“Seth material” search engine (Jane Roberts)

Give us a moment here. I want to emphasize the importance of your personal relationship to each other, and mention the ways in which it affects your work. I may as well give you some idea of how these overall patterns operate within your lives, since we have a good beginning, and while we are on the subject.

Now give us a moment. When the point is reached of which I had just spoken, your objectivity comes foremost in your work at the expense of spontaneity. Remember some time ago I mentioned your feeling about oils and the emotions. This is in keeping you see with the fact that you felt more threatened than Ruburt at those boundary-near-contact points. At such times you became more alarmed working with your oils and colors, and wanted a retreat, and sought for greater distance in your paintings.

Now give us a moment. Some of this of course can be and has been turned to your advantage. Your tendency toward feeling safe in noncontact situations means that you do not want models in your studio, yet you are highly intrigued by personality. This has led you to develop psychic abilities for creative purposes—that you would not have needed nor sought otherwise.