“Seth material” search engine (Jane Roberts)

(9:19.) Remember that cells have consciousness, so while I say these leanings are biologically entwined, they are also mental properties. Drawing in its simplest form is, again, an extension of those inclinations, and in a fashion serves two purposes. Particularly on the part of children, it allows them to express forms and shapes that they see mentally first of all. When they draw circles or squares, they are trying to reproduce those inner shapes, transposing those images outward into the environment—a creative act, highly significant, for it gives children experience in translating inner perceived events of a personal nature into a shared physical reality apparent to all.

The house, as you recall, was highly formal, impeccably clean. [Mrs. Steffans] tried to live on the outside, while she was always concerned with inner issues, and it was on your parts indicative of a creative tension between the two. That is, you could certainly put that atmosphere to use, where she was unable to.

(Pause.) In a fashion the house itself yearned toward a flexibility, more openness with the elements, and the woman was attracted to it for that reason. You have not reacted to any negative influences in that regard, but in a fashion through your creativity helped reconcile what were conflicting elements.

2. For a brief description of Jane’s encounter with Mrs. Steffans, see Note 13 for Session 744, in Volume 2 of “Unknown” Reality. Seth, and Jane and I, described a number of our house-hunting adventures in the two volumes of that work. Those complicated, interrelated happenings are just as fascinating to us now as they were when they were unfolding; we have yet to publish their full story. We think that the events surrounding our purchase of the hill house furnish many clues to the spontaneous and creative workings of individual consciousnesses in our chosen physical reality.