“Seth material” search engine (Jane Roberts)

Viewing you as he viewed himself, using the same logic, he was afraid however that basically you felt our work a detriment to your own, and that its success, while pleasing you on the one hand, might prevent you from success as an artist because you would not have the time, and that you would basically resent it. You always encouraged him in our work, and he knew this. Still, your part in it conflicted with his ideas of you and what you wanted.

That is the kind of success that matters. It is only preconceived ideas of a specialized nature that prevent you from seeing that you are successes.

Sex became dangerous—not to protect your persons—which would be delighted, but to protect your rigid, limited ideas of your “artistic selves”—the writer and the artist might be threatened, and so your personal lives must suffer, and the persons be shoved away.

You each produced despite your individual and joint efforts to inhibit other areas of your life; to protect a limited, old idea of what an artist and a writer are. You may take your break.

In a different way, you both react as far as love-making is concerned. You each have an odd ingrown idea that writers and artists exist somehow apart from their personhood. They may be tortured or agonized like ordinary human beings, but they cannot be fulfilled like ordinary human beings—they cannot have friends or share confidences, or let down their hair with each other. They must somehow dwell alone and apart.

They can express their personhood freely—in those areas that do not threaten their creativity, but as the idea grows, there are few areas left. Your creativity as artists is dependent upon the fulfillment of your personhood, not upon its denial. You have feelings from your backgrounds that to share is to be vulnerable, to lose what you have, and the feeling that you can save your abilities only by cutting yourselves off from others.