“Seth material” search engine (Jane Roberts)

(“Connection with a framework that is broken, or cut off.” In the lower right hand corner of page 1 of the object is a monogram consisting of the letters A and S, for Art Shop. The right leg of the A is cut shorter than the left leg. When Jane saw the monogram she said the A represented a framework to her, like an A-frame house, and that the right leg was shorter.

(“This is difficult to put into words… The impression of something going forward, as of a path, you see, that is wide, and then narrows into the distance.” Jane made her gesture, as described on page 242. “That may need some interpretation, but that is the impression.” I sought more information on this impression by the first question. At the time of the above data Jane held the envelope horizontally. There can be a literal interpretation: The drawing of the milkweed on page one of the object is V-shaped in the abstract sense—wide at one end, narrowing to a point, as did Jane’s gesture. Also the A in the Art Shop monogram narrows somewhat but doesn’t come to a point. There can also be a symbolic interpretation, and Seth raises this possibility in answer to the first question.

(“Connection with an invitation.” Since the object is a notice that the Art Shop is continuing in business, it is an invitation to continue trading there. Also Jane and I have been personally invited by the three new proprietors, whom we know, to continue doing business with the Art Shop. Additional note by Rob: Later, shop is moved to a house.

(“A house.” As stated in connection with the “framework” data on page 244, the A in the Art Shop monogram on page one of the object meant framework, or A-frame house, to Jane.

(“and a present, or gift.” Besides selling painting supplies, the Art Shop sells a variety of gifts—ceramics, books, frames, paintings, prints, sculpture, postcards, etc.

(The first question asked Seth to comment further on the “going forward” data on page 242: “The impression is difficult to bring into clear focus. It may be symbolic. A movement, for example in a forward direction, or something that leads into the future.” A literal interpretation was given on page 242. Here, the symbolic interpretation can be the fact that page 3 of the object states that the Art Shop is “Continuing under new management.”

(“and a small object in the lower right-hand corner.” With the object held as marked by T on page 4, the A-S monogram for the Art Shop is seen to be in the lower right-hand corner of page 1. This is speaking intrinsically. We don’t know for instance whether Jane held the envelope with page one of the object toward her face, or with page 4 toward her face; nor do we know whether this matters, or if it influenced Seth’s data.

(“and some designations on the other side of the object, perhaps in the upper left-hand corner.” Holding the envelope vertically in her right hand, Jane pinched the upper left corner of the envelope with her left hand. See page 243. There is printed matter on pages 1 and 3 of the object; folded, this puts one printed page behind the other, which could give rise to Seth’s use of “other side.” The Art Shop address at the top of page 3 however is neither to the right or left, but centered. We don’t know if the upper left-hand corner data derived from Jane holding the object with page one facing away from her, for instance.

(“I believe your brother Loren is one present. The number 17, a date in July which will be significant to him, or his close family—not necessarily to him, you see.” We did not ask for this data; it came through spontaneously. We saw one reason why Seth could have chosen to insert it here in the envelope data, and Seth confirms our speculation later. Our idea was that Seth sought to use the idea of a relative connection with the object. Ruth Gridley, listed on page 3 of the object as one of the Art Shop’s new management, is my first cousin; Loren of course is my brother. But we still think the Loren data is separate in the main from the envelope data.