“Seth material” search engine (Jane Roberts)

The formality of the position of the house upon its hill provides a kind of structure of its own. The same house on low land would not suffice, you see. It is the entire picture that is important. There are good paintings to be found from the house, in terms of landscapes, and natural walks. You would end up, I imagine, tearing down a wall.

Now Ruburt feels to some extent that a nice place is permissible if it is decadent. That had to do with Foster. There is no need to be ashamed of your money, or to fear there will not be more of it. You need an intimate give-and-take with the land. The hillside is not yours, yet it is your view. And it has strong evocative connections with your creative lives.

It is no coincidence that Venice’s (McCullough’s) land borders on Sam’s—for she does not trust nature either. Their lands are adjacent. So the families of consciousness operate at adjacent angles, and each family teaches the other family something.