“Seth material” search engine (Jane Roberts)

An immersion into the new book, you see. Suitable instructions given to the subconscious that the original book will sell well and be accepted. Poetry again as a part of the day’s normal activity. A walk or outside activity on those days when he does not work outside. Some window open during the yoga exercise.

B. And a G. A distant Minneapolis, Minnesota connection I do not understand. A long word, at least, that looks like that. Or Mississippi or such. With some foreign element, it seems, connected with the word. This leads Ruburt, now, toward a connection with the woman with whom she works.

(Caroline Keck sent Jane the items to give to her in appreciation for a pen and ink drawing of a pigeon I gave to Caroline Keck. In July 1964 Jane worked at the Arnot Art Gallery, and Caroline Keck and her husband Sheldon spent some time there then, putting the gallery’s collection in shape. Jane liked Caroline Keck, and the two got along well. The drawing of the pigeon was among a group I had exhibited at the gallery at the time the Kecks were present; they saw it and admired it. I never met the Kecks, but told Jane to give the drawing to them.

(“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.

(“A connection with a telephone call," General data. Remember that the Kecks were called long distance in Brooklyn, NY, from Elmira, by the Arnot Gallery before they made the trip to Elmira to do conservation work, for instance.

(On the page opposite the title page is a long detailed list of Louis Pomerantz’s previous experience, places of study, etc. He has studied extensively overseas, and worked there and in Canada as an art expert, and in Brooklyn with the Kecks. He has also been employed in various Midwest locations, Chicago, etc. Thus the foreign element mentioned above.

(“This leads Ruburt, now, toward a connection with the woman with whom she works.” This is valid data, we believe. Jane’s present working situation is much like that she worked in at the gallery in July-August 1964. Now, as then, she worked with a woman superior. Both women had M initials also for the last name—Masters at the Gallery, Methinitus now at the nursery school at the Jewish Community Center.

(The object itself also refers to a situation where Jane worked closely with another woman—namely Caroline Keck, when doing conservation work at the gallery in July 1964. See page 230.

(“An invitation to attend.” At this date Jane cannot recall. The Kecks are well known in their field, and it is possible some social affair was held for them while they were in Elmira and at the gallery doing their work. Jane could have been invited to attend. She knows she attended no such affair in their honor, but doesn’t know, now, whether she was asked to.

(“A fence or framework connection with the item.” Again, framework can refer to frames, paintings, etc., as explained. A fence can also enter in, in a more literal way: The Arnot Art Gallery, where Caroline Keck, the author of the object worked, is surrounded by a black iron fence.

(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.