“Seth material” search engine (Jane Roberts)

(I heard a man and a woman begin to climb the stairs from the front entrance of the apartment house. They clumped on up past our floor to the one above, sounding very loud and clumsy. As I feared, they had come to call on the tenant who lived in the small apartment above our living room, where we were holding the session. I heard the door open, then slam shut, and a babble of voices. Footsteps began to resound back and forth overhead. I was of course highly irritated, as I always am at such interruptions during sessions. Jane, in trance, kept speaking though, seemingly not bothered.)

These are all highly creative, regardless of the apparent effects of what you would call the less desirable ones.

The feeling-tone, somewhat generated in childhood as I told you, was momentarily changed for the better when your relationship with him began. The feeling-tone however was one of the issues that led him to seek so for answers, and also made it very difficult for him to accept them.

The creative liberation in his own work (since Seth’s book has been finished Jane has started two books of her own) is a clear symptom on the positive side of the change in feeling-tone, as was the more expansive idea of adding to your establishment. (Renting the second apartment, across the hall from the original one.)

Now. We will be writing other books, but never in such a way that you must plunge from one into another. The books will fall into their own rhythm overall in our sessions. You will have rest between in other words.

The feeling-tone of Ruburt’s mentioned earlier in your terms, the negative one, was triggered as you know by his reaction to your illness, which was followed by rising difficulties on the part of your own parents. He felt trapped by them, having to help them, as he felt trapped by his own mother.