“Seth material” search engine (Jane Roberts)

[...] Not only that, but when the predictors fall flat on their faces it does not help “The Cause.” [...]

[...] There in program two the table might be a flat natural plain, and the hat an oddly shaped structure upon it — a natural rather than a manufactured one. [...]

[...] Your idea of space travel would be to send a ship from one planet, earth, outward into the rest of space that you perceive on that “flat” screen. [...]

[...] These points of light were many-layered, she said, as though she looked at a picture of a galaxy that was not flat. [...]

[...] She also missed a chance to meet the Weissenbuehlers from Big Flats, whom we saw last Friday night, since DJ was in Washington, DC over the weekend. [...]

[...] However, these forms are not mere projections — “flat” images. [...]

[...] Not only that, but when the predictors fall flat on their faces it does not help ‘The Cause.’ Reality does not exist in that fashion. [...]

(At times during this experiment my legs felt bent and somewhat drawn up at the knees, although intellectually I was quite aware that they were still flat upon the bed. [...]

[...] Once I seemed to be lying flat and looking straight up at a series of American flags, peeling down off a great [...]

[...] I saw my art for the first page, perhaps half again as large as the printed version would be, lying on a flat drawing table. It was in black ‘line’, but also with flat washes of color. [...]

(Here, Jane gestured to show that she meant a long flat level of land under water.)

(It happened that I lay sleeping flat on my back with my arms down at my sides. [...]

[...] He was walking along a flat, dusty, reddish road. [...]

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

[...] She lay flat on her back but soon sat up.

[...] A building or part of a building where they stay now, where there is a long narrow section, a roof supported, a flat roof I believe, long and narrow, supported by posts with a floor not of wood. [...]

[...] I lay flat on my back, with my head turned a little toward the dim light. [...]

[...] Momentarily, she laid her left hand flat upon the envelope. [...]

[...] The object was presented flat or opened up in the envelope, so also visible at a glance would be more than five lines—eight to be exact exclusive of the name on the caricature. [...]

[...] Then suddenly I was in a very deep trance of which I have no memory—except at the very end, when I was yelling my lungs out, and I believe, flat on the floor crying. [...]

I thought of myself as a woman at the mall in Big Flats, near Elmira. [...]

[...] For a few moments she let her hands lay at her sides, but since there is tension in the upper arm muscles, her arms cannot lay fully relaxed upon the bed when she is flat on her back; after a few minutes she again crossed her hands, and told me later that this was more comfortable. [...]

These magical brushstrokes, however, are not simple representations on a flat surface, but alive, carrying within themselves all of the artist’s intent, but focused through the characteristics of each individual stroke.