“Seth material” search engine (Jane Roberts)

(Sunday, February 2, 1969, a group of articles and photos, totaling a full page and a half, was printed in the Elmira Star-Gazette. The stories by Peg Gallagher dealt with the origin of the Seth material, Seth himself, and quotes from various sessions as well as the way the material is gathered, etc. The photos were of Jane and of the painting I did, in oil, of Seth.

(Much work went into this presentation, and a response has been materializing through phone calls, personal visits, and the mail. The series was built around the acceptance of the first book of the Seth material by Prentice-Hall.

(Strictly speaking, these episodes could be called seances, since they were given by Jane herself rather than Seth. The math material meant little to Roger, and we have no way, as yet, of checking out the California data. I wondered why the method used was chosen by Jane, and what was involved emotionally and intellectually. We didn’t think subconscious fabrication was the answer, or that a total lack of control on Jane’s part was involved. These would be extremes. We didn’t insist that Seth discuss this material this evening, instead merely saying we had much to learn here.

(Jane began speaking as Seth in an active manner, often humorously, with emphasis and gestures, eyes open, voice good, pace faster than usual, etc.)

(“Good evening, Seth.”)

(9:55. Seth/Jane leaned forward, smiling and emphatic.) And I will sit more formally for my portrait some day.

(9:56. Jane was quickly out of trance, but it had been a good one, fast and active and emphatic and humorous. I said I thought it was a contact session, as Seth calls them, meaning that he was present with us at this time, rather than having given Jane the material earlier. See the 461st session.

(During break we discussed some of the aspects of precognition and telepathy, clairvoyance, etc., that would be called upon in cases where witnesses attended sessions, but the material for the session had been given to Jane by Seth in advance, in our terms.

(“I’ll try.” See page 230, containing an account of my failure to remember projecting the last time Seth offered to help me.)

(“Good. Good night Seth, and thank you.”

(10:55. Jane was out of trance quickly. She was smiling, and explained that near the end of the session she’d had an amusing image. The painting I’ve done of Seth hangs on an inside wall of our living room. Jane saw Seth’s painting move, intact, to and then through our large center window in the living room.

(The gesturing hand in the painting beckoned to me in three-dimensional form, Jane said, as the painting moved through the window—this was a clear invitation to me to project, accompanied and guided by Seth. But as stated, to no avail this evening.)