“Seth material” search engine (Jane Roberts)

(9:20.) Now you are in a position where you see the intersection point where art meets the practical world. That point is the publishing house. With painting it would be the gallery. You do not understand that your own abilities give you a far clearer picture of the “ideal,” for example. You have understood that visually you see details that others do not—simply the world at large. In the same fashion, however, you see, say, book jackets, ideal situations, in a way that the people in the business world simply do not—and you do become literally outraged when their vision proves to be so inadequate.

Most businesses, including Prentice, do not have that kind of vision. Period. As you have said yourself, the people simply want to get through their day’s job as quickly and as easily as possible. This does not mean they do not take some pride in their work, but that pride is in direct proportion to the poverty of their vision—so the vision must be yours and Ruburt’s. You make such people feel put-upon, bewildered. They do not know what you mean, if you approach them in such a fashion.

There was no ill intent on the part of the Dutch publisher, or the German. They wanted the books to start with because they did indeed respond to the books’ vision—but the versions they came out with represented the gap between what they understood and what they could not understand.