“Seth material” search engine (Jane Roberts)

(Seth’s reference to “illustrated Seth material” stems from ideas I’ve mentioned to Jane recently. I’ve had them for some time, actually, and they involve either black-and-white or color illustrations for some of my own psychic adventures, perhaps to be used in a work like Through My Eyes. I wouldn’t mind doing some work on the project when I finish “Unknown” Reality this weekend, along with other things in the works. One advantage would be that it would unite the art and writing aspects—particularly paintings of some of my dreams.)

There is no doubt Ruburt has made a breakthrough—and so have you, in terms of your ideas—for what I call illustrated Seth material. For you will find that you are uniting abilities, so that writing and painting no longer seem “opposing” abilities, with a distance between them. You will find that they are both creative arms of your basic psychic being, and that both abilities will be sharpened and fulfilled as a result.

[...] Some illustrations from an initial sketch to a completed painting should be included.

[...] I can see a center section of the book right now, with your illustrations. [...]

[...] Sessions 592 and 594 are particularly intriguing in that events occurring during the sessions highlighted and illustrated the dictated material.

Tam wanted illustrations for a first book. When he read of George’s sketches he instantly thought of illustrations. [...]

Tam³ made the decision several times, but early in the game he decided that the book (Sue’s “Conversations With Seth”) should feature illustrations. [...]

[...] Since last night we had been discussing the illustrations for the book, and both of the above questions concerned illustrations.)

Ruburt’s idea did come from me, about your reincarnational episodes, and your personal experience illustrates what I am saying in the book—the individual’s history is written in the psyche, and can indeed be uncovered. [...]

[...] Many of the early prints created in Europe illustrate religious subjects. One of the first dated European woodcuts, showing a religious figure, appeared in 1423; a book bearing woodcut illustrations was produced circa 1460; the first Roman book containing woodcuts was made in 1467. Bibles were illustrated with woodcuts in the late 15th century. [...]

[...] (Portions of illustrations were visible on both sides of the item, all in gray tones.)

Refer to the illustrated section for reproductions of the test item and the page from which it was torn. [...]

[...] (See the illustrated section).

[...] I’d say that some of them are classics of their kind; Jane’s own symbolism is beautifully illustrative of the way dreams can offer insights and solutions to very real physical challenges. [...]

[...] These in turn illustrate some of her own “trips” — but without drugs. [...]

[...] Looking at an illustration of the woods may give a child some excellent imaginative experiences, but they will be of a different kind, and the child knows the difference.

[...] On the page 11 side of the object there is a sequence of numbers: 189.95 at the bottom of the illustration, and one: 18, 14 ½ to 22, at the bottom of a box to the left of this on the same side.

[...] On the page 11 side of the object is a line of type below the illustration and just above the last line: Sorry, no mail or phone. [...]

[...] On both sides of the object can be seen portions of illustrations in halftone, or gray. [...]

(By way of contrast, I want to add here that this week Jane has been notified by Prentice-Hall of their most enthusiastic reception of her children’s book, Emir. Not only that, it appears that Prentice-Hall may have found at the same time the ideal illustrator for the work; black-and-white copies of sample illustrations have been sent to Jane, done by the female artist, with Tam’s assurances that the color is brilliant.

[...] I am discussing it here because it so beautifully illustrates the nature and power of beliefs, and the conflicts that can arise when an individual does not accept responsibility for his own thoughts. [...]

[...] The illustrations for Louis Pomerantz’s book are done by Paula Gerard. [...]

[...] We believe it refers to the book by Louis Pomerantz; the author himself; Paula Gerard, the illustrator; and the Artists Equity Association, discussed in the book’s forward.

[...] At the same time it illustrated part of our relationship as it happens in sessions, in which Ruburt allows a portion of himself to step aside. [...]

[...] Even when we are exploring other issues, we will be trying to illustrate the multidimensional aspect of this inner self. [...]

[...] Both sides brought to bear emotional issues from the past that served to illustrate or strengthen their own position, so that Ruburt was pulled willy-nilly.

[...] Perhaps eight years ago I did a series of medical illustrations for the hospital in Sayre, PA. [...]

(Jane made it a point to mention that in regard to the switch in polarities of the ELM units: “This isn’t only with north and south switching, but opposites anywhere on the rim of the circle I used as illustration—such as east and west reversed, etc.”