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TPS5 Session 853 (Deleted) May 14, 1979 4/32 (12%) feminine male creativity connotations prostitute
– The Personal Sessions: Book 5 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 853 (Deleted) May 14, 1979 9:46 PM Monday

[... 2 paragraphs ...]

(Neither of us had questions for Seth in particular. That is, I said, “I could ask 5,000 questions, but I haven’t planned any for tonight.” Jane said we could have “just a question-and-answer Seth book”—one made up of just those ingredients, without the formal session format. “But the publisher would want it organized according to subject matter, or presented in some orderly way,” I replied, whereupon she wrinkled her face at the work this might involve: “But you could do all that after we got the material....”

(Actually, this evening’s session grew out of several insights Jane had given voice to in recent days, and osme relaxation effects that had followed several of those. “But right now I’m just waiting,” she said impatiently at 9:40 PM, after we’d been sitting since 9:25 or so. “It makes me so mad. Here I was all set to go earlier.” Then she amended: “It makes me mad because I feel like I’m in an odd in-between subjective state. It isn’t comfortable—I want to be one thing or the other, maybe....”

[... 11 paragraphs ...]

Ruburt was highly creative, and so following the beliefs of his time, he believed that he must watch his creativity most carefully, for he was determined to use it. He decided early to have no children—but more, to fight any evidence of femininity that might taint his work, or jumble up his dedication to it. He loved you deeply, and does, but he always felt he had to tread a slender line, so as to satisfy the various needs and beliefs that you both had to one extent or another, and those you felt society possessed.

[... 2 paragraphs ...]

Now: you are creative, but you are a male—and one part of you considered creativity a feminine-like characteristic. If it were tied to money-making, as it once was, then painting became also power-making, and hence acceptable to your American malehood; and I am quite aware of the fact that both of you were, by the standards of your times, quite liberal, more the pity. You would not take your art to the marketplace after you left commercial work, because then, in a manner of speaking now, understand, you considered that the act of a prostitute, for your “feminine feelings” that you felt produced the painting would then be sold for the sake of “the male’s role as provider and bringer of power.”

[... 12 paragraphs ...]

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