“Seth material” search engine (Jane Roberts)

Each portion, by whatever name, contains within it the latent potentials of the whole. If the unknown reality exists, it is because you play one melody over and over and so identify yourself, while closing out, consciously at least, all of the other possible variations that you could add to that tune.

(From its position on a bookcase some 10 feet away, the telephone began to ring — to faintly buzz, actually, since we’d turned down its bell before the session. Still, I was afraid the repetitious noise might bother Jane as she sat quietly in trance. Her eyes were closed.)

“Even in the country, houses can have a closed quality if the mountains or trees press too tightly. The land that you own is important, but the visible land that you do not own is also, and you should be in sight of a mountain or some open area, while still having a private ‘secret’ area also.”

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….”