“Seth material” search engine (Jane Roberts)

(Notes before session: My sportsman self. My writing and painting selves. Father’s secrecy and my identification. My financial contribution. Jane’s fears. Our creative errors. Our attitudes re Prentice. Our attitudes re correspondence. Jane’s flexibility. Her dancing. My selling paintings. Mother.

Because you saw yourself with such specialized focus, unknowingly you blocked out stimuli that as a painter you could have used. Because of your joint ideas—you, the artist, Ruburt the writer—then your financial contribution was strictly limited by both of you to that one field.

You did not, fully now, realize your contribution to Seth Speaks in financial terms, though you understood your creative contribution. Ruburt did not either, until lately, because it was a matter of self-evidence: your contribution financially would come through painting alone. So for a while you were hassled that you were not financially contributing after you left Artistic, and so was Ruburt. You were contributing financially, but neither of you correctly understood this because of that specialized focus.

His reaction was to not hide the ability in your way, but to force the world to accept it. Again, it is important that since the works were published—even for example the ESP book—neither of you understood your (my) financial contribution. Even to the ESP book, not just the session material that you took down. But your limited focuses blinded you. That kind of contribution was literally invisible—not legitimate, because you had not sold paintings.

Now. The psychic work, which is a natural extension of both of your creative abilities, could not be fully utilized by you, individually or jointly, while you maintained such a rigid, specialized focus. Ruburt feared that it might be taking you from your one true purpose as a painter. Not realizing, either of you, your financial contribution through the works, you felt and so did he, after Artistic, that he carried the brunt financially.

He felt that in the world’ s eyes this put you down, since your paintings were not selling. At the same time he could not accept your legitimate financial contribution through the work because he felt that might betray you as an artist. His job then was to encourage you to paint and sell your paintings, for he felt nothing else would satisfy you, and/or satisfy your brothers or your family.

Helping Ruburt with the mail is also a financial contribution. It is far more than that, but each of you must understand that you are partners in this endeavor in every part of it. The psychic development did not just occur. Your deepest natures called it out of the probable sequence into your reality—for a reason, because (each of) you knew that it could best develop all of your (respective) abilities to their fullest, and also help others.

Your ideas about the letter (to correspondents) are encouraging first motions toward what I am speaking of, as are Ruburt’s ideas about class, and your sexual advances. You have a way to make a living, and a good one. You each contribute. That much will free you to paint, and sell your paintings.