“Seth material” search engine (Jane Roberts)

Now first the house.

There are alliances and understandings in neighborhoods — signs for others to read. The front entrance of the Foster Avenue house was not even used. The hill house is set up high. Anyone who walks up the steps from the street knows [he or she is] making a trip. Your daily environment is very important to your work, and to Ruburt. You require certain things of your art, and therefore you want the same things in your surroundings. Once you had it where you live now, for all of your criticism. Now it is gone, and you are different.

Now: Once I gave you a recommendation, and you did not really take it.² I can foresee probabilities, but you make your own reality, and I will not take the responsibility. Taking that for granted, and knowing your characteristics, I have more to say. You may not like it.

(“Oh, hell, I’m getting more,” Jane laughed, coming back into the living room. She sat down. “I’ll have to say that when I ask for straight stuff, I get it.” She still looked a bit teary, but at the same time I was sure now that we’d steered away from any probable reality involving Foster Avenue — and perhaps Sayre too, I thought, considering Seth’s material at 10:15 tonight.³

Now: The hill environment is as important to your painting as the ready-made workroom in the Foster Avenue house. The very air is inspiring, so that you will paint more there even if your work area is not immediately as good. The sunny nature [of that house], regardless of what Ruburt thinks now, will help him creatively and physically — but the hill house represents a decision to face the world while maintaining certain necessary and quite reasonable conditions. It provides privacy yet openness. The hillside is not yours, yet it is your view, and it has strong evocative connections with your creative lives. A definite change in living patterns and of psychic attitude will result, that would not happen in the house on Foster Avenue.

(Then at 11:21, here presented verbatim:) Now a note: I do not want to get into family variations, but Sue Watkins picked up a variation of the Gramada family of consciousness (the Grunaargh) — quite legitimate, and at the time very good on her part.⁴ People love to make divisions. There are then what you can call subfamilies, combinations, highly creative. All divisions are simply for the purpose of organizations of consciousness. The families mix and interrelate, so that you could indeed subdivide them, but for my purpose there is little point to this.

Now it is fairly unusual to be half Italian and half Chinese, though it is possible; so some of the psychic families join more easily with certain others, and some who are very sympathetic to each other find it quite difficult to blend. The “natural earth parents” [the Borledim] and the Sumari, for instance, are very close, and yet have great difficulty in merging, because one considers the family itself as art, and the other subordinates the family for a different kind of art. Often they do not even recognize each other as having many of the same characteristics.

(“No, I think you’ve already answered them all for now.”)