“Seth material” search engine (Jane Roberts)

(“Some connection with, is it—ablutions or washings, and with some kind of festival-type thing.” This is good data, we believe, and refers again to the artwork Bill Ward mailed me over the weekend. Again, see the notes about this on page 116. Jane of course saw this artwork when I opened it up today, and when I began work on the backgrounds today.

(Bill Ward’s letter accompanying the artwork mentioned his recent attendance at a dinner gathering of many of the group of friends we worked with in the early 1940’s. Oddly enough, the last letter I received from Wendell Crowley, in May 1966, also described a similar event.)

(“An article that opens up.” I believe there are two choices of interpretation here. I favor the first one: that the data refers to the large flat package in which Bill Ward mailed me the artwork to be finished. “Writing on the inside and outside.” The package of course contained writing both inside and outside. “Or at least the inside and outside are covered.” This may refer to the package in a somewhat distorted manner. Or it may refer quite accurately to the envelope object itself, which would be the second possibility for this block of data.

[...] I also described to her another dream I’d had in which I did commercial artwork. [...]

[...] They simply show that the creative elements of the self are rearroused (long pause), and almost in a luxury of inspiration they show you how they can be applied to your artwork and to other areas of your living. [...]

[...] The drawing on tracing paper was made by me, from instructions given to me by my boss, and is a schematic drawing to be traced onto Bristol board for final artwork.

(My drawing was actually a recreation of artwork that had been lost at Artistic Card Co. [...]

[...] As stated, the lost artwork was found after I had spent time duplicating it.

The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.

[...] The connection with anemia leads Ruburt to think of Helga Anderson, or a connection with artists or artwork.

(“The connection with anemia leads Ruburt to think of Helga Anderson, or a connection with artists or artwork.” [...]

[...] Your desire to paint, per se, did not emerge full blown when you were a young man, and one probable self is happily engaged in commercial artwork. [...]

[...] (To me.) You will spend later years lecturing in various cities, and your own artwork will be fulfilled. [...]

Now this accomplishment need not involve some great artwork or invention, or political leadership, for example, though it may. [...]

[...] It turned your natural psychic ability and channeled it into artwork. [...]

[...] Since Seth’s own interpretation agrees with Jane’s— though more detailed—it isn’t necessary to give Jane’s version here, beyond saying the dream concerned my own artwork and related affairs.)

[...] But I’d become so involved with artwork that I hadn’t appreciated her own interests and concerns.

The species uses those conditions, however, so that the paintings of the great masters can serve as models and impetuses, not simply for the extraordinary artwork involved, but to rearouse within man those emotions that brought the paintings into being.

Rob spent the next Saturday afternoon in his studio, as usual, painting and doing other artwork. [...]

[...] This gray-brown leaf had been taped to the shade on my lamp at work for well over a year; originally I had used it as a model in doing some artwork for a Christmas card. [...]

[...] The object contains items I use to do artwork with, although no paint. [...]

[...] A few years ago he did some medical artwork and was amazed at his proficiency at it, and with the medical procedures and terminology, which were quite unfamiliar to him when he began. [...]

[...] I had not looked at them recently, indeed having begun the collection over ten years ago, before I was married, when I became interested in the subject while doing research for some artwork. [...]

[...] Some of this assertiveness can be met through artwork but it must be a going- out from self: a self-assertion, an expression of self—but directed then outward.

[...] Your artwork showed promise from the beginning. [...]

[...] Some years ago, Rob did do some medical artwork and was astonished at his success. [...]