“Seth material” search engine (Jane Roberts)

(“You chose your father in this life because in many ways you were like him as Nebene. And I chose my mother, who turned out crippled, for similar reasons, I guess. You also picked your father so you could watch a family situation under those terms, because you knew you weren’t going to have any children in this life. And your father wasn’t nearly as anxious to have children as you might have thought, either, this time....”

—and we will begin part two of this evening’s session. To speak in terms of mastering a situation already phrases a situation in poor terms. (A remark I made during discussion, etc.) You choose situations in order to learn and understand. The two of you, now, chose that aspect of your lives together in this life, to help you understand the meaningful relationship between spontaneity as connected with the emotions and creativity, and discipline as connected with the intellectual: to feel and understand the creative tension that connects them both, to learn the personal aspects of emotional relationships as they affect others, and the reflection of the emotions into creative endeavor. You served to help Ruburt find in this life direction. He also helped spur your own sense of direction in your early days together, when you turned from commercial art.

The commercial art served your emotions quite simply. It allowed you to release your emotions in stereotyped impersonal ways. Some situations, drawn, might be of highly charged areas—the Spillane strips, for example—yet the release of the emotion was stereotyped. You knew that one of Ruburt’s purposes would be to insist upon the expression of your emotions to him personally. Because of other life aspects you knew this.