can understand them. For many they will exist as beacons. They can also be observed briefly by those still within the physical plane in the dream state if they are far enough progressed. You will have far more material to work with. (Smile; emphatic. Long pause.)

I will have more to say along these lines when we get to it, or when you ask me. Remember that I told you both that you have already begun your work. Someday you may even inspire other artists still within this field. Ruburt will do the same. (Pause.) You will help give knowledge and inspiration to others even while you continue to develop your own abilities on another level. Now unless you have questions we will end our session.

(“I guess not then.”)

My heartiest wishes to you both, and good evening.

(“Good night, Seth, and thank you.” (10:40. Seth then returned briefly: )

Jane should listen for Ruburt.

(We weren’t sure what Seth meant by this.)