“Seth material” search engine (Jane Roberts)

Such dreams do not basically imply a return to a distant past, for to the cells all things are present. (Long pause.) This reality is a basic part of your present existence, and simply represents a dimension of actuality that the ego cannot, by its nature, admit.

The expansion is in all directions, so to speak. We have not quite completely explained the idea of traveling through intensities to you, simply because words are inadequate. The idea of traveling through intensities gives the result, in your system, of traveling through time, as I have told you.

(See the tracing of tonight’s envelope object on page 71 and the notes on the next page. The empty envelope used as object was mailed to me last May 26,1966, by an old friend, Wendell Crowley, and contained a letter detailing a reunion of a group of friends, all artists, that Wendell and I worked with in 1941-43. The letter was not in the envelope but was kept separate by me for reference after the session. As I suspected, some of Seth’s data referred to the contents of the letter rather than the envelope object itself.

(“It seems some connection with cars or transportation.” As stated, the object contained a letter describing the reunion of perhaps half a dozen artists who worked together in the early 1940’s. The reunion was attended by the writer of the letter. All of the reunion participants live in the New York City and New Jersey area just across the Hudson River. In his letter Wendell does not name the town or city in which the reunion, at a restaurant, took place, but from following data Jane and I surmise it took place in New York City.

(“Some connection with a February event.” Wendell’s letter of May 26 was in answer to a letter I wrote him last February. I do not have a copy of my letter, but am sure it was written in February because Wendell discusses my references to snow and poor weather. Our weather last winter was quite peculiar—we had no snow at all until the massive three-day storm of February 1, one of the worst in local history. Seth has more to say about February in answer to my first question.

(“The photograph connection is strong [pause] but I do not believe the item is this precisely.” [Pause.] Seth tried to help Jane discriminate here, as he often does. Tonight’s object of course is not a picture or photo, but an envelope that contained a letter about people who make pictures. Also, I was taking pictures of Jane last week, as explained. Thus it can be seen how all such related data, even though separated by much time, comes together in these session experiments. This particular chain of association was not anticipated by me when I picked the Crowley envelope as object for tonight. The two studio settings—the studio I worked in with Wendell Crowley in 1941-3, and my present studio, are separated by as much as 23 years.