“Seth material” search engine (Jane Roberts)

(That statement, in fact, plus her desire for material from Seth on a question of her own, made her wonder whether we’d even receive any book dictation tonight. Then, no sooner had we sat for the session than Jane asked me to write down what she was about to say, since she had the material available whether or not Seth got to it: “A new part, or chapter heading: ‘People Who Are Afraid of Themselves. Controlled Environments, and Positive and Negative Mass Behavior.’” I told her I thought Seth would not only have plenty of time to cover our respective questions, but would come through with some book work too, and this was the case.

(9:15.) Your [painted] faces represent such a recognition. You always thought (underlined twice) that your artistic talent should be enough. You thought (underlined twice) that it should be your consuming passion, but you never felt that it was — for if it was you would have followed it undeviatingly. (Long pause.) For you, painting had to be wedded to a deeper kind of understanding. Painting was even to be a teacher, leading you through and beyond images, and back to them again.

Your painting was meant to bring out from the recesses of your being the accumulation of your knowledge in the form of images — not of people you might meet now on the street, but portraits of the residents of the mind. The residents of the mind are very real. In a certain fashion, they are your parents more than your parents were, and when you express their realities, they are also expressing yours. All time is simultaneous. Only the illusion of time on each of your parts keeps you from greeting each other. To some extent, when you paint such portraits you are forming psychic bridges between yourself and those other selves: Your own identity as yourself grows.

(“Well, I think I felt that way last week, when I was working on my latest head. That’s why I wrote those notes — but I didn’t take the time to discuss them with Jane.”)