“Seth material” search engine (Jane Roberts)

Ruburt’s subject matter, however, was not routine, particularly back in those times. He felt that its unique nature meant that it could be quite difficult to sell. When he and Tam began to reach a relatively workable relationship, therefore, he began to value this more and more. He felt that in the beginning Tam stood up for him at Prentice several times. And Tam, it seemed, kept his hands away from the manuscript itself in the one way that Ruburt clearly understood: he did not generally change the copy. As the years went by Tam and Ruburt arrived at certain methods of operation that suited Ruburt personally, and that were understood by both of them.

(Long pause at 9:19.) These methods of operation involved certain evidences of play, some social chatter, mutual trust, and left open the doors to a certain kind of unpredictable pattern of development—a pattern in which, for example, Tam could recognize the latent book in the Emir dream, and help fire Ruburt to write it, even though eventually Prentice was not the publisher.

The national economic situation led him to value that relationship still further. He made comparisons, of course, between that relationship and what he knew of other publishers through reading or through direct dealings, such as with Eleanor, for example. He valued the more or less clear channel of operation from the completion of a book by himself to its publication.

He realized that at another house he might receive more money or more publicity, or possibly another more esthetically-presented package, yet against the other uncertainties and vicissitudes he felt he had an acceptable framework of operation. Whose difficulties were minimal enough under the circumstances —one that provided creative freedom since, until Emir, Prentice had published his world-view books, poetry and novels, as well as my work. He made the Emir decision regretfully but very clearly.