“Seth material” search engine (Jane Roberts)

There are close psychological connections in all cases—psychological web-works, and psychic recognitions that bring together the slayer and his victim, and these are known to the inner self. The stature and meaning behind the victim adds to the horrible nature of the act, and of course this is the point.

The point would not be nearly as clearly made, you see, were the victim a man giving himself to crime. He must be in one way or another a symbol of those idealized qualities that the individual and the massed natives of the land give lip service to. These ideals are highly vital and important. The strength of the inner unrecognized hatred and aggression can be disastrous, and yet it works for the service of the ideal.

(Here Seth refers to a portrait I am working on without a model, of a bald man with rather young features. He is fully bald, and as I painted it I wondered why he was bald. See the 401st and 402nd sessions. Seth then gave the artist’s name as Van Elver, saying he was from Norway or Denmark and that he was giving Seth painting data to be passed along to me.)

(After Seth withdrew, she said, the energy was still around her and she didn’t know how to get out of it. She needed the touch for physical reassurance. The state, she said, was like being lost in work, but much deeper than this.