“Seth material” search engine (Jane Roberts)

[...] Our rooms have white walls also, so we could still see fairly well once our eyes became adjusted.

[...] She said she felt that when she stood up she would shoot ahead through the wall—shoot straight ahead—she felt a great energy about her, and wondered about her physical control. [...]

[...] The subjective pace quickened and kept accelerating — then I hit a psychological brick wall, and I could carry the concept no further. [...]

[...] Later one of the students, Carol, told me that although she knew the words were coming from my mouth, still she felt that they were coming from all over, from the walls themselves.

[...] You could not scale the wall, so to speak. [...]

[...] Only part of a window and a wall can be glimpsed through nearby trees. [...]

[...] Later he told us he was afraid the table would either crash into the ceiling—since Carl was tall enough—or would hit a nearby wall where several of my paintings hung.

[...] You’ll end up talking to the wall if you want to have a session, or into a recorder if you can learn to do it. [...]

[...] “I felt like I was going right through the wall….” [...]

[...] We have several of them pinned up on our walls, among them this one:

[...] May 2: Workman installing interchangeable green walls. [...]

The parallel lines and the tree did refer to the wooden boards of the wall, which are obviously parallel, each board being distinct and clear.

[...] There was no inspiring local leadership, and a variety of different kinds of individuals felt ill at ease, depressed and forced to the wall.

(The portrait referred to by Seth happened to hang on a wall facing Jane this evening. [...]

[...] His performance, Joseph, was extremely heartening, since he trusted his own intuitions this time; that he did not pound his head against the wall, as in the past. [...]

[...] Now the eyes in the oil head I recently finished of the discarnate artist, Van Elver, seemed alive to her; the portrait hangs on a bookcase wall in our living room. [...]

First I looked at various objects in the living room, such as a vase, a painting on the wall, a plant, and so forth, and tried to let my mind’s eye travel around these objects so that I could clearly picture the far side of them.

[...] The Walls were also involved. [...]

[...] She used the contrasting example of trees in a forest, comparing their passive state to the feeling of acceleration, of “being able to go right through the wall” that she sometimes gets. [...]

(1. As we sat waiting for the session to begin, Jane told me that the face of Joseph, in my oil painting of Ruburt and Joseph,^* smiled down at her from its spot on the living room wall. [...]