“Seth material” search engine (Jane Roberts)

(From the outside only, Jane and I inspected several homes in Elmira. The first one we looked at — a bungalow on a Foster Avenue — intrigued us considerably. Our interest was hardly coincidental, though. Debbie had pointed out a photograph of it in a local real estate catalog, and we were quite aware that it bore a good resemblance to the house we’d considered buying in Sayre, Pennsylvania, in the spring of 1974.³ Besides being bungalows, both houses were of about the same age, and even of similar colors.

(Long pause.) You can look at an apple and hold it in your hands, so it is obvious that its shape does not contradict its color. You see that an apple can be red or green or both. If I said: “Apples sit quietly on a table,” you would have to agree that such is sometimes the case. If I said: “Apples roll down grassy inclines,” you would also have to agree. If I said: “Apples fall down through space,” you would again be forced to concede the point. It would be clear to you that none of these statements contradicted each other, for in different circumstances apples behave differently.

5. In very gentle ways, Jane did eventually use some of Seth’s impressions relative to both people — but cast in her own vernacular — for Chapter 18 of Politics. In that chapter she also began presenting, again from her viewpoint, material on our house-hunting activities; she plans to continue doing so in subsequent chapters.

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….”