“Seth material” search engine (Jane Roberts)

(Seth helped us out with our interpretations after break, as sometimes happens. Whenever possible we prefer to make as many connections between the data and the envelope object as we can on our own. Our purpose in conducting these experiments in this manner is to see what Jane, or Seth, can pick up about a concealed object that bears some kind of emotional charge related to us personally. To this end, envelope objects are often deliberately chosen by me with emotional involvement in mind, since Seth has said many times that his abilities have an emotional basis; this primary emotional basis is then disciplined and given shape by the intellect.

(Wendell uses the numeral 2 to indicate the second page of his typed letter. He mentions the 20th anniversary of a friend’s wedding. He discusses the fact that although he is recovered from a heart attack of last year, he cannot lift over 20 pounds, and must take a 2-mile walk each day. The numeral 2 appears once on the first page of the letter.

(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.

(There is another possible travel connection here, depending upon interpretation. The envelope object is postmarked Ridgewood, NJ, which lies on the outer rim of the commuter towns attendant to New York City. The letter the object contained, however, was written by Wendell at his home in Edgewater, NJ, which is just across the Hudson from New York City. The two towns are at least 25 miles apart—a trip Wendell makes daily.

(“My fair lady—I do not know to what this refers.” In his letter Wendell makes no reference to this in any way. Seth begins to clear this up after break but an interruption interferes.

(“The travel connection again. Now the feeling of trains, or a tunnel, as a train tunnel would be. This is an attempt to get at the curved corridor connection more clearly.” This is difficult to interpret without place names, and I did not think to ask Seth for any at the time. In any traveling Wendell might have done from his home in Edgewater, NJ, to New York City, trains and cars could very well have been involved.

(“Black and white colors.” The envelope object is white, with both the printing and typing on it in black ink. Wendell’s letter is also black and white, though his signature is in blue ink.

(“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.

(“One thirty-five.” My hunch was that this referred either to the end of the reunion discussed in Wendell’s letter—at 1:35 AM, or the time Wendell himself left the party. Inspection of his letter showed that Wendell states “I left at about 12:30 AM,” but that other member of the party remained after he left. Seth is more specific after break.

(“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.