“Seth material” search engine (Jane Roberts)

(Last night, April 10, 1964, just before I fell asleep, I had the following experience: My eyes were closed but I saw a sheet of paper filled with script that I recognized to be the handwriting of Dee Masters, my supervisor at the Arnot Art Gallery where I work in the afternoons.

In a fashion, you consider the public arena of TV and tours in the same way that Joseph views the world of art galleries, shows, and auctions. [...]

[...] It belongs to one of Jane’s coworkers at the art gallery. [...]

The portrait that you sent to the gallery is evocative. [...]

Incidentally it is possible that you and Ruburt and his friend at the art gallery and her husband may become good friends, but it would have been extremely inadvisable for you to have moved into her apartment. [...]

[...] In the gallery relationship Ruburt is tacitly above her in the hierarchy and there is no difficulty. [...]

[...] The Lilliard trio used to play at the art gallery when Jane worked there a couple of years ago. [...] Marilyn and Don had visited the gallery last week.

This was a trio that appeared at the Arnot art gallery.

(Upon going to work at the gallery yesterday noon, Jane saw more dead starlings scattered on the lawns. [...]

Windows of the art gallery.

On the gallery lawn.

On the gallery walk. [...]

[...] My eye troubles started the same spring that Seth started dictating it; I was doing James; Frank L. was building the porches; and the Gallery of Silence people were bugging us. [...]

[...] It avoids galleries yet is available to people. [...]

Next, he discovered that another gentleman had also been invited, the owner of another gallery, and a man whom Ruburt quite actively dislikes. [...]

This is highly amusing, for he did not want to have a chair available for the owner of the second gallery. [...]

So Edward and this Negro owner of the gallery became entwined in Ruburt’s mind. [...]

(Saturday, June 13, Jane and I attended a cocktail party in honor of Dee Masters, who was leaving as director of the art gallery where Jane is employed part time. [...]

[...] However she has been somewhat unsettled because of the changes at the gallery and was not in a mood for a session: “If Seth can get anything out of me tonight he’s doing good.”

[...] He is on the board of directors of the gallery, which Jane has just left. Howard wanted to look at some paintings, and of course some conversation ensued involving the new director at the gallery, who was discussed by Seth in the 74th session.

[...] The past administrator of the gallery was known to you in that life, and was a passenger on the same ship. [...]

I will then wish you both a fond good evening, with the remark that Ruburt will make more this year through writing than he would have at the gallery. [...]

[...] The house belonged to an artist and schoolteacher who had left town for good; Jane had met him at the gallery, I had not. [...]

(Jane is up for a substantial increase in salary at the art gallery where she works part time. [...]

The gallery situation did not enter into my calculations of finances. [...]

[...] You both did wonder about the Silence Gallery affair, and decided not to mention it [to Jim Poett]. The call [which was action, a creative synthesis of your joint feelings], gave you information you didn’t have before—that The Voice [as an entity] knew of the Silence Gallery in a confused way. [...]

[...] However, I did tell you so, not only concerning the book sale, but also concerning the fact that it would be advantageous for Ruburt to leave his gallery position. [...]

(Seth suggested Jane leave the gallery job in the 82nd session, August 27,1964, and she soon did so. [...]

[...] At the gallery, for example, when your psychic work began, he did not speak out, and you encouraged him not to, and you both considered this as a scientific kind of breakthrough. [...]

[...] The Gallery of Silence affair was simply another episode, in which fears were poohpoohed, but he was afraid that those people would come here, and he felt threatened.

Ruburt is coming along well in the gallery situation. [...] If Ruburt can stand it, I would suggest a three-day period after he leaves the gallery, during which he does no writing. [...]

(10:39.) Now: Ruburt early saw your prejudice against galleries. [...]

[...] (The art director of the Arnot Art Gallery at the time Jane worked there). This was a poor association, leading to the Victorian room at the gallery, you see.

[...] As Seth tells us after break, this is a poor connection referring to the Victorian room at the Arnot Art Gallery where Jane worked a couple of years ago—and is thus another reference to Barbara and myself being artists. [...]

I will not bother to make any comments on your lack of decision in following my suggestion during our unscheduled session, nor upon Ruburt’s change of position at the gallery. [...]

(Here Seth refers to the fact that Jane has been made Assistant Director at the art gallery. [...]

[...] The painter’s painting is a result of a private search, but in a gallery it becomes a public expression. [...]

Years ago, when the Gallery of Silence people began to bug him, he felt threatened, afraid that he would become the brunt of fanatics or extremists. [...]

(When I picked Jane up after work at the gallery, she told me one of the flashes from Seth was this:)