“Seth material” search engine (Jane Roberts)

In the next scene, you have the introduction of the artistic ability, however, personified by your friend of your younger New York artistic past. He represents someone highly gifted artistically, and therefore stands for your artistic self as you might have idealized it when you knew that young man. When he tries to put on ordinary working clothes, however, something happens: the shorts keep changing into a Turkish towel, and harder he tries to pull the pants on the more and more they change, until there is no mistaking that the shorts simply will not do.

The Turkish towel represents the private nature of the self—private attire that you might use in the bath, of intimate nature that comes into contact with the body not so much to hide it as to dry it, give it pleasure, or what have you.

(Long pause.) Ruburt made certain correlations. He thought, for example, of his own pajamas that he wears now instead of the jeans he wore before, and it seemed to him that in all his strivings he had in one way or another also acted like your friend whose jeans kept turning into the Turkish towel: he had been trying to protect an important way of relating to the world, or to protect a way of life.