“Seth material” search engine (Jane Roberts)

In one way or another many artists of whatever kind seek to physically express these innermost overtones. As Ruburt mentioned, years ago in Sayre he would find someplace in your apartment that seemed somehow secret for his workroom. He would then momentarily, for a while, withdraw from the workaday world. On other occasions he would write nighttimes, letting those hours by themselves create their own moods of secrecy and isolation from the social environment.

(Pause.) In later life the trend continued, as per many examples at 458 (and as we have discussed today). That creative kind of withdrawal is quite healthy, psychologically pertinent, and creative. As some of his other less auspicious ideas came into prominence, however, that natural healthy withdrawing tendency was also used to some extent (underlined) as a framework that was overextended. As the feeling that he needed protection grew, the need for relative isolation grew also. You live in a social world, so the symptoms also served as face-saving devices.

The fact that some isolation suits you both made the affair palatable enough in the beginning. The idea of a public life—to some extent, now—has hung over his head, so to speak, almost like a threat. He told himself that if he were using his abilities as he should, he would then naturally seek out their public expression.