“Seth material” search engine (Jane Roberts)

In my studio was a pile of old newspapers. Most of them were of The New York Times, both daily and Sunday copies. Shortly before the session I removed a few local papers from the stack. Then backing up to the pile, I pulled out a section without looking at it, and tore off a portion of a page. I folded this behind me until I was sure it would fit between the regular double bristol and into the double envelopes.

“A gray view.” (Portions of illustrations were visible on both sides of the item, all in gray tones.)

Both of us caught on at once. “Wow,” I said. “A method of disposal—that must be sales! But what a crazy way to put it.”

“ ‘Election Day Sales,’ or ‘Values,’ is printed in black headlines at the top of both sides of the page. And gubatorial, or gubernatorial, applies because the election’s for New York State governor on November 9. I’d also say that the phrase ‘Election Day Sales’ is certainly in the vernacular.”

Refer to the illustrated section for reproductions of the test item and the page from which it was torn. Both sides of the test item contained portions of advertisements that were tied in with election day, yet the words “Election Day” didn’t appear on the object itself at all—only on the whole newspaper page that had lain on a high shelf of Rob’s studio bookcase.

This test brought several questions to mind at once, though. How had Seth picked up the information about the entire page, when only a small section of it was in the test envelope? Had some kind of projection on my part been involved, back to the studio bookcase? Seth hadn’t first given impressions of the envelope object itself, then neatly moved on to deal with the entire page; he had shifted back and forth between the two, as if viewing both at once. And why had he not confined his data just to the envelope object?

“Writing or printing on the lower left hand corner, very small, holding the object horizontally. Something on the back also.” (Both of these applied, except that the very small print was on the left side, not only the left corner.)

I was doing the dishes when a drawback suddenly occurred to me. Rob was in the living room. I went in. Slowly. “I bet Dr. Instream would throw out the results of that hand-print test because we both worked on palmistry the week before,” I said.

Very shortly after the sessions began, Rob started to see visions or images. Some were subjective, but others were objectified—three-dimensional, or nearly so. Some were of people, and Rob began to use them as models for his paintings. Now our living room is full of portraits of people we don’t “know.” Seth has said that some depict ourselves in past lives. One, used in this book, is a portrait of Seth in the form in which he chose to appear to Rob. (Since then, a student and a friend of ours have both seen Seth as he appears in this picture.)

Seth did say, however, that Rob’s picture using the color-building technique is a portrait of the artist in question. (See illustrated section.) He also said that Rob would do other paintings of both the artist and his environment, including possibly the artist’s studio.