“Seth material” search engine (Jane Roberts)

I have a few matters to discuss here. The probable realities of which I have spoken are separated from your own, not in terms of space but in terms of energy focus. Survival personalities, as you term them, are not separated from you in space either, but in terms of energy focus.

As his own experiences grow the previous earth experiences become less important and dreamlike, though they can be activated most vividly at any time. When I speak in terms of continuity here, and before and after, I speak for simplicity’s sake only, since the survival personality that is, always existed, of course.

Now. Give me a moment here.

Wine rather than the grain beer. The chiropractic adjustments now, underlined, are of benefit. The yoga exercise for the sinuses substituted largely, though not necessarily exclusively, for his medication. A serious return to his book, with instructions to the subconscious here.

Here, to Ruburt.

(“A framework within a framework.” Somewhat vague, but we believe legitimate. Jane said the Kecks worked with frames and pictures while at the gallery in July 1964. A painting could be a framework, fitting within another framework—the frame. Could also be a generalization, referring to either the Arnot Gallery here in Elmira, or the Brooklyn Museum mentioned on the object, or both.

(Below this on the same page a brief resume of Paula Gerard’s professional career is given. Minneapolis, Minnesota, is mentioned here by name.

(“A hole in one. I do not know if this is a golf connection or to what it refers.” We know of no literal connection here. We speculate that it might refer to the Keck’s job as painting conservators, to repair damaged art.

(“Connection with a man also. With you and another man," Some distortion develops here, but we think this legitimate data. See the copy of the object on page 230. Note that Caroline Keck writes Jane that her son Larry appropriated my drawing for his own use. Jane looked at me when she gave this data, incidentally.

(1st Question: What’s that connection about a book? “It seems as to be an old book. A bound one, with a dark color such as brown on the cover. The side of pages when the book is closed seem dusky in color, like old gold color. The book having a connection with a desk, and another location.” Again, distortion. Jane said that here she confused old paintings and old gilded frames, such as the Kecks worked with at the Arnot, with old books. Quite possibly the book is Louis Pomerantz’s modern one, as described. The cover of this book is a rusty red. Also it may have laid on a desk, and it was sent to Jane from another location—Brooklyn, NY.

(2nd Question: Who does JB refer to? “Here, to Ruburt.” Correct. The object is addressed to Jane. See page 230.

(3rd Question: And the G? “A large capital G is the impression. A fancy G.” Again, some distortions evidently. As will be seen Jane here thought of our friend Bill Gallagher, hence the capital G.

(“The other man, a friend rather than a relative.” Here Seth, or Jane, veers toward Bill Gallagher again, it seems. I had not met either Caroline or Sheldon Keck, nor Larry who was in Brooklyn.

(5th Question: Initials? “This may be your friend Gallagher, or your friend Mark, for the first name would seem to be William.” A miss here. As far as we know, neither Bill Gallagher or Bill Macdonnel (Mark) are involved with the object. Bill Macdonnel may have seen the pigeon drawing when it was on exhibit at the gallery; I do not know for sure. Could William have come from Larry, on the object?