“Seth material” search engine (Jane Roberts)

(Seth reiterated that Jane’s book on the Seth material would be published, and that the poetry book would be published. He did not say who would publish them, and I did not ask. See page 269 of the 232nd session for background material and other references. Jane’s publisher F. Fell, has written asking for photographs pertaining to the Seth book; in connection with this and in answer to my question, Seth said he would be amused to see a reproduction of my painting, purporting to be Seth, in the book. I’d done my oil of Seth in May/June of 1965.

(The 36th envelope experiment was held tonight. See the tracings on pages 313-14. The drawing on 313 is the actual envelope object. The drawing on 314 is executed by myself, after my boss’s drawing and instructions, and enters into the envelope data in the manner in which the four letters became involved with the envelope object in the 234th session. The relationship tonight is simpler, however.

(Today Jane received the galley proofs of her ESP book, along with the original manuscript, from her publisher by special delivery. We noted that most of the typed pages of her script bore handwritten comments in the margins and on the back. They were made evidently either by a psychologist or parapsychologist, probably at the invitation of the publisher before he accepted the book. We had considered this possibility, although the publisher had not mentioned it to us.

(Someone had then laboriously used a magic marker to try to cross out the notes so they couldn’t be read; we were much amused to read them rather easily by holding the pages up to a light. The comments run the gamut from scorn to approval, and tell us as much about their author as they do about Jane’s book. Jane plans to ask her publisher, F. Fell, for the name of the author of the notes, and for a copy of the covering letter he refers to. We have initials. Seth also comments on the events, although we did not ask him to.

A page, I presume from a book, that somehow deals with history. I do not know if it is a history book, but it deals either with events in the past, or with ideas of the past.

(See the tracing of the envelope object, and its accompanying drawing, on pages 313-14. We did not ask Seth to clear up each point in the data, so give below our own interpretations. As stated, the key drawing made by my boss was the actual envelope object. This is on thin white paper. 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.

(“and with ribbonlike shapes. That is, long lines that are straight, perhaps two of these, and of dark color, I believe, or dark red. Black or red. Horizontal rather than vertical, in the position in which I hold this.” As stated on page 321, Jane held the rectangular double envelope up with its long edge parallel to the floor, and moved it back and forth to indicate most definitely her insistence upon the horizontal attribute. This is most interesting, for the envelope object itself contains neither vertical or horizontal lines or masses. Once again her actions and data seem to be an attempt to get at my tracing-paper drawing, which bears a close connection to the envelope object.

(“Star shapes.” This is related to the geyser data on page 321, and out of it grows a personal association of Jane’s. Note that my tracing-paper drawing bears a formalized six-pointed star. Jane said she had an image of a star of sorts, and that this gave her the idea of fireworks shooting into the sky—thus the idea of a geyser, and something rising and explosive, etc.

(“and a paper item, folded like a card”, also referred, Jane said, to my drawing rather than the envelope object. Jane said she had a vague image of a small round object upon a rectangular folded object that was like a card, yet the circle was not placed as neatly in the center of the rectangle as my drawing is. It was more offset toward the upper right corner, hence her postmark reference on page 321 also. On page 314 note that my tracing-paper drawing is folded roughly like a card.

(“Dark and shadowy in the center”, Jane said, is another reference to my smudges on the back of the drawing, and refer back to the ribbonlike shapes on page 321. She had a fairly good image of this darkened area, and its horizontal disposition.