“Seth material” search engine (Jane Roberts)

(After supper tonight I asked Jane if Seth would comment on the Grunaargh family of consciousness. This is the one Sue Watkins had “picked up on” several years ago; see the notes preceding the last session. I’ve come to think of those data involving Sue and “her” family as cropping up every so often like counterpoint to other themes in this 6th section.)

Give us a moment … You both seem informal, yet your informality exists within its own rather formal structure. The places so far have had a certain formality, within which, in contrast, you are informal. The formality of the position of the house upon its hill provides a structure of its own. The same house on low land would not suffice, you see. It is the entire picture that is important. You do not understand your own mixtures of order and spontaneity, formality and informality.

At this time of your lives it is important that you act. I am telling you that of the [Elmira] houses in your mind it really makes little difference which one you choose. Neither is perfect. You would find yourselves quite hampered in [any] idealistically perfect environment. You need some give-and-take. Either place could well be made to suit your specific needs, and each reflects strong elements of your personalities.

(10:15.) Give us a moment … I am trying to give you the best information I can. The hill house has its own kind of inner light. This is not possessed by the Sayre house, and I recommend against that house regardless of price. It has a built-in darkness that no amount of applied light would disperse. Nor will either of you ever — particularly you, Joseph — be satisfied with sharing a driveway.¹ The hill house, because of its location, adds a spaciousness that is inside the Foster Avenue house; but either way, you have an open feeling in terms of expansion.

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.