“Seth material” search engine (Jane Roberts)

(The phone stopped ringing — at last.) As contemporaries, counterparts choose a particular time framework. The time format alone makes certain focuses clear, that in your terms could not be made in another context. What you learn in your present about industry — “progress” — and the equitable sharing of the earth’s products, could only be learned in a context in which industrialism was experienced as going too far, where technology was seen and known as a growing jeopardy.

7. In Volume 1, see Appendix 2 for Seth’s discussion of the conflicts I felt between my artistic, writing, and sportsman selves. I spent a number of years working to resolve those feelings. From the private session for January 30, 1974, which I quoted in Appendix 2: “Your father’s creativity … 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 time. 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. You believed the painting self had to be protected … as you felt that your father had to protect his creative self in the household….”