“Seth material” search engine (Jane Roberts)

The symptoms also served to focus that fantastic energy, while he figured out how it should be used. He could not accept a new psychic framework while within it there were questions concerning your joint ideas of business, and divided loyalties about writing and painting; your personal fears, jointly, about spontaneity in general, and the need to protect your talents both from your own sexual natures and the distractions of others.

You see his joyful potential, and he knows that you do. Sometimes he feels lost, however, as an emotional human being, groping toward that potential, and he needs to be comforted. As you know now, comforting him can be frightening to you, because it returns you both to deep emotional realizations and feelings that you sublimate in your paintings, and even to mystical experiences that you also channel through your work.

(From Seth’s delivery following last break, I’ve deleted less than two short sentences of very personal material. Obviously, Jane and I did choose to meet the challenges presented by the emergence of her psychic abilities 11 years ago. Those “new” abilities offered creative possibilities so apparent that, given our natures, we had little desire to do otherwise; beneath our doubts and questions we intuitively felt the rightness of our decisions. I found that I was able to contribute psychically in certain ways, other than just recording the sessions. And to have at least some of our deepest desires and motivations brought so clearly to conscious awareness, through psychic means or any other way, was more than we’d thought possible in previous years. We found such information especially valuable within the larger social context. With all of this, I was also eager to acquire whatever knowledge was available about both the philosophy and the art of painting.

10. I gave up my commitment to commercial art in 1953, when I was 34 years old. My intuitive desire to do so had been growing slowly for several years. The act of separation finally became conscious and deliberate when I moved to a small community near Saratoga Springs, N.Y. (where Jane lived), to temporarily help an artist-writer friend produce a syndicated “comic” strip. This was the last commercial work I was to do for some time; I finally understood that I was simply more interested in painting pictures than in doing anything else. Since I believe that each of us creates our own reality in the most precise terms, it can hardly be a coincidence that at this time of decision my friend introduced Jane and me — for she was just as devoted to writing as I was to painting.