“Seth material” search engine (Jane Roberts)

(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.

(The negative mention in the data is interesting, and has several connections, both here and in the rest of Seth’s data. Jane and I did not think of negative in connection with the word no, for instance, but in relation to pictures or visual images. On page two of his letter Wendell tells about a friend who works for the Neilson TV survey people—having to do with pictures. But also, negative, meaning pictures, is called to mind because Wendell’s letter deals with a group of artists who worked together in a studio, drawing comic strips, in 1941-3. In addition I personally have a studio here in the apartment, and the envelope used as object was kept in this studio. These references about studios, pictures, and the object crop up again later in the data also.

(“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.

(In any event travel by various modes from a cluster of surrounding towns in that area would have been necessary for the artists attending the reunion.

(“A photograph. Ruburt here thinks of the photographs taken in your studio, of him.” The picture data begins to emerge again. Seth here mentions some test photos I took of Jane in my studio here last week. Studio is the link here with Wendell’s letter, and hence the envelope object. In his letter Wendell specifically mentions the studio we artists shared back in 1941-3.

(“There seems to be a dual impression of printed matter with a photograph.” Seth comes even closer with this data. He deals with the photo-picture-artist impressions on the one hand, and the actual envelope object, containing both printing and typing, on the other. We regard this as good data. Tonight’s empty object also contained Wendell’s typed letter. In the past Seth, or Jane, has used lettering, typing, writing and printing interchangeably. Thus it is possible that tonight “printing” could refer to both the printing and typing on Wendell’s envelope, and to the letter it had contained.

(“Two again, like a double exposure.” See the “twice” and “negative” data on page 77, and the listing of Wendell’s use of the numeral 2 on the second page of his letter. Double exposure, above, also has picture and artist connotations.

(“And a connection with an older man here.” Jane and I felt reasonably sure here that this referred to the boss of the studio at which both Wendell and I worked in 1941-3. His name is Jack Binder, and he is in his 60’s now—perhaps twenty years older than the crew of artists he had working for him. Seth agreed with our interpretations after break.