“Seth material” search engine (Jane Roberts)

When you begin to realize that you do indeed live in a safe universe, these patterns of reaction begin to break up. To some extent however as they do you can feel weaponless, or unprotected. Then you read the newspaper and you see that New York City is in great financial difficulty. In a certain way this is almost reassuring, because it correlates with the old habitual belief system that says “Aha, yes, there is a threat. I was right all along.” Thus the older beliefs momentarily feel their old unity, and it is, again, realistic behavior to feel yourself also threatened.

There, you have made some good strides. Your good strides there, however, led to your momentary-enough concern with New York City’s economic fate. Your beliefs in the safe universe are spreading. That is why you used the symptoms “just in case.” In the unsafe universe, however, you—not you alone—believe that something good will be fought over. The books prove their merit in that reality, because they are fought over to whatever degree.

In your world, however, and according to your beliefs, some “realistic” events had to prove out the practicality of the safe universe in publishing terms —so you have a creative conflict.

At John’s level, and in his unsafe universe, the events still prove how valuable the books are, since, to whatever extent, they are fought over. At Ruburt’s level and your own, the events show you that the universe, as it applies to your publishing world is safe—with leeway for action—and also opens up creative relationships with people at Prentice that were latent before. Now, these become “practical,” where before they were not considered so. This means that a great deal of energy is released.

Now about Pocket Books. Interesting and amusing. The woman there (Pat Golbitz) picked up all of your own negative ideas—yours and Ruburt’s—about Fell and Prentice, and aimed them at John (Nelson). This confirmed John’s belief that he is not understood. He would not feel it safe to be understood in an unsafe world.

(10:46.) You cannot equivocate, you or Ruburt. You cannot say “I live in a safe universe, but—” —but anything. You cannot say “I live in a safe universe, but I am threatened by the economic problems of my state,” move to Pennsylvania, or to Timbuktu (humorously intent). It will make no difference, because the threat will follow you and erupt in one way or another, while you believe in that system.

The symptoms are really minimal. To some extent however they represent the weight of your own beliefs that Ruburt added to his own symptoms. He refuses to bear that weight any longer. There is no doubt that he worries about them. Yet he is determined to be free. Your work with the pendulum, again, is important, for it assures him that you believe enough in a safe universe to encourage his freedom, and your own.

Again, there is nothing wrong with you physically. Given your beliefs, the period is a “more or less natural” transitory stage that is meant to bring out those beliefs, so that they do not remain invisible, or as blocks, preventing you from entry into the safe universe.

(10:57.) Give us a moment.... This period is also necessary for Ruburt’s creative processes. The physical release will bring him into a closer contact with his psyche, in which he will find it safe to progress even further in his studies and development.

You can have more on my book whenever you want it. Because of your joint ideas of time, Ruburt sometimes considers it a threat to your future time. This attitude will vanish on both of your parts as you become more proficient with the ground rules of a safe universe.