“Seth material” search engine (Jane Roberts)

(This noon our friend Jim Beckett visited us for the first time in some months. Jim used to be a TV repairman. Last evening our TV set was acting up, and Jane wished aloud that Jim would visit us and fix the set, as he has done in the past.

Then a door was closed. The girl reminded you, through some association, with Emma Martin of that time.

She did not comfort him as his mother had. You picked up the condition when he realized that it no longer served him. At that time you accepted it, however, along with your conception of what it was to be a male. If you had a son and did not know what you know, you would automatically so transfer it.

(Break at 9:52. Jane was out as usual. Her manner was very active, often smiling and emphatic, her eyes open much of the time, etc. I had a sneezing spell at break, probably because of the emotional content of the above material.

Three people concerned. I have the image of a circular object within a rectangular one, or rather an oval shape as in a portrait of a woman that is oval, for example as in old-time valentines.

(See the tracing on page 1 and the notes that follow. As stated I knew nothing of the circumstances under which Jane produced the poem used as object. During the delivery of the data however I forgot this, and as a result it seemed to me that the data was off target. It was quite legitimate. But at the time I nearly asked Jane to try again, and was also somewhat at a loss as to what questions to ask. Had I asked Jane to try again it might have led to confusion.

(I had been moody myself that day, and finally lay down for a nap—hence the subject matter for Jane’s poem. Jane wondered why the couple asked her to share a drink if they didn’t mean it. Dick, especially, seemed to give Jane this feeling. Note that much of the data concerns the three people involved in the poem’s psychic surroundings at the time of creation; and that indeed this feeling on Jane’s part overrides the data pertaining directly to the object itself in most cases tonight. But Jane’s perception of the object was necessary in order for her to give the data pertaining to Barbara and Dick, and her own feelings.

(“I have the image of a circular object within a rectangular one, or rather an oval shape as in a portrait of a woman that is oval, for example as in old-time valentines.” To Jane this refers to the fact that Barbara is an amateur artist. Jane doesn’t know however if Barbara has for instance ever painted such a portrait. Jane wished she had allowed Seth to be more specific here. Later note by Rob: Poem is a valentine of sorts; love poem.

(In addition, within the past month we have received an announcement of the forthcoming marriage of another D’Andreano, Louie, also in Rochester. We have been invited. Louie witnessed a session a couple of year ago, and was interested in this material for some time. This new wedding, we think, freshens the D’Andreano association. We think there is also another association involving this data—the fact that the two Dicks were involved—Dick in the backyard, and my own brother Dick in Rochester.

(Note that most of tonight’s data stems from the strong emotional charges surrounding the gathering of Barbara, Dick and Jane in the backyard, during the time Jane wrote the poem to me used as object. I had picked the poem as object in the frank hope that it would have strong emotional attraction for Jane. But this was overridden by the events and feelings engendered in the meeting of the three people.

1812 (pause) was a distant connection at best. Ruburt and the man (meaning Barbara’s boyfriend, Dick) spoke of Jamieson. (The art director of the Arnot Art Gallery at the time Jane worked there). This was a poor association, leading to the Victorian room at the gallery, you see.

We will take some time in the future with Ruburt and health connections. We will always return to our data however, of course.