“Seth material” search engine (Jane Roberts)

Each of you felt, however, that there was great value in being anonymous, yet you put yourselves in a position where you could not be. You tell Ruburt to keep it a secret from Leonard that your rent was raised, or you might move—good God!—while your most intimate personal beliefs and inspirations are given to the world. The idea however has been, the more secret you were, each of you, the better off you were, while at the same time your individual and joint creativity would be known. But the habits of secrecy continued, and there is no reason for secrecy but fear.

Now, dear friend, you have also shared some of these ideas, and to some extent seen Ruburt’s physical condition as a symbolic statement of how the so-called authorities viewed our joint work. Ruburt is striking. In his physical condition he is still striking. People still notice him. They notice him even more now because of the eccentricity of walk. This bothers you. It bothers Ruburt. You do not like to be out with him, on a certain level now, because he is so noticeable, so obvious. It offends your idea of secrecy, privacy, and being anonymous. I do not mean that you are not sympathetic. You follow me.

Further library experiences will help Ruburt. Again, do not become impatient, tell him. You choose books rather than television appearances, because of your feelings of secrecy and safety. Your house should have a foyer for the same reasons, and some definite stated area between private and public land. This will make a big difference to each of you.

[...] Father’s secrecy and my identification. [...]

Your father’s creativity, as mentioned (in other sessions), before, had its side of secrecy, privacy and aloneness. [...]

[...] The old framework was so restrictive that your ideas of secrecy, protection and privacy made you want to protect yourself to such a degree that you did not want your paintings to sell, to share them with others. [...]

[...] I refused in no uncertain terms to take it and gave my objections while also objecting to the secrecy in which the project was clothed. [...]

[...] And then we have this secrecy of which I said I would not speak. [...] It does not believe in what it is doing, and here we will find a comparison between this tendency toward secrecy on Philip’s part, and this divided nature on the part of your other friend.

We will for the purposes of our discussion ignore, for now, certain aspects in Philip’s personality, such as a deep secrecy which is indeed based on fear, because this characteristic and others will not help us progress in our particular subject matter. [...]

[...] The tendency toward division in Philip’s personality shows itself in this tendency toward secrecy, which affects most deeply the nature of his home life.

Now I suggested that we move our sessions back here for the reasons given, but also because I knew that to Ruburt this meant an implied greater sense of togetherness on your parts, and of secrecy. Secrecy is a strong element in Ruburt’s personality, and while you recognize this in yourself, you have been very opaque in that you have not earlier seen it in Ruburt.

[...] It loses then that secrecy that has always been important to him.

The secrecy also enables him to retreat in anger from you to some extent under the conditions mentioned earlier, and also has much to do with all of this brooding in secret. [...]

Your father’s creativity, as mentioned [in earlier, unpublished sessions] had its side of secrecy, privacy and aloneness … you identified creatively with his private nature. [...]

The Foster house represents many things, and though it is not on a hill it stands for your feelings of secrecy and privacy. [...] It does not have secrecy, and while you have a view you cannot hide in it. [...]

The Foster house represents many things, and though it is not on a hill it represents your feelings of secrecy and privacy. [...]

[...] It does not have secrecy, and while you have a view you cannot hide in it. [...]

[...] Their importance is only in the secrecy that you have maintained and their charge only in the secrecy that you have maintained. [...]

[...] He also interpreted a habit of “natural secrecy” (in quotes) on your part quite literally. [...]

[...] On other occasions he would write nighttimes, letting those hours by themselves create their own moods of secrecy and isolation from the social environment. [...]

[...] Behind all that you have earlier aspects of Ruburt’s life, involving habits of secrecy developed in childhood, the need for protection and so forth, that simply served to help build the framework. [...]

[...] When that time comes there will be different implications, of secrecy, which is mysterious to him, and therefore exciting. [...]

Would-be suicides, for all their secrecy, usually do mention the subject to a friend, relative, or close family member. [...]

A dislike of me for ripping away the veil of secrecy, for with the veil down the symptoms must disappear. [...]

[...] Often a simple discussion with you of any such episode will clear the issue for him, where before in his secrecy he would hide it even from himself.

Ruburt’s creativity not only involves that kind of behavior, but the mystic elements of the personality, meaning that the inner activity is very intense, so that Ruburt learned from a young age to develop a certain kind of secrecy. [...]

[...] There is no longer any assurance of secrecy in the broadest terms, for nefarious acts of politics or government. [...]

The secrecy of childhood is connected because of Welfare, and your own statements to him often, years ago, not to tell people anything. [...]

[...] They do not grow then in secrecy, and gather charges.

You each have strong drives toward secrecy. [...]