“Seth material” search engine (Jane Roberts)

(I could not distinguish her features. I tried to take notes in this poor light, but gave up after half a dozen lines. What follows is a reasonably accurate reconstruction of Seth’s material. The first paragraph, however, is a verbatim transcript.)

(Jane now sat down. Her chair was against a wall, and out of the direct line of reflected traffic lights, although I could see shadows pass across the white blur of her face. Again, I could not distinguish her features.)

(See the 68th session for the change in Jane’s features, witnessed by Bill and me. See the 102nd session for Bill’s cognition of open eyes upon Jane’s closed eyelids. It will be noted that the 102nd session was also unscheduled, and that it dealt with the subject of obtaining physical effects.)

It would be difficult for me to change the features of a third individual indeed, but far less difficult to change Ruburt’s features, since he gives me permission to work through him, and his mental and psychic abilities would help me. [...]

([Peg:] “You’ve said in the past that we would notice changes in Ruburt’s features.”)

(The most obvious instance of a change in Jane’s features occurred in the 68th session, and was witnessed by Bill Macdonnel and myself in full light. [...]

([Peg:] “Wouldn’t it be simpler for you to cause a feature change in something like a picture?”)

[...] Jane’s features were quite animated. Whereas I had not observed any changes in the first half of the session, I now thought her features lost some of their feminine characteristics and became more angular and drawn, as though a masculine presence was making itself seen deliberately. [...]

An aside here: the incident involving the woman had mainly to do—I suggest here, my esteemed Joseph, that perhaps you watch Ruburt’s features. [...]

(I had been trying to keep an eye on Jane’s features, but her speed of dictation kept me too busy for more than an occasional glance. [...]

[...] I had not observed any change in Jane’s features, the few times I had managed to take a look. [...]

[...] For me, the change in feature appeared to take place on a plane an inch or so in front of Jane’s actual physical features. This new set of features might have been suspended on a clear screen of some kind; and as I watched them, at the same time I saw or sensed behind them or through them Jane’s real features as I knew them. [...]

(Bill Macdonnel and I then noticed at the same time that Jane’s animated features were changing. [...] The whole cast of feature became heavier and male. [...]

[...] His drawings of Seth revealed a set of rather chiseled features, with the obvious difference of a very large and high cranium. [...]

[...] There definitely was a change in Ruburt’s features. [...]

(See page 253 of the 313th session, describing a change of features John saw transform the face of his district supervisor recently at a meeting in Rochester. [...]

([John:] “When I was in Rochester about three weeks ago I noticed a definite change in my boss’s features, while he was giving a speech. [...]

(Regarding the data on page 260: John said Seth’s description of an Andy Gump type fits a salesman in his company named John Winslow and that JW was present at the Rochester meeting three weeks ago, during which time the transformation took place in the features of John’s district supervisor. [...]

(John said that his boss was very nervous that day at the meeting in Rochester, when the transformation took place in his features. [...]

[...] Joseph will find himself more likely to remember simple projections that do not involve any featured levitation. [...]

[...] Less satisfactory projections cause distortions, you see, that are characteristic features of this state of consciousness at that time.

[...] But somehow in my mind at least, not recording that session added to it’s magical quality … the spontaneous psychological or psychic transformation came and went … We were sitting at the living-room table with the lamplight clear on my face; Gramacy could follow Seth’s psychological passage; see my features change, taking on ever so subtly those other contours. [...]

Of Master Magicians
whose conjurings
feature the amazing tricks
of space and time,
produced so skillfully
and fast
that we’re dazzled with
the effects,
and miss the magical
slights of hand
beneath
the flashy gestures
of the days and nights.

[...] It featured one of the girls in the group particularly. [...]

[...] She had not seen the apparition, nor of course had I, and she had not been able to see the change in her features, again described in the 68th session. [...]

[...] I saw that he had roughed out Jane’s features, stressing her closed eyes. [...]

[...] He also said that whenever Jane spoke to me and gestured in my direction, the eye effect followed, yet I noticed nothing unusual in Jane’s features. [...]

[...] Group shows will also be featured in the future. [...]

Now: In those terms he may or may not be as attractive, feature by feature, as some other individuals who believe, in fact, that they are unattractive. [...] The person does not believe that he or she possesses it, and mars the actual physical features so that the comeliness becomes literally invisible.

[...] The change in Jane’s features seemed to take place on a plane an inch or so in front of Jane’s actual physical features. The new set of features might have been suspended on a clear screen of some kind. As I watched them I saw or sensed behind them—or through them—Jane’s real features as I knew them.

Bill and I noticed at the same time that Jane’s animated features were changing. [...]

(Note above that the apparition and the feature change in Jane are two distinct and separated effects, both occurring in the same session. [...] Again, this evening I saw no change in Jane’s features.

[...] Needless to say, I saw nothing unusual in my frequent glances about the room, nor did I notice any change in Jane’s features. [...]

[...] I described my feelings to Jane once more, and she then surprised me by saying that she had a subjective feeling while speaking that her features had changed.

[...] The effect lasted for about an hour; during this session Bill and I together saw a distinct change in Jane’s features. [...]

[...] The brother was definitely himself, yet somehow altered in appearance, his features having an Oriental cast. [...]

In Joseph’s dream, his brother’s features had an Oriental cast. [...]

[...] That self, you see, emerges triumphantly, unique and unassailable in its own experience; yet in the features you see before you — in this stance, posture, expression — there are also glimmerings, tintings or shadings, that are echoes belonging to other probabilities. [...]

[...] See those other elements as characteristics of the image, view them as extended features that belong to you. [...]

(Yesterday Jane and I read the Time magazine cover story for November 13, 1972, featuring Richard Bach and his book, Jonathan Livingston Seagull. [...]

[...] Her dream was also fairly accurate concerning the magazine’s cover painting for the piece: a montage featuring “a bird that was somehow a part of a man’s head, or face,” as she described it. [...]

[...] During this session, in which Bill Macdonnel saw an apparition for upwards of an hour, Bill and I saw an independent set of features that appeared to hang just in front of Jane’s features.)

The features which hung in front of his face did not bother him, since he did not know what I had planned to do. [...]

I mentioned that the change in Ruburt’s features was authentic, and also that what you prefer to call an apparition did indeed exist.

(During this break Jane and I checked one point we had thought of since the last session, and this was the amount of light available in the room during the time Bill Macdonnel and I had noted the change in Jane’s features as she stood in the bathroom doorway.

[...] I soon discovered that even the pole lamp I always have on furnished enough light to see Jane’s features clearly. [...]

[...] The painting I am working on now features a cadmium red shirt on the subject, and has given me some trouble because of its tendency to turn purplish if not watched; since Jane has seen me at work on this portrait often, she may have picked this up, although I haven’t mentioned it to her. I did explain to her before the session my dislike of too brown a cast to features—this was one of the points we discussed, as mentioned earlier.

[...] Jane doesn’t recall this young man’s features specifically, nor for that matter the features of any of the other males. [...]

[...] The second question was merely whether Seth could tell us anything about the blue car featured in the second dream.

[...] They mold the features of a face. [...]