“Seth material” search engine (Jane Roberts)

Painting is really unalloyed fun for Jane. Not that she doesn’t have her failures, but her work has greatly improved since we met in 1954, and in ways that I hadn’t foreseen for her. Indeed, I now think that my wife is a better painter in her way than I am in mine. This doesn’t mean that I’m knocking my own abilities in any way. Jane is freer. She works in oils, acrylics, and watercolors. When painting she knows a release from time, care, and responsibility that she doesn’t experience otherwise—and surely that pleasure emphasizes qualities of living that Seth has always stressed. Her painting is her unhampered creative translation of the Seth material into pigments instead of words. Because of her defective vision Jane sees perspective differently than I do, yet achieves her own kind of depth with her “instinctive” designs and color choices. Her art contains a charming, innocent, mystical freedom that I envy. She’s produced many more paintings than I have in my own more conventional, more plodding way [although now I’m working faster than I used to]. I think that any assessment of her writing and psychic abilities will have to include a close study of her painting. To me, the lessening of Jane’s physical mobility has resulted in a strong compensating growth in her painting mobility. I also think her painting reflects her free physical motion in her dreams. Hardly accidental, any of that. I’ve seen her turn almost automatically to the relief that only painting can give her.

“I believed in the soul’s survival first of all, and inspired the ‘creative self to step out as freely as possible even while in my heart I [also] believed in the existence of sin and devil. I felt upon my heart the heavy unkind mark of Cain, sensing that humanity carries (unfairly) the almost indelible strain—the tragic flaw—[of] being tinged by sin and ancient iniquities. Thusly I reasoned: If I am flawed I must automatically distort even those experiences of the soul that seem clearest. I must unwittingly fall into error when I trust myself the most, since I share that sinful propensity. Yet despite those feelings did I (did we) unswervingly set forward.”

“I accept everything in the book, but I think I felt that if I was going to tell it like it was—and I was, was determined to—then I also needed more protection from the world, and began cutting down mobility again. My idea is that the eyes get bad after the muscular strain reaches a certain point. The idea [of protection] also came back after reading a book on William James that a friend gave us for Christmas. [James’s] attitudes and mine so often seem similar—that he was determined to be daring, press ahead no matter what, explore consciousness—while at the same time being attracted to safety, disliking controversy, wanting peace, etc. I think I am that way. The long breaks when Seth didn’t dictate [book work] may have come when I got particularly concerned about the material, the wisdom of presenting it to the world.

“Lately I’ve been working with ideas of safety, saying and believing that I AM safe, secure and supported and that I DO trust my natural spontaneous motion. NOW as I write some old dumb stuff comes emotionally to mind—my mother saying that I’d destroy those I loved or some such nonsense. But it’s as if I always felt that spontaneously, left alone, I’d end up taking away people’s comfort blankets, and I felt bad about that, even while I knew that those philosophic blankets were wormy, had to go. And I do see that I’m offering something far better….