“Seth material” search engine (Jane Roberts)

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 our books themselves released their own energy into your world. The ideas were and are needed. Their richness brings about the financial richness, which is as you know assured. It is not virtuous to remind yourself of the poverty of others. In the old line of thinking such a remark would be considered unfeeling. When you dwell upon, for example only, New York’s economic status, you keep the feeling of threat going. In realistic terms this applies to some extent to you and New York City as well. As inappropriate as this might sound, thoughts of your own fortunate financial situation help you increase that abundance—but it also helps to increase the abundance of others.

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.