“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.

He would have become instantly alarmed had you not then begun to retreat. This has been a highly formal, ritualized behavior pattern, a psychological dance, so formalized on a subconscious level that it left little leeway for spontaneity, and threatened to freeze you both in highly unconscious regimented behavior. He was to keep you from getting too far apart. You were to keep you from getting too close, and when certain automatic points were approached you both went into your act. For some time the behavior worked. The spontaneity was gradually squeezed out to such a degree that it lost its workability, and both of you were beginning to consider making adjustments. You did not understand the pattern, however. You ran into the invisible danger points and reacted in the old ways.

Your inner feelings toward each other have been projected onto your feelings toward the sessions, and psychic work also, then. You became annoyed at him, wondering why the spontaneous woman had suddenly turned so restrictive. You did not understand that this was because you had not carried through the personal pattern into the session pattern.

This in itself has led you away from stereotyped portraits, and you could have fallen into that trap with your background in comics. There you see you avoided facing the ordinary human portrait through figures that were actually not as such individual, but types or even caricature. At that time in your development you were afraid of emotions in art to such a degree that you chose in comics to deal with stereotypes rather than individual characters, to follow rigid patterns.