“Seth material” search engine (Jane Roberts)

(The 46th envelope experiment was held during the session. See the tracing above. The object was a red satin bow that had been kicking around the studio for some months; at various times I had idly thought of using it for an experiment. I did not think Jane had noticed it particularly, and she confirmed this after the session.

(I remembered very little about the bow, yet subjectively I was sure it had been taken from a greeting card of some kind. I work for a greeting card company, but did not remember seeing other ribbons like it there in particular. I did not recall the card the ribbon came from, nor why I had removed it—if I was the one who had done so. I hoped Seth could fill us in on the details. The bow was in poor condition, and I assumed I had carried it home in a coat pocket sometime last winter.

(Since the object had been thoroughly flattened by some kind of pressure, it was no trick to place it between the usual two pieces of heavy Bristol, then seal it in double envelopes.

(Jane did not feel very well before the session, but when I mentioned calling the session off she insisted on holding it. She began speaking while sitting down and with her eyes closed. Although she was tired her pace was good. She was not smoking.)

(Jane’s pace was faster now, and her eyes had begun to open as she sipped some wine occasionally. If she was tired she gave no indication. I felt it was going to be one of those sessions where she became really involved with the material.

(Jane was now speaking rapidly and using many gestures. Her eyes were open much of the time and were very dark.)

(Break at 9:27. Jane said she was really “out”, or that Seth was really “in.” She was aware of nothing but the material while speaking, and felt the ideas were good. Her pace had been fast toward the end of the delivery; her eyes had been open much of the time and very dark, and she had spoken with emphasis and many gestures. She now felt much better. She said she wouldn’t have been surprised had Seth called off the session in the beginning.

(Jane resumed at a somewhat slower rate. Her eyes were closed but she was smoking. 9:40.)

(Jane’s eyes had been opening again and her pace was speeding up. Now she put out her cigarette, took a sip of wine, and went into a pause lasting at least a minute.)

(Break at 10:02. Jane was again very well dissociated, she said. Her eyes were open and very dark for much of the last part of the delivery, her pace fast but broken by pauses, her manner very emphatic. She said that when Seth comes in strong she feels more like him than she does herself. She smoked and sipped at wine.

(It was now time for the 54th Dr. Instream experiment. Jane’s pace slowed again, and she sat with a hand raised to her closed eyes. Resume at 10:10.)

Three one five connected here. Perhaps the passage was on the page number three one five. Perhaps this is the time of the disagreement, or an address number, I do not know.

(Jane paused at 10:16, her eyes still closed. Our kitchen window had been open during the evening and traffic noise was audible, as usual. We hadn’t been bothered by it particularly before this. I now left my chair to shut it.)

Perhaps a connection with the city of London. Also a connection with a ring. And a distant connection with two boys who seem to have been around, or connected with, the two people in some way when the photo was taken.

(Break at 10:34. Jane was dissociated as usual. Her eyes remained closed.

(See the tracing of the envelope object on page 82. I felt Seth was on the track with his data, yet because I had so little background concerning it myself the data seemed opaque to me. I found myself feeling the same way about the answers to my questions, so I did not continue to ask them. I also thought the data was mixed up with the planned visit of my parents to the apartment for Easter Sunday, April 10, and a very short reminder my mother had written in connection with this.

(We could make other connections but they would require checking out, and extra time. While giving the data Jane had the idea of my mother as being connected with the color red, but did not give voice to this because she believed it was incorrect. We agree.

Now, the numbers referred to a number on the card. I do not know if this was a catalog number, but some identifying number.

(I was still trying to find out from Seth just what card the ribbon had been taken from.

(“What card was it?”)

The card in the center contained a street. This was the railroad connection, an interpretation of the parallel lines. Trees, a get-well card I believe. The ribbon at the top, and a small bouquet of flowers. The earlier date marked the first appearance of the card.

In ‘63 some changes were made or the card was resurrected.

(Again, possible. Before the reorganization this year Artistic dealt with many artists and firms in the northeastern states, including New York, Connecticut, Rhode Island and Massachusetts. It still does to some extent. Jane did not know this. Without the card from which the envelope object was taken however, I cannot track down any specific artist or company.)

(Seth refers to a young artist I work with. I am not sure just when Curt joined Artistic, except that it was probably after 1963. But not much after. If the card in question was revamped in 1963 it is possible that Curt might have handled it as one of his first jobs.

(End at 10:54. Jane was dissociated as usual. Her eyes had begun to open occasionally toward the end of the session.)