“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.

Do you have an envelope for me?

(At 9:35 Jane took the envelope for the 74th experiment from me without opening her eyes. She held it to her forehead in a horizontal position.)

(Jane gestured with the fingers of her right hand spread and pointed downward; she made vertical motions with the hand. She still held the envelope to her forehead with the other hand, as usual in a horizontal position, or nearly so.

The vague impression that it is a boy rather than a girl, and an initial R or B. Or, this is an image of someone, male, as a youngster who was born in 1936, or who is now 36 years old. A review, you see. (Jane lowered the envelope to her lap.)

(Break at 9:54. Jane was out as usual. Her eyes had remained closed through the envelope experiment, and had opened little during the Gallagher material. She said she didn’t know if she had any mental images; as we went through the material she recalled a few.

(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.

(The object is printed on bright yellow paper in dark blue ink, with the large serial number at the bottom in red. The back is blank. The bill was folded once for insertion into the double envelopes. The bill is not dated by Marjorie; when I obtained it I had no notion of using it as the object. I did want something that Jane had never seen however.

(This data was not as wholly precise as we would like, but we made the connections we could. Seth did not go over it after break, mentioning distortions and telepathic static instead. But we feel that more than enough points were made to establish that Seth/Jane had picked up the correct scent. Again, see the 286th session for an explanation of the way Seth receives envelope data.

(“An article that opens up.” I believe there are two choices of interpretation here. I favor the first one: that the data refers to the large flat package in which Bill Ward mailed me the artwork to be finished. “Writing on the inside and outside.” The package of course contained writing both inside and outside. “Or at least the inside and outside are covered.” This may refer to the package in a somewhat distorted manner. Or it may refer quite accurately to the envelope object itself, which would be the second possibility for this block of data.

(As indicated on page 115, the bill was folded once before insertion into the double envelopes. This would make it an article that opens up but with writing on the inside only; hence some distortion would be present with this interpretation also.

(“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.

(“A border.” The envelope object contains a definite border. See the tracing on page 115.

(“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.

(I am also of the opinion that the three pieces of data just preceding this: A border; blacks that speak loudly; and vivid verticals; might be said to apply to the artwork as much as to the envelope object itself. Legitimate connections would still apply.

(Distortion probably operates here. Note that the bill used as the object has blue lines upon it. Bill Ward’s artwork arrived in a large rectangular package, but contained no tissue paper and bore no ribbons or string; it was instead sealed with tape. Nor did it contain any blue. Jane thinks she may have received accurate-enough data from Seth about a package, and constructed perhaps the ribbons herself because that is symbolic of packages. She used blue ribbons perhaps through a distortion of the blue pertaining to the envelope object.

(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.