“Seth material” search engine (Jane Roberts)

In some (underlined) respects he was right about compromises, and some made in the past out of well-meaning ignorance cannot easily be changed. These concern your family.

There is some envy. You did not say that you intended to devote yourself to your own painting, and this should be verbalized. The family compromises began long ago, out of a misguided sense of sympathy, and now to some extent or another will continue. Here you are caught in a compromise of emotions. Ruburt feels this particularly strongly, because he is so sensitive over such relationships to begin with. The situation however is such that almost any clear emotion is automatically denied expression, shunted aside and often replaced completely by an opposite—all under the guise of the idea of (in quotes) “being good and understanding.”

As I told you, you chose your families. You gave yourselves as adults situations with your families, mainly with yours, in which you had to relate on an entirely different level and in a different kind of role. You have no children. The family relationship therefore served and serves to give you a kind of contact, an enforced education, as it were, so that you can understand what goes on within such relationships.

Now give us a moment. I would like you to have several Sumari sessions together. You can arrange this any way you like—in the place of one regular session, for example.

Your own discussions, and the improvement in your relationship as I told you, in one way is responsible for your latest developments in our sessions, and I include the Sumari—the songs, and the statement. (That I wrote to Jane on December 31, 1971. Jane is still deciphering this.)

Other developments have been mentioned. I expect that you will play some strong part here on your own, if you want to; this having to do with the reception of Sumari art. (I am more than willing, etc.)

(All of this is very acute artistic information, and embodies the use of good technique even today. Again, I don’t believe Jane knows these things consciously. The varnish data is very good, also the fresco material. Many frescos were ruined in those days through poor techniques. Quality control was not what it is today re paints, varnishes, etc.)