“Seth material” search engine (Jane Roberts)

He felt his success put you in a poor light in your mother’s eyes, and the eyes of society. An impoverished artist as a husband he could take with great pride. Once the part-time job continued and kept continuing however, once you had a job steadily, then he felt that others compared you, not with other artists but with other ordinary men who had jobs. And there, under those conditions, you made poor showing.

He felt these feelings extremely disloyal. He felt your mother was silently accusing him of putting you in a poor light whenever he succeeded. He wanted you to state your position, and say “I am an artist” to her and to the world, but he deeply feared that you considered that attitude irresponsible, frivolous, not practical; and worse, that you felt it negated the sacrifice you made by keeping the job for so long. (Not so, etc.)

He therefore did not discuss any issues with you concerning his own discouragements or fears as they happened. He felt guilty enough because you were working. He did not want to lay extra burdens on you, but he came to resent everything that was provided by a job.

Though you have left the job, the habit of repression is still strong. I know this is a burden on you, but it is important that both of you understand the repression. In some ways he has made poor judgments—for example in dealing with editors. Part of this was caused by this need for approval.

For many years, at least seven, he has been deeply concerned about your work, a repressive element in it, and the psychic freedom he felt you needed to release it. Because of the age difference he became very worried. Your best energies were going into your work, he felt, at the job, not into painting, and the very focus divided you. He felt it disloyal to recognize the repressive element in your work, and tried to pretend he did not see it.

(I took her reaction to speak of her faith in my leadership in this instance. In other instances, I told her this noon, I believe she lost faith in my leadership, as detailed so well in the three sessions held here. This would arouse all kinds of panic feelings, since she wouldn’t dare speak out—and so she, and “it”, would feel that she had to furnish strong guidelines for her own protection—keep her writing rather than take jobs, etc. The symptoms resulted. All of this, until just recently, on unconscious levels.

(I told Jane I think that if it is not fed a steady diet of repressed material—which it may not even want—the conscientious or creative self is perfectly capable of doing its job without excesses. There will be no fears of unrestrained sexuality, or not working creatively, of overidealization of me, or my work, etc. All of these ideas, I feel, evidently grow out of repressed, unexpressed fears that have built up over the years, and have been taken over, or dumped upon, the conscientious and/or creative self.