“Seth material” search engine (Jane Roberts)

(A few notes: I have always felt that my early life, being so different than Jane’s, had a lot to do with my approach to painting, once I embarked upon it after meeting her when I was about 34. I didn’t grow up with the consuming urge toward fine art that she developed about writing at an early age. I did commercial work for many years. I have always taken these differences for granted, and evidently assumed too much when I thought she understood them.

(I have for some time thought that Jane needed to sell her writings as a means of justifying her life—whether these writings were her best work was, in that sense, immaterial; she couldn’t possibly wait until her writing was a polished art before beginning to market it. So I don’t believe comparisons between her selling her work, and me selling mine, mean much. I also have an attitude that is quite personal, whether it is a good one or not: I don’t care too much what others think about my painting. Oddly enough, I am sure that my work will end up very successful, both as art and in the marketplace. So I can safely say that in my own way I am trying very hard to make a “success” of my work. Our methods differ markedly, however.

(I told Jane after this session that I’d intended to leave the job in a year or so —in other words, at about this time, rather than when I did. I thought that by now we’d have a good financial backlog built up, and freedom of action. I didn’t realize last year of course that she was so dissatisfied with the psychic image and the books; I blithely assumed that she felt she was doing good work, and that she accepted it, which doesn’t mean that I had any thoughts of ever saying she shouldn’t do any other kind of writing, ever. I had no idea of the bitterness or the depths of her resistance to, or feeling against, being sidetracked, as she sees it, from her main goals in life.)