“Seth material” search engine (Jane Roberts)

(Just before the session Jane began to edge into an altered state of consciousness other than the one she uses for her “Seth trance,” as she put it. For a few moments she sat quietly with her eyes closed. She felt “the idea, mentally, of something shaped like a television screen” off to her right. By now I was writing down what I could. “And now it’s coming closer. I don’t know what it is, or what it has to do with the session, if anything.” She paused, then resumed in the past tense: “It came up fairly close to me. I walked through it and down a long chute. There were coils in there. They did things with me — healing things — then dropped me back in my chair.

(“Then in the eyes of this Seth there are two little Seths looking out. Both of these images are like your portrait. Now they climb out of the eyes; with their bodies they make a garland around the big Seth’s head; they sit on it back-to-back like a pair of bookends.” Pause, eyes closed. “Wow — a whole bunch of these little Seths climb up on top of the giant head — but in perfect poses. They’re very stylized, but all real. And Seth will explain it,” Jane abruptly said, evidently quite surprised. “The little images face in all directions around the head of the big Seth. I know it’s not right, not a good analogy, but they’re like gargoyles on a steeple….

(Jane didn’t rub between her eyes — and without leaving her chair she went back into the session within a very few minutes. Her eyes were closed. Her delivery was so subdued at first that I wondered if she was using her Seth voice. Resume at 10:15.)

(Pause, hand to closed eyes.) Between each official number in a given series he envisions literally infinite space. The infinitesimal becomes infinite.

(Now for a few moments Jane rubbed in a circular motion between her closed eyes.)

There are, of course, close relationships concerning this delivery of Seth’s for the 740th session, the material in this note, and the musical analogies Seth presented in the 735th session, when he discoursed upon the inaudible variations inherent in the compositions played by the young classical guitarist who’d visited us over the weekend of February 2. (I’ve been saving this reference for this particular note.) At 9:45, for instance, in that 735th session: “An infinite number of other ‘alternate’ compositions were also latent within the [first] note, however … They were quite as legitimate as the compositions that were played … and … added silent structure and pacing to the physically actualized music.”

Not long after we moved into the hill house (in March) our new acquaintance and next door neighbor to the east, Frank Corio, told us he knows Louise Akins; she was one of the first students to attend Jane’s ESP class, in September 1967. An interesting tidbit, we thought, considering that Elmira is a city of close to 50,000 people, and in turn is surrounded by a similar number residing in smaller communities. I added Frank’s information to our list of house connections, then forgot about it.

The odds against such a “coincidence” developing would be astronomical — except that the Millers had lived in a neighborhood close to the hill house several years ago (when the acquaintanceship with Louise Akins had been made), had moved out of state, then returned to buy the house next door to us. The house connection is still unique, however, considering that in the hill house Jane and I found ourselves bracketed east and west by people who knew one of her early students — who had in turn mentioned Jane to them. Interesting, that Frank Corio had been instrumental in bringing the Millers back to their favorite neighborhood, when in a city the size of Elmira there are at any time a number of homes for sale in “desirable” neighborhoods, including “ours.”