“Seth material” search engine (Jane Roberts)

Earlier, one of the boys kissed me laughingly in front of the group and I laughed, delighted. They all seemed to look up to me in some way. Earlier too, someone asked me if my skin wasn’t brown or when it looked brown and I said in Summertime.

I do not really waken however but continue dreaming. I’m downtown in the same town, with this group again. One girl asks me if Chuck stayed til nine last night and I say yes. Then one girl, not of the group, is crying. I say something about poetry and she says, well you’d better talk fast because I’ve just about decided to stop writing poetry. She has light brown hair, rather dark circles under her eyes and is somewhat younger than I. I say that you can’t just decide consciously to give up writing poetry, you’d write it anyhow, though you could subconsciously make such a decision and never know about it at all. Then rather dramatically but beautifully I tell her that: “Poetry is your characteristic method of expression, your way of translating the data into physical reality and that even its rhythm is the rhythm of your heartbeat.” Tell her that she can’t give it up.

[...] Anyhow, he used a phrase that I remembered when I woke up: “I live in a brown-paper-bag part of town,” meaning a lower middle-class neighborhood; he implied that that was his station in life, and that he had no idea of trying to change it, or felt that he couldn’t. In the dream I wore a brown faded coat and perhaps a small matching hat. [...]

[...] Brown colored. [...]

[...] This was of the brown structures on stilts, she said. [...]

[...] The dark brown color of the buildings was hard for her to see. [...]

(The memo pad slip used as the 80th envelope object is printed in a dark chocolate brown on a paper that is a rather bright orange brown of middle value. [...]

[...] It is printed in a dark chocolate brown on rather bright orange brown paper. [...]

[...] The blemish data could be a distortion, resulting from the fact that the orange paper is printed upon with a darker brown ink.

(“Oval and brown.” [...] Since this house plant also is developing a brown cast, Jane could know this easily enough once she, or Seth, picked up the idea that the envelope object represented a begonia.

[...] One, a fairly oval object, of an inserted brown background, and a raised cream-colored area.

[...] Oval and brown. [...]

[...] Places close by seem to be somewhat on stilts, brown colored. [...]

[...] A brown book.

[...] One note of interest; technically speaking the oil colors I use contain no color named sepia, specifically, though, of course, a range of earth reds and browns are included. Sepia is a brown. [...]

[...] Brown was one of the colors used, and could have contributed to the undesirable purplish undertone in the flesh. [...]

[...] Subdue the brown and bring out the light.

Now if you happen to be black or brown, poor, and believe in this system, you will at least feel secure within it. If you are instead white and wealthy and hold such beliefs, you will think yourself quite inferior indeed, and do everything in your power to show how picturesque, and liberal and open-minded, and black or brown you can be, while still being white, fairly well-off, and perhaps secretly addicted to your Christianity.

[...] Black skin or brown skin becomes the criteria of spiritual perfection, and poverty a badge of honor to be worn not only proudly, but often to be used as an aggressive tool. [...]

(“Gray and brown.” These are the colors of the envelope object; the holly leaf is very dry and brittle, and faded out to a gray-brown.

[...] This gray-brown leaf had been taped to the shade on my lamp at work for well over a year; originally I had used it as a model in doing some artwork for a Christmas card. [...]

[...] Gray and brown. [...]

Now the grass is growing here but it is turning brown. There is a brown high grass in this one area and the bottom of the trees is black and there are large berries. [...]

Now the grass is growing here but it is turning brown. There is a brown high grass in this one area and the bottom of the trees is black and there are large berries. [...]

[...] The Robert Browning reference concerns a letter Dick received from someone [a medium?] who told him that he’d been Robert Browning in a previous life.

All Dick Bach needed that night after Robert Browning was another fancy tale. [...]

[...] The skin about them was a light brown. [...] But there was no sense of primitiveness here; these limpid brown eyes regarded me impassively; there was no intrinsic threat. [...]

[...] They were a deep luminous golden brown; I realized I was so close to them that I could see their minutest details in vivid color, even upper lids that fell over the upper portion of the eyeball. [...]

A dark or darkish brown coat, the color of some uniforms. [...]

[...] In addition the painting is done in various shades of brown, from golden yellow ochre to deep brown.

Browns. [...]

(“Browns. [...]

[...] However Dineen’s hair, which was once brown or dark, is now gray. Seth had given him black or brown hair.

Another younger man with a broad, almost Slavic face and short prickly hair, black or brown.

[...] It was of wool, and a brown natural color because it wasn’t dyed. [...]

[...] The land was very flat, reds and browns. [...]

[...] I seem to remember being able to see the soles of the feet, wrinkled and brown and without shoes, lifting after each stride. [...]

[...] At the time curly brown hair. [...]

[...] Brown.” [...] Her experience involved a pair of her mother’s brown and white spectator shoes, and was connected with her mother’s illness. [...]

[...] Brown and white in color, moving counterclockwise I believe, upon a small standard. [...]

[...] Brown. [...]

[...] At the time curly brown hair. [...]