“Seth material” search engine (Jane Roberts)

[...] We were in town, protected, and looking out the windows I saw more spacious yards than actually exist there. [...]

[...] It was a warm evening and our living room windows were open. [...]

[...] (Jane pointed to the large heavy green table up by the living room windows.) He does not need my help with the small one, and the time and circumstances were not good on the other occasion when he requested my aid.

(Jane sat quietly in trance while I left my seat to turn on the air cooler set into one of our living-room windows. [...]

[...] I leaned out of a window just in time to see a large formation of geese fly over, obviously southbound for the winter. [...]

At the time, we were having sessions in the bedroom, which is small, with one window looking out on the large yard. [...] He often felt quite warm, since we closed the window to keep the sessions as private as possible, particularly since neighbors were often sitting in the yard. [...]

[...] Jane and Rob stand by the window. [...]

[...] This particular room is done in dark wood and leather, with no windows. [...]

(Once again Jane began speaking in a heavier voice, since our windows were open because of the warm evening. [...]

[...] She thought Seth had done this deliberately to compensate for the traffic noise coming through our open windows, and because the witnesses had, in the beginning of the data, unwittingly distracted her by moving papers, coughing, etc.

[...] Looking down upon this car, I saw a wiry youngish man in a white shirt with the sleeves rolled above his elbows; hurriedly, he was circling the car, going all around it and peering into the windows. [...]

[...] He pointed at the car; I could not see into the windows.

The painting is in a room with three windows, in a large building. [...]

[...] There is a room with three windows, connected to a larger room in a public-type building in which men work.

[...] With the windows closed traffic noise was not a problem. [...]

[...] (Pause.) He had one job, in what seems to be a factory location, in a rather dark environment, with rows of what I assume to be machinery and large windows, treated so that the sunlight did not shine through brightly.

[...] The windows do not open. [...]

Look at the scenes outside your window in this light. [...]

[...] A weak light came through a narrow open window to my right. [...]

My dreaming self
Looked in the window
And saw me on the bed.
Moonlight filled
My sleeping skull.
I lay nude and still.

When I look up at those three high, old-fashioned bay windows that illuminate the living room of Apartment 4, on the second floor of that house, I visualize Jane sitting behind them at her oak table, thinking and writing, intrigued and comforted by the busy patterns of people and automobiles traversing the intersection she looks down upon: Walnut and West Water Streets. And behind those windows, at night in that living room, she paces back and forth for hours at a time after she begins to speak for Seth in December 1963. [...]

[...] The first and last photos show Jane before the bay window that faces the northwest, with the trees and the backs of the houses lining the east side of Walnut Street in view.)

Imagine where your breath goes when it leaves your body, how it escapes through an open window perhaps and becomes a part of the space outside, where you would never recognize it — and when it has left you it is no longer a part of what you are, for you are already different. [...]

[...] In the ash tree just starting to get leaves beside the windows of 330, I saw a tiny yellow bird flitting about among the branches. [...]

On the other hand, if he is writing and spontaneously wants to move about, and realizes this, have him get up, wash a window, or go out. [...]