“Seth material” search engine (Jane Roberts)

(“I had the feeling that Seth was in this chute or tunnel, in miniature, and that he looked like he does in your portrait of him, only in full length.”¹

That one Seth was endowed with his own inner blueprint. The blueprint gave him an idea of his potentials, and how they could be best fulfilled in earthly terms.³

(10:36. “Wow,” Jane exclaimed as she emerged from her short but excellent delivery. “Before the session I didn’t feel a thing. I was just sort of happily dopey — no ideas at all. But I really clicked in before this break. Seth finally found something he could use to make analogies. I wasn’t aware of traffic noise or anything else … The whole thing surprises me: Look what I’d have missed if I’d decided not to have a session. And I didn’t know Seth was going to explain those visions until I got that flash from him just before he came through. I have the feeling that inside that experience I traveled a great distance….”

1. See the picture section in Prentice-Hall’s editions of The Seth Material for a cropped, black-and-white reproduction of my oil portrait of Seth, “in the form in which he chose to appear to Rob,” as Jane wrote in Chapter 8 of that book. Seth first announced his presence by name in the 4th session for December 8, 1963; I painted him in 1966.

Jane and I certainly don’t think the fact that Frank and Mrs. Miller know Louise Akins was the reason the Millers moved next door to us, yet it is one factor to be considered among a myriad of others — money, availability, and so forth. Why did Jane and I move into a neighborhood in which such a house connection could develop to begin with? Why was Frank Corio assigned the task of selling the house next door to us? Why did the Millers encounter him at just that particular time, and why was he, of all the real estate agents in Elmira, the one who succeeded in selling them the house they bought?