“Seth material” search engine (Jane Roberts)

You have nothing to fear financially as far as Ruburt’s position at the gallery; his outside condition in the world will improve; again, because of inner expectation. Whether this improvement takes place in connection with the gallery, or whether it takes place in another working area makes no difference, and need not worry nor concern you.

[...] I have more to discuss on the nature of matter, and some remarks, at least, pertaining to the house; and Ruburt’s position at the gallery, if he decides to let me through.

[...] Nevertheless, I can tell you that you will have no financial difficulties; nor should Ruburt feel any fear concerning his own job at the gallery, in terms of the house and finances.

[...] Jane’s friend Dee Masters, who had once been director at the gallery where Jane works, and who has been dealt with by Seth at various times, was doing something at an agitator-type washing machine. [...]

There is also a reason why Ruburt saw the former gallery administrator in the old woman dream, immediately after he perceived the old woman dead. [...]

(“How about the Gallery Magazine deal?”)

[...] On your part, the relative greater importance of such a project to you over that of the writer (for Gallery) means that your attitudes will predominate. [...]

[...] They served to show why you worked at home, or did not sell your work at galleries: you had to take care of Ruburt. [...]

[...] Since you both have such mental agility and a history in this life of health and vitality, that history can be used by Ruburt, if he recalls himself running up and down the steps of the art gallery, for example. [...]

(It might be added here that on my daily trip downtown, taking Jane to work at the gallery, I mailed the first 38 sessions of the Seth material to the American Society for Psychical Research. [...]

[...] The aggressive feeling, unharnessed, would have caused difficulties at the gallery, and even in your personal relationship. [...]

You are secure as long as you put a good portion of energy into painting, but this distortive expectation of yours could end up making you bitter even against your painting; because even when you are pleased with your work, it could tend, definitely, to prevent you, in strong terms, from seeking not only financial reward from it, but other satisfactions as well by preventing you from showing it where such showing in galleries and exhibitions throughout the country is important.

[...] Ruburt’s idea of taking the children’s classes at the gallery is a good one. [...] I would caution him to be very calm at the gallery during the next two weeks. [...]

[...] Afternoons were spent at the gallery. [...]

[...] I mentioned being able to put myself in a dissociated state at the gallery when things got sticky and said that this saved lots of effort on my part. [...]

Ruburt has passed the crisis point as far as his own sphere at the gallery is concerned, for which I am thankful certainly.

It goes without saying that he will not stay at the gallery for any lengthy time in any case, and this is as it should be.

[...] This was at 1 PM; I was due to pick it up at five, then meet Jane at the gallery to drive her home.

(Making my feelings plain, I thought, without saying much actually, I left the garage and walked down to tell Jane, who by now had left the gallery and was waiting for me outside. [...]

(Last night was the official opening of the Chemung County Artists’ Show at the Arnot Art Gallery, where Jane is employed part time. [...]

[...] We were due at the gallery at 8:00.

[...] With painting it would be the gallery. [...]

[...] At the same time, because of matters discussed before, you will not deal with the galleries. [...]

[...] (Jane may use this material in the appendix.) I wanted to tell you that when Ruburt sends off his book we will try to give you more information on the art gallery material.

No question from the gallery? [...]

[...] Afternoons, instead of working at the gallery, I would suggest that he busy himself with my book. [...]

Had he left the gallery when his novel was published, he would by now have one and a half times his present income from writing. [...]

A few days after the last session, I sat in my small office at the art gallery, looking out at the landscaped yard. [...]

Remembering how upset I had been about the death of the starlings, Rob asked, “Could you say something about the birds that were killed at the gallery?”

[...] To your not-so-silent gallery group in New York, for example, you have the power, which may surprise you in some of your querulous moods—but you have the format, the attention, that such people envy and resent.

[...] Jane had an image here, of a rectangular card of the kind that used to be sent out by an art gallery where she worked up until a year of so ago. [...]

[...] Jane believes this data grew out of the gallery card data interpreted under organizations on page 186. [...]

He should go to the gallery two half-days if necessary, not one full day you see.

(Tonight Jane was asked to do some mailing work at the gallery where she used to work.)