“Seth material” search engine (Jane Roberts)

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.

The trance itself had feminine connotations. Though he conveniently forgot [Edgar] Cayce, for example, who was a trance master. And yet at the same time he was afraid of exerting power, for fear it would be thought that he was usurping male prerogatives.

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.”