“Seth material” search engine (Jane Roberts)

Your father’s creativity, as mentioned [in earlier, unpublished sessions] had its side of secrecy, privacy and aloneness … you identified creatively with his private nature. The writing self became latent as the sportsman did, yet the writing self and the artist were closely bound. You felt conflicts at times. It never occurred to you that the two aspects could release one another — one illuminating the other — and both be fulfilled. Instead you saw them as basically conflicting. Time spent writing meant time not spent painting. You believed the painting self had to be protected … as you felt that your father had to protect his creative self in the household …

The time is right for you to enlarge your focus. You must realize it is futile to say, “Why does understanding take so much time?” or, “Why have we been so opaque?” or, in your case, “Why has it taken me so long to be a good painter?”

[...] At one time, then, in your father’s past as you think of it, having met Stella, he did not marry her after all. [...] Whole regroupings of energy occurred, psychological and psychic implosions, so that two equally valid personalities were aware in a world in which only one could live at a time.

From the 15th session for January 13: “Imagination allows you to enter into these planes … Pretend that you not only understand your cat’s concept of time to some degree, but could also experience his sense of time through the cat [Willy] himself. [...]

[...] At the time we understood little of what happened; yet the event represented a key episode at the very beginning of our psychic education; for in a crowded, smoky hotel barroom Jane and I unknowingly created physical “personality fragments” of ourselves — then came face to face with them. [...] (Naturally, the more Seth told us about the human ability to generate such forms, the more questions we had!) In that 9th session Seth also used his term, “probable self,” for the first time.