“Seth material” search engine (Jane Roberts)

Your intellect operates beautifully in the notes and appendixes of “Unknown,” but instead of rejoicing in it, you wonder if your notes lack the very kind of emotionalism that would make that particular kind of clear intellectual objectivity most difficult. When you are writing you are pleased, finally at least, with the working of your mind—but angry that you are not painting. When you are painting you feel guilty not only because the painting does not bring in money—by now not that much of a concern, only a nagging accusation—but there also you haggle at your intellect. You wish for the intensified emotional preoccupation that would close your mind to all else but painting.

Ruburt emulates your own work habits, and tries to regulate his creative life so that it bears a resemblance to yours. He tries to be disciplined, put in his time, temper his emotional nature, so neither of you approve of yourselves. “Unknown” simply became the platform. It shows the excellent ways in which your natures interact, and that is what the reader will perceive.

You have written the equivalent of your own book from a unique standpoint in “Unknown,” but neither of you have really been able to recognize that. Ruburt, being true to his spontaneity, would forget publishing details. It is his attempt to try and match your individual methods of thought that confuse him. He is producing his books and mine —a double kind of production that entails almost two publishing schedules.

My last session was largely ignored by both of you, and yet in it there were important clues. Your own painting is growing despite your own ideas of what you think it should be. “Unknown” is a creative triumph despite your joint ideas of what that book should be.