“Seth material” search engine (Jane Roberts)

(The envelope object was a bill I had received this afternoon for art supplies, and which Jane had never seen. Jane does know the proprietor of the Art Shop, Marjorie Buck, who made out the bill. The object is printed in dark blue ink on yellow paper, with the writing in carbon blue. The large number at the bottom is in red; the back of the bill is blank. I placed the object, folded once, as indicated, between the usual two pieces of Bristol, then sealed it in double envelopes.

(See the copy of the envelope object on page 115 and the notes on the next page. As stated the object was a bill for art supplies from The Art Shop. Jane had never seen the object; I obtained it today, October 24, from Marjorie Buck, the proprietor, when I bought pencils and paper stumps with which to do the job my old friend, Bill Ward, mailed to me over the weekend. The job arrived yesterday. See the notes on page 116 for an explanation here, since these facts enter into the envelope data, we believe.

(“A hole or grave or something deep.” Marjorie Buck is the proprietor of The Art Shop, where I obtained the bill used as object. Jane knows her fairly well. Marjorie’s husband died—we do not know when—and Marjorie bought The Art Shop earlier this year. Jane has used the hole/grave nomenclature several times in the past to refer to deaths; it is a regular association of hers.

(“A mistake or error.” Jane said this stems from the last time she personally saw Marjorie; this was perhaps five weeks ago when Jane was job hunting; this activity of Jane crops up later in the data also. Jane stopped at The Art Shop to buy me a pint can of gesso. Marjorie told Jane to help herself because she was not too familiar with the location of all the stock.

(“An obvious appeal. Cardboard.” I believe these two go together, and they also reflect the conditions described relating to the error data just above. This afternoon, October 24, Marjorie asked me to locate the pencils and stumps I wanted in The Art Shop storeroom. I did so. The two items were both kept in cardboard boxes, small, and in separate places.

(“Connection with an old house; with another location; with two women and a man in particular.” Jane says Marjorie Buck lives in an old house, at 655 Logan Street. I personally am not familiar with it. The house of course obviously is at another location than our apartment, The Art Shop, etc. Later Note by RFB: Also, The Art Shop moves next year to an old house.

(We believe this data is an example of the distortions Seth refers to. In my second question an attempt is made to get more specific data. Possibly the above data refers to Marjorie as proprietor of The Art Shop, and her two helpers, my first cousin Ruth Gridley, and the framemaker Roy Fox. All of these people are friends of ours, bespeaking emotional involvement. But in answer to the second question, Seth cites Jane’s difficulty, and the thought of my mother, her cousin Vivian, and Vivian’s husband Bill. Vivian and Bill, from Virginia, visited my parents last weekend, and Jane and I saw much of them.

(“A connection with a particular event that was social. And perhaps had a connection with a school or sports.” This is good data, and is related to the object through Marjorie Buck. As stated on page 120 after the “mistake” data, the last time Jane saw Marjorie was when job hunting. Before stopping in at The Art Shop to buy the gesso for me, Jane had applied at the local YWCA for a job. The job involved teaching children various games, for the school or sports connection.

(“Six. Now perhaps April 6.” We don’t know. Marjorie Buck took over ownership and operation of The Art Shop early this year. Was it in April? We received a formal notice of the change in management in June 1966, and this was used as the envelope object in the 268th session. See Volume 6 of The Early Sessions.

(“Blacks that speak loudly.” Again see page 115. The heavy type for The Art Shop on the bill is prominent; when Jane opened the double envelopes and saw this she said it was black printing. Actually it is in dark blue ink against yellow paper, appearing almost black.

(Bear in mind that the connection between the artwork and tonight’s envelope object, the bill from The Art Shop, would be the pencils and paper stumps I bought at The Art Shop in order to do the art.

(2nd Question: Who are the two women you mentioned? Initials? “We are having difficulty with Ruburt here, for he thinks of Vivian and your mother.” See the interpretation of the “two women and a man” data at the bottom of page 120. I tried to clarify that data here. My thought was that the two women and a man Seth referred to were Marjorie Buck, Ruth Gridley, and Roy Fox, all connected directly to The Art Shop, which furnished the bill used as envelope object. Jane evidently had in mind my mother, and Vivian and Bill Crowder, relatives from Virginia whom we saw this weekend. Seth apparently wanted to lead Jane away from the relative connection; but still volunteered no more specific information.

(All are apparently linked with the envelope object in some fashion. The Art Shop bill used as object is rectangular in shape, but Jane mentioned a rectangular package earlier so we are not sure of what interpretation to assign here.

(“The letter M in caps here.” Possibly good data, and a strong link with the bill used as object. The bill was made out by Marjorie Buck, proprietor of The Art Shop. We are often unsure as to what, or how much, meaning to give initials like this. There are other M’s, both upper and lower case, on the bill. See page 115. Actually Marjorie’s name doesn’t appear on the bill at all.