“Seth material” search engine (Jane Roberts)

Ruburt, having interpreted your dream, looked wide-awake but relaxed through his studio into the kitchen. He thought of asking you to take a snapshot of the table with your camera, showing the partially-opened front door, so that later he could paint the scene. Your camera could not take in all of that, a fact he never thought of. Less than two minutes later, you came out into his studio with the camera that you had not used for months. Ruburt had also been thinking newly about the magical approach from ideas in your own notes² that he had just read. You came out as if in answer. As if to say, “Yes, the magical approach does indeed operate, and this is how.”

“As Floyd and I cut across the court I saw that the Brenner’s lawn was despoiled with a mixture of animal and industrial waste, like pollution. ‘What’s that?’ I exclaimed to Floyd, as I saw a large dark shape near the hickory tree. At first shock I thought it was a deer that might have been killed by a car the night before, say. It lay on its side with its back to us. Then to my amazement I saw that the supposed animal was actually the broken remnants of a hollow, life-sized metal statue of a deer that had stood for years in the front yard of a house on Harrison Street, in Sayre, at the other end of town. The house had been owned by the Maynards, who had no children. When my next-youngest brother and I were in grade school, our family had lived a few houses down Harrison from the Maynards. Mr. Maynard had been a carpenter. He and his wife and my parents had been friends. All of us kids in the neighborhood had been fascinated by the deer, which had been painted brown. We had climbed all over it. My father had photographed it.