“Seth material” search engine (Jane Roberts)

For example: You were pleased, Joseph, with the portrait you did and showed Ruburt, remarking, however, that you wished you had done such work earlier, and on other occasions you have made similar remarks. You will compare your own life and work often in a critical fashion to artists who were obsessed with one art from the beginning of their lives, or who pursued what is really a kind of straight and undeviating course—a brave courageous one, perhaps, and highly focused, but one that must be in certain respects (underlined) limited in scope and complexity, not crossing any barriers except those that seem to occur strictly within painting’s realm itself (all intently.

That experience of that kind does not come at 20, or even at 30. Part of your accomplishment lies in our sessions and your own considerable work with the notes, and with the invisible aura contained in those notes, for there in a different way you are painting a portrait—a portrait of two lives from a highly individualistic standpoint, extremely unique—and that is the kind of experience that would be ripped out of your life’s fabric, were you the hypothetical idealized version with whom you sometimes relate—a version highly romanticized, let me add.

Some of your psychological growth is obvious through the books, of course—obvious to others if often not to yourselves. The books make a psychological impact difficult to describe—one of course that overall presents a kind of multidimensional portrait, highly difficult to assess. (Long pause.) You lose contact with yourself to whatever extent as you compare yourself to others, and therefore your own work can escape you, again, and the contour of your own experience. You are planting seeds, and with the books you are planting seeds, only the results are not immediately before your eyes—a good point to remember.