“Seth material” search engine (Jane Roberts)

(The print is on the whole darker than my pencil indication on the preceding page, and of much better quality. The lines in the palm, indicated by black lines, are in actuality in white on the original print, so that the effect is the interesting one of a hand in reverse, or perhaps a map or plan printed in reverse. The fingerprints show with fair clarity also. This is but one of many prints I made that evening; I discovered it is not easy to obtain a full print that has good overall detail.

(“A connection with many people, and with something like a basement—low, that is. This leads Ruburt to think of your Myhalyk’s, his impression.” Jane believes her impression here is correct. Myhalyk’s is our favorite dancing establishment in Elmira. On Saturday, February 19, Jane and I met Marilyn and Don Wilbur and some others at Myhalyk’s for an evening of dancing. This was shortly after we had obtained the book on hands, and during the evening Jane asked the Wilburs if they would cooperate in having handprints made. The Wilburs, who have witnessed several unscheduled sessions, consented. Arrangements were made to obtain their prints on Friday, February 25, but were not carried out because of the difficulty in getting good prints. My print, made on February 27, was an experiment in an effort to learn just how to make a good print.

(The 37th envelope experiment was held during the session. See the tracing of the envelope object on page 327. It is a print of my right hand, made with black stamping ink on paper. I made it on February 27,1966. Jane had picked up a book on hands at the library recently, and this got us interested in making such prints.

“When I first mentioned the family name, Grunaargh (as Seth spelled it out for us in that session over three years ago), I knew that its members had something to do with printing, or the promulgation of printed material. [...] However, after that session my impression ‘grew’ in such a way that I knew this family had something to do in a more direct way with the printing process — with the fascination of putting ideas down on paper through the use of typefaces that would, as much as the language involved, express the ideas behind the words themselves. [...]

[...] It’s believed that Johann Gutenberg (1400?–1468) was experimenting with movable metal type in Strasbourg, Germany, before 1448 — but there’s also possible evidence of printing from such type in Holland by 1430, for instance. [...] By then, of course, the news about printing was spreading throughout Europe.

[...] After class, Sue told us that she believed she’d been associated with the Grunaargh family — in Europe — through printing processes dating from the 1400’s, or possibly somewhat earlier. [...]

[...] It is printed in heavy black type on yellow card stock; the back is blank. [...]

[...] The ticket is printed in bold black type on yellow card stock. [...]

[...] A street, Gray Street, is printed on the object. [...]

Our books continued to go out of print, and in 1990 I began working with Anne Marie O’Farrell, a literary agent. [...] Like Laurel, both women are passionately interested in keeping Jane’s work in print. [...]

Our beloved books began to go out of print, one by one, as sales slowly declined. [...]

For several years after Jane’s death, I explored possible publishing ventures with old and trusted friends — people who, like Richard Kendall and Suzanne Delisle, sincerely wanted to see Jane’s and my work kept in print. [...]

(“There seems to be a dual impression of printed matter with a photograph.” [...] He deals with the photo-picture-artist impressions on the one hand, and the actual envelope object, containing both printing and typing, on the other. [...] In the past Seth, or Jane, has used lettering, typing, writing and printing interchangeably. Thus it is possible that tonight “printing” could refer to both the printing and typing on Wendell’s envelope, and to the letter it had contained.

[...] The object was a standard white business envelope, printed and typed in black. [...]

There seems to be a dual impression of printed matter with a photograph. [...]

(There is another possible green connection, one obvious to anyone familiar with printing or commercial art, although I do not think it applies here. But the paper the object is manufactured from is a bright yellow, and the yellow is printed upon with blue ink. Blue and yellow ordinarily would print green. But in this case the blue ink is so dense and strong that it prints as blue on the object. [...]

[...] The object is printed in dark blue ink on yellow paper, with the writing in carbon blue. [...]

(The object is printed on bright yellow paper in dark blue ink, with the large serial number at the bottom in red. [...]

Printing I believe at the lower center, outside of a margin, or implied margin. Very small, the printing very small, perhaps d e l. Part of the word delivered, I do not know. [...]

[...] Printing I believe at the lower center, outside of a margin, or implied margin. Very small, the printing very small, perhaps D E L. Part of the word delivered, I do not know. [...]

[...] There is of course no printing on the object, the printing idea being symbolic only in this case.

[...] Many of the early prints created in Europe illustrate religious subjects. [...] The earliest known engravings, printed on paper, date from around 1450; pictorial engraving and etching were evidently developed in Germany in the early 1500s. [...] But all of these efforts were beginnings: There couldn’t have been any mass circulation of printed material in those days.

4. Right away I began to wonder when Seth stated that “There were no prints to be passed around….” [...] However, my reading indicates that Seth was probably right about prints being unavailable to the “poor peasants” of those times.

[...] There were no prints to be passed around,⁴ so art, politics, and religion were all connected. [...]

[...] There is printed matter on pages 1 and 3 of the object; folded, this puts one printed page behind the other, which could give rise to Seth’s use of “other side.” [...]

[...] In the past Jane, or Seth, has intermixed terms for printed copy, calling it printing, writing, type, etc.

[...] Tonight’s object is printed in black on lightweight card stock, which is an off-white color. [...]

(“A printed note.” [...] The back of the parking ticket bears 15 lines of fine print pertaining to automobiles, loss or damage, etc. [...]

[...] It is printed in black on card stock, with the serial number in a light blue ink. [...]

(The back of the object contains fine print concerning automobile parking regulations, damage or loss, responsibility, etc.

[...] Neither the object or the priest’s picture have writing on the back, but both contain printed type. The problem of semantics here, involving printing, writing and lettering, has arisen before.

[...] The election was also nine hours long; this is mentioned specifically in the other article about Mrs. Berry, printed just above the article used as object.

[...] As stated a photo of Mrs. Berry was included in the other article about her, printed just above Peggy Gallagher’s story. [...]

Eye right still bothers; all right side but suddenly without my glasses I read even small print as well as I usually read with glasses; and when I got those bifocals I couldn’t read that well even with glasses. [...]

The evidence of much of the writing, the records and so forth, vanished, for some of these civilizations did indeed have paper, of a kind, and printing presses of a kind. [...]

[...] As people lose the kind of ancestral roots that exist in “less advanced” societies, so many sophisticated civilizations, with rapid overturn of goods and products, with printing presses and writing upon fragile paper, are lost to history.

Someday you may want to leave money to insure that our books continue to be printed after your deaths. [...]

(“Writing or printing in a lower left-hand corner perhaps, very small, holding the object horizontally.” [...] However if she held the object so that its head, or top, pointed to the right as she faced it, then there would be printing along the left-hand side of the bill. This being the fine print at the bottom of the front of the bill.

[...] Writing or printing in a lower left-hand corner perhaps, very small, holding the object horizontally. [...]

[...] The back of the bill is printed in heavy black ink, the front in red. [...]

[...] Seth did not mention a symbol at all, yet used the words handwritten and printed. To me printed means mechanically produced; to Jane printed means hand lettering, as were my initials beneath the symbol.

[...] It contains paper with writing on it, printed or perhaps typewritten, and also I believe handwritten. It may be in the nature of a license, but it is of some legal nature rather than a personal note, blue or green and white, the handwritten material on printed lines. [...]

[...] The object is printed on paper of a pale green, which could also be called dim. The black printing is of course dark on this.

[...] The object is concerned with a specific amount of time; although not a note, it is printed, and the printing conveys a message in detail.

[...] The object is printed in black on green paper which contains a faint pattern. [...]

[...] As stated, the paper the object is printed on is of an orange brownish color that is quite novel and attractive. The blemish data could be a distortion, resulting from the fact that the orange paper is printed upon with a darker brown ink.

(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. [...]

(“Printed or embossed.” [...] Jane said by printing here she meant my hand-printing on the object, versus handwriting. Also, stamps of course are printed in production.

[...] Printed or embossed.

[...] Black print or lettering or writing in a right-hand corner, extending outward toward the center.

[...] The object is printed on card stock with a light cream tint, but not yellow. [...]

(Caroline Keck’s mimeographed list is also printed on cream-tinted paper the size of this page. [...]

[...] This contained the design, printed in red, without any unusual thickness to furnish Jane unwitting clues. [...]

[...] The printed copy on the coaster can be inscriptions. [...]

[...] Our envelope object, the coaster, is printed in a bright red. [...]