“Seth material” search engine (Jane Roberts)

(Note: somewhat brief sessions were held last Friday evening, March 22, with Bill and Peggy Gallagher, and Claire Crittenden and her friend Bob as witnesses; and on Tuesday evening for Jane’s regular ESP class, March 26, 1968.

(Jane began speaking in trance this evening with her eyes open at once, her voice a little stronger than usual. She used few pauses and many gestures, and it was evident from the outset that the trance was a deep one.)

(I am not an expert on Spanish art, but the above passage reminds me of Velazquez for some reason. Nor does Jane know Spanish art. For instance, she doesn’t particularly admire Spanish artists, or talk of any one or group of such artists, etc.)

(This is sound painting technique. Jane paints in her own manner, quite different than mine, but the above data is not her way of thinking in painting terms as far as I know. I have never heard her mention this, at least.)

(“No.” Even though it was 9:45, Seth obviously wanted to continue. Jane’s pace had been good. Pause.)

(Jane sat in her rocker facing the living room wall upon which hung my oil portrait of Seth. She pointed to it now.)

(Now Jane, as Seth, pointed to an acrylic seascape that I had recently hung on the wall opposite Seth’s portrait. This I painted last year. After the seascape Seth inspected an oil of a tree that I had painted in 1960; this hung beyond the seascape, toward the front door.)

(Another long pause. I asked finally: “Why don’t you open your eyes?” But Jane did not do so, and gestured to me to wait. Resume at 10:11.)

(Again Jane paused, at 10:13. This time she told me I had better speak her name three times, as Seth had suggested I do in a recent session, when her trance was deep. I did so now, and very slowly Jane opened her eyes, one at a time, on a crack. But, as she said later, she never really got out of the trance, and resumed at 10:15.)

Having to do with him. (Pause, head down, hair disheveled.) Now as the clouds’ construction constantly changes—tonight you watched them (and sketched them after supper) so the forms of objects constantly change. (Pause, head down, hair disheveled. Eyes closed. Jane constantly rubbed her face and eyes with both hands.) We had better get Ruburt out of this for now, at least for a break. Touch his shoulder.

(At 10:22 I did so, and spoke to Jane again. Very slowly her eyes opened; they were very heavy and sleepy and the effort involved was apparent. I said it was the end of the session. When she finally began to talk Jane said this was the deepest trance, the “farthest out” she had ever been, bar no other time. Yet she still remembered some of what she had said, in a general way. She felt Seth had come through as specifically as possible for her at this time, and with great clearness. Jane felt the energy involved: “I had a sense of tremendous power going through me.”

(My first question about Van Elder shook her up a little, she said. The Van came through clearly. Jane had the impression at the time of Seth conferring with someone else, she said. The next word, she now speculated, could have been either Elder or Older; Jane said now that she didn’t realize this until she voiced the idea.

(I asked the question because of the long pause; I wanted to keep Seth on this track, and thought he might begin talking about another subject. Jane said she had visions of brown earth and clumps of grass while she gave the data. A little earlier, she now added, she had seen flashes of other paintings as she spoke about the old masters, but she didn’t know which paintings were involved by name.

(The Van Elder name was not specifically familiar to me, although it could be said to have a familiar sound. I can say that the painting and energy data given tonight is entirely sound and worthy, however, and certainly beneficial for any artist. The method of using siennas, ochre and violet is not one I have used, but appears to be quite sensible; I may try it soon. I do not believe Jane consciously thinks this way.

(Jane said Seth seemed to have a tremendous fount of information to draw upon as she gave the data tonight, as though he had gathered it together just for this session. Jane felt that either she or Seth, or both, were looking at paintings as she talked.

(Jane said she was so passive at the end of the session that she couldn’t assert herself as she usually does; she thought that this assertion on her part helped Seth disengage at the end of a session. I thought this an excellent point, and one not previously mentioned in just such a way.)