“Seth material” search engine (Jane Roberts)

[...] At the same time you knew that once you did commercial work for money as a young man, quite happily. [...] At any level of your artistic development thus far, you could have cashed in with some application, and been, you felt, betrayed by money and acclaim as a certain level of development.

[...] There are stresses now in terms of contracts and money, that Ruburt was not willing to face before. [...]

The money motive did help Ruburt in other areas, and led him to greater understanding while he always knew it had to be dispensed with. [...]

[...] The latest wrinkle is that the teeth reflect her concern about money, eating, and my own success as an artist...)

[...] You both thought in terms of problems when you considered money, for example; you thought of the problems involved.

[...] What I said about money applies. [...]

[...] I was taken unawares by Maude’s letter, unbelieving and yet grateful that anyone else would offer to give strangers money. [...]

[...] The people are definitely well-meaning, of good intent, and they welcome the idea of expending energy, time, and money on our behalf. [...]

(In relation to Seth’s material on the fund, I told Jane, it seems that creativity obviously has many more facets to it than we ordinarily think—if we need or want money, for example, with it just serving as a means to an end—our doing our work—it will be provided if we’re not closed to the idea. [...]

[...] He never equated money with respectability or prestige. As a youngster he had no family background or money, and his need to be looked up to and held in esteem could not wait.

In your mind making money is a male characteristic, and subconsciously a male prerogative. The fact that you painted and it did not seem to bring you money served further to make you distrust these creative abilities. [...]

[...] You also identified your creativity with female characteristics or abilities, symbolically speaking, and this has something to do with your distrust of making money with your art.

[...] I do not mean a false Pollyanna-type love, but you must feel that the paintings will bless them, and that you in turn accept the abundance in terms of money which will return to you.

[...] People don’t want to pay good money for paintings.”

[...] Telepathically he picked up your envy, and it hurts him because he is afraid of his own driving concern for money and security. [...]

[...] He sold the house on the one hand to make money, and on the other hand he sold it to do penance because in his own way he loved it. [...]

Some money shortly. [...]

[...] With an expenditure of money. [...]

The impression of one cent, which leads me to suppose that money is connected here.

[...] The money having to do with concern over Blanche’s family, and how they would handle Blanche’s estate. [...]

(“What can I do to earn some money?”)

[...] More money relieves some of your anger at your employers.

[...] Her advisers have told her to raise rents, since they handle her estate and money. [...] Money does mean security to her. [...]

[...] She will discover that without inner security money is no security, and she will discover this without your resentment to help her.

You can, however, think of what you will do with the money—how you can use it to increase life’s enjoyment, which will in turn benefit your work, and others.

Someday you may want to leave money to insure that our books continue to be printed after your deaths. [...]

[...] You build up interest there, as you do with money in a bank, and you will collect that interest. [...]

[...] Royalties, prime-time TV series, movies, TV specials—there was no area in which the family wasn’t making incredible amounts of money. [...] The recent sale of Oversoul Seven to an English publishing house for an unbelievable $100, and Prentice’s recent notice to us of a possible sale of Seth Speaks for translation and publishing by a German house for only $300 bothered me greatly; I just couldn’t believe that so little money was available in Europe, no matter what Prentice told us. [...]

When you think that Ruburt is being taken advantage of then by the world, in any way involving money, then you feel guilty that you do not use painting to procure money.

[...] Oftentimes your stomach upsets you because your love for Ruburt makes you concerned, and in most instances the stimulus is money. [...]

[...] The conflict with the stomach always involves money, however—taxes sometimes, for example—and implies a period or situation in which you think he is being taken advantage of.

[...] The addition, however, brought with it a new sense of responsibility—not just to make money, but as his writings continued he wanted his creative work to be “responsible” and he began to discover that others, so it seemed, were all too ready to latch upon what he almost considered magical inspirational productions, and to follow them with very literal minds. So then his creative endeavors not only had to bring in money, but they had to be good, moral, responsible, for they were becoming part of a body of work.

[...] So Ruburt added the necessity of money to his creative goals, in a strong fashion.

[...] Tell Ruburt to think of health like money, and he will have much of it, for in that area he is clear now. [...]

[...] There will also be money coming to you from an unexpected area, but as an offshoot of your creativity.

The giving away of the money in order to help with someone else’s current need was, in it’s own way, a stroke of genius, regardless of its seeming simplicity and childishness.

Your own acquiescence to the money recommendations is also highly pertinent.

[...] Creative success, not necessarily in terms of money, but creative fulfillment, becomes then a threat in which you see yourself cut off and isolated—while isolation is precisely what you think you must have to fulfill your abilities.

2. Our survival in this society exists in financial terms—money buys us the time etc. [...]

3. Above; of course; not enough money or a job I see as jeopardizing my artistic self; while with the physical condition I can write.

[...] Is there a correlation between my conflict between poetry and book contracted for, and Rob’s attitude toward art and money?

[...] There is an old saying: Time is money—and in his own way Frank would like to make that kind of a statement, clear, direct, and unambiguous: Turning clocks or time directly into good hard cash, a magic of a sort. [...] In a fashion it is an attempt to deal more directly with beliefs regarding time, money, and creativity. [...]

It did not seem particularly practical to stop worrying about money. [...] Yet Ruburt began to feel more and more that you and he would have whatever money was needed for any of your wants or desires.

[...] He did not worry about money. [...]

[...] You can continue, and Ruburt’s improvement will continue in Framework 1, but you can also accelerate even further, and grab hold of the threshold in Framework 2, which in your terms will let Ruburt improve as easily as now your money comes.

[...] Don’t you have any money? [...]

“I have no money, not a penny. [...]

[...] “This is difficult to explain briefly, but he came here from Denver, he said, and he has no money, and nowhere to go when he leaves here. [...]

[...] I kept wondering if he had some money and change (at least) stowed in one of the suitcases, but he swore—Seth swore for him—that he did not, and finally I believed him. [...]

[...] Neither of us had asked that Seth comment on money, etc.)

[...] For when you are envious you become angry at yourself, but also angry at him, for you cannot help thinking that if he worked harder, if he did something, of what you are not certain, then he would make more money, and you could still have what envy demands. So here again the penis difficulty, for he sat home full time writing, while you work part time, and yet he has not made all that money.

[...] The need for money literally strangles him. [...]

[...] There is a connection here with Ruburt’s insistence on spending a part of his money on the apartment tangibly, where you could see it, and be reminded that he helped out.

[...] Other companies may have more money to spend. [...]

[...] In the dream Ruburt finds a strange mechanism made by his father that is supposed to dispense some money. [...]

The coins represent the small amount of money Ruburt did receive. [...]