“Seth material” search engine (Jane Roberts)

(The 37th envelope experiment was held during the session. See the tracing of the envelope object on page 327. It is a print of my right hand, made with black stamping ink on paper. I made it on February 27,1966. Jane had picked up a book on hands at the library recently, and this got us interested in making such prints.

(The print is on the whole darker than my pencil indication on the preceding page, and of much better quality. The lines in the palm, indicated by black lines, are in actuality in white on the original print, so that the effect is the interesting one of a hand in reverse, or perhaps a map or plan printed in reverse. The fingerprints show with fair clarity also. This is but one of many prints I made that evening; I discovered it is not easy to obtain a full print that has good overall detail.

(Jane of course saw this particular print, along with perhaps twenty others I made at the same time. There is nothing about this one to distinguish it from many of the others. Following the instructions in the book, I traced the outline of my hand in pencil while pressing the inked surface against the white paper. The print was sealed in the usual double envelope between the usual two pieces of Bristol.

(The session was held in our front room. Jane spoke while sitting down and with her eyes closed, and once again her pace was slow; at times during this first delivery it was as slow as I can remember during any session. Jane was not smoking. She sat for some time with her head down, her hands raised to her temples. Begin at 9:02.)

They would tackle realities that cannot be measured with physical instruments. Since psychologists deal with psychological activity, it is all the more amazing that they have not concentrated upon psychological activity, observing it first hand as it exists in their own various stages of consciousness.

(Now, her head down, her hands raised to her closed eyes as usual, she began the material on the 44th Dr. Instream experiment.)

He is in a building several stories high, and he is not on the first floor. The building is modern. He has matches in his hand, and lights one. He stares at the matches, a small packet of ordinary matches.

(Jane paused at 10:09. I handed her the envelope for our 37th experiment, and as usual she took it from me without opening her eyes. Then she sat with it held against her head. She gave the material on the envelope with many short pauses.)

(“Something for a consideration.” The print was made to be read, or considered, after the manner outlined in the book on hands.

(Personal association also operated with this impression. It wasn’t until after the session ended that Jane realized that the “steeple shape,” and the “many people” data to follow, had reminded her of a childhood poem she hadn’t thought of in years. After the session she recited the little poem to me; it is done with hand gestures accompanying, the fingers of both hands interlocking in various positions. This is the poem: “Here is the church, here is the steeple. Open up the doors, and see all the people.”

(“A connection with many people, and with something like a basement—low, that is. This leads Ruburt to think of your Myhalyk’s, his impression.” Jane believes her impression here is correct. Myhalyk’s is our favorite dancing establishment in Elmira. On Saturday, February 19, Jane and I met Marilyn and Don Wilbur and some others at Myhalyk’s for an evening of dancing. This was shortly after we had obtained the book on hands, and during the evening Jane asked the Wilburs if they would cooperate in having handprints made. The Wilburs, who have witnessed several unscheduled sessions, consented. Arrangements were made to obtain their prints on Friday, February 25, but were not carried out because of the difficulty in getting good prints. My print, made on February 27, was an experiment in an effort to learn just how to make a good print.

(“Something low and something high, in contrast, to do with an understanding reached.” We think this is a reference to part of the technique in reading a hand; as described in the book it is not only necessary to consider the lines, but the “mounts”, which are the high points of flesh at the base of the fingers, the thumb, the heel of the hand, etc. Also the low spots or depressions are considered significant.

(“A violet. Red, and a grading to yellow.” This is very interesting to me personally; Jane also recalls these details. After spending a couple of hours trying to make a good handprint, I gave up and began cleaning the ink from my hand. This proved to be a job. As I applied scouring powder I was surprised to see the black ink on the palm turn what might be termed a red with violet undertones. This effect at once reminded me of reading that the quality of a black ink can be judged by its behavior when diluted: If a red color develops it means the ink is of inferior quality. The ink I had used was stamp-pad ink purchased at a 5-and-10 downtown.

(“Also let me add initials, or symbols.” As indicated on the copy on page 327, my initials, right hand designation, and the date were noted by me when I made the print. This was in black pen.