“Seth material” search engine (Jane Roberts)

I have given information on this before, but you settled upon the idea of work, as you think of it, because it was the only way at the time that you could justify art to yourself. Naturally, however, your working method is different, and is built up of an intricate series of quite complicated logical judgements involving spatial relationships—in for example particular kinds of immaculate gradations. I am speaking of your painting now.

The world thinks that inspiration is impractical, and you have both made unfortunate distinctions between inspiration and work. You can afford to do so more than Ruburt, since your natural working method falls more easily into that kind of context, where the effort shows in time. Ruburt cannot afford such distinctions.

When he thinks of work in that fashion, then feelings of responsibility, respectability, scorn or criticism emerge, to thicken the picture. He felt that inspiration was providing so much material that it could not be handled in time. He also felt that his inspiration threatened you with more work, which, it seemed to him, was not particularly pleasant for you, since you often spoke about your difficulties in doing the notes, and only lately have you begun to say when you are doing well.

Your time concepts are particularly limiting, because they lead you into a particular focus in which you concentrate upon impediments to your desire. This bothers both of you considerably, so that Ruburt in particular will anticipate distractions a week in advance.

I believe he is teaching, or taught, in a midwestern university. You approached him because of your own quite conventional feelings, that because he was comparatively young he would be broadminded. You also sought to form a contact with someone more or less a contemporary, who was in the psychological field.