“Seth material” search engine (Jane Roberts)

This occurred precisely when you had strong doubts as to whether or not you should stay on the job, and strongly considered it would be best to leave. When you think of leaving you come face to face with the same conflict, for she wanted you to succeed as a commercial artist.

It also serves by giving you another message—that you do want to leave, and that your desire to do so has been affecting your work. If you had to stay, and if you will not be given as much money as you think you should receive, then you will see to it that the work will suffer. This is resentment.

Now I am giving you, presently, the picture as seen by your subconscious. The small but frequent breaks in the fine lines represent those times when the resentments break through. The resentment, carried far enough, could affect your work to such a degree that it forced you to leave, which is exactly what one portion of you wants—and that portion does not care how this is done, though it does not want your painting affected.

Other portions are afraid to leave because of the feelings concerning your mother, mentioned earlier. You are also afraid however, to some extent and under certain conditions, of working, even painting, entirely at home because your father worked at home and did not do well.

You need to take a reevaluation of your situation, and to act upon what you learn. This may or may not mean leaving the job, but it will mean a new awareness of all the issues involved, and your attitudes. Take your subconscious attitudes seriously. Consider them.

(“Well, I guess I’m beginning to. I have thought often that I’d leave the job eventually. I’ve especially begun to think this within the past year.”)