Ask and It Is Given: Learning to Manifest Your Desires

«I’ve been profoundly touched and influenced by the messages that Abraham offers here in this book, and through the tapes that Esther and Jerry have been providing over the past 18 years.» — Wayne W. Dyer, que firma el Foreword, declara haber sido tocado por los mensajes del libro y por las grabaciones, y cifra en dieciocho años el trabajo del matrimonio que las provee

«In fact, I’m deeply honored that Abraham has asked me to provide a brief Foreword to this book, which I consider to be a publishing milestone.» — y atribuye el encargo del prólogo a la voz misma y no a los firmantes ni al editor, con lo que da por interlocutora a la entidad que el volumen presenta

«It is unique in all of publishing—you’ll be fortunate to tap into the thinking of those who are permanently connected to Source Energy.» — Dyer describe a quienes hablan en el libro como permanentemente conectados con la Energía de la Fuente, que es el término propio del volumen

«Allow the energy that it contains to permeate through any resistance that your body/mind might offer, and let it resonate with that inner place that is formless and boundaryless— this is what is often called your soul, but Abraham would call it your vibrational connection to your Source.» — Dyer traduce para el lector el vocabulario del libro: lo que otros llaman alma, dice, la voz lo llamaría conexión vibratoria con la Fuente

«Abraham, however, can offer this enlightening wisdom to you by having the benefit of being 100 percent connected to that Source and never ever doubting that connection—it’s evident in every paragraph of this book.» — y adjudica a esa voz una conexión del cien por ciento con la Fuente y una ausencia de duda que dice ver en cada párrafo

«You’re in direct, conscious contact with a cadre of honest, nononsense beings who have only your well-being in mind.» — Dyer dice al lector que el trato es directo y consciente y con varios seres, no con uno; el plural es el mismo que la voz usa de sí; el troceo parte *no-nonsense* por el guion de fin de renglón y span lo devuelve unido.

«I’ve spent a full day with Abraham in person, I’ve dined with Esther and Jerry, and I’ve listened to hundreds of Abraham’s recordings, so you can take it from me firsthand—you’re about to embark on a lifechanging journey offered to you by two of the most authentic and spiritually pure people I’ve ever encountered.» — el testimonio con que Dyer se acredita: un día entero con la voz en persona, cenas con el matrimonio y cientos de grabaciones oídas, y de ahí pasa a calificar a los dos firmantes; el troceo parte *life-changing* por el guion de fin de renglón y span lo devuelve unido.

«Jerry and Esther Hicks are as much in awe of their role in bringing these teachings to you as I am in writing this Foreword for Abraham.» — y sitúa a los dos firmantes como asombrados de su propio papel, que es la manera en que el prólogo los separa de la voz sin negarles la autoría del volumen

«Thank you, Abraham, for allowing me to say a few words in this precious, precious book.» — Dyer cierra dirigiéndose a la voz en segunda persona y agradeciéndole el permiso, con lo que trata el prólogo como concesión de ella y no del editor

«Ask and It Is Given is certainly a book about our “asking” being answered by All-That-Is. But it’s primarily about how whatever we’re asking for is being given to us—and it’s also the first book to ever, in such clear terminology, give us the simple practical formula for how to ask for, and then how to receive, whatever we want to be, do, or have.» — Jerry Hicks, que firma el Preface, dice de qué trata el libro y desplaza el acento del pedir al recibir, y le atribuye ser el primero en dar la fórmula práctica de las dos cosas

«Decades ago, while searching for plausible answers to my never-ending quest to know what “It” is all about, I discovered the word ineffable (meaning “incapable of being expressed in words”). Ineffable coincided with a conclusion I’d formed relative to It.» — Jerry Hicks data décadas atrás su búsqueda y la hace coincidir con una palabra que trae dentro su propio límite, lo que no se deja decir en palabras

«I had decided that the closer we get to knowing the “Non-Physical,” the fewer words we have for clearly expressing It. And so, any state of complete knowing would also, therefore, be a state of ineffability.» — de ahí deriva una proporción inversa entre saber y poder decir, y la lleva hasta el extremo de que el saber completo sería mudo

«Throughout physical history, we’ve evolved to, through, and into billions of philosophies, religions, opinions, and beliefs.» — Jerry Hicks sitúa el libro después de miles de millones de filosofías, religiones y creencias, que es la manera en que le fija su lugar sin discutir con ninguna

«Recorded history has retained some form of documentation of but a few of the many Beings who have consciously communicated with Non-Physical Intelligence. Some were revered, while some were damned by others.» — y cuenta pocos a los que dice haber comunicado conscientemente con Inteligencia No Física, con la división de suerte entre venerados y condenados

«Moses, Jesus, Muhammad, Joan of Arc, Joseph Smith . . . to name but a few of those better known to the English-speaking world . . . were each outspoken recipients of Non-Physical Intelligence, most of whom met with quite untimely and horrible physical ends.» — la serie de nombres en que Jerry Hicks inscribe lo que describe, todos dados por receptores declarados de Inteligencia No Física y casi todos, dice, de mal final; los nombres van tal cual los imprime el volumen

«And so, although each of us is directly receiving some form of Non-Physical guidance, only a few receive blocks of Non-Physical thought that are clear enough to be translated into our physical words—and of those few, fewer still are willing to disclose their experience to others.» — y la acotación con que cierra la serie: la guía la recibirían todos, la traducible en palabras solo unos pocos, y de esos, menos aún la dirían

«Please note that since there aren’t always physical English words to perfectly express the Non-Physical thought that Esther receives, she sometimes forms new combinations of words, as well as using standard words in new ways (for example, capitalizing them when normally they would not be) in order to express new ways of looking at life.» — Jerry Hicks explica las palabras inventadas y las mayúsculas del volumen por falta de equivalente en inglés, no por énfasis

«But the basis of Abraham’s uncommon philosophy is translated into English as Well-Being. It’s about the broader Universal, Non-Physical Well-Being that flows naturally to all of us unless we do something to pinch it off.» — y da el ejemplo de la palabra que el libro escribe con mayúscula, el Bienestar universal que, dice, fluye por sí solo salvo que uno lo estreche

«Since 1986, Esther and I have traveled to about 50 cities a year presenting workshops, and any of the attendees can discuss or pose questions on whatever subject they want to talk about; no subjects are off-limits.» — Jerry Hicks data el arreglo público en 1986 y describe el formato de los talleres, con preguntas abiertas y sin materia vedada

«Most, however, who have been conscious of personal communication with the Non-Physical (perhaps in fear of» — Jerry Hicks explica el silencio de la mayoría de quienes dice conscientes de esa comunicación; la frase se corta aquí porque sigue en la plana siguiente, donde nombra el miedo a ser condenados o internados

«“She speaks with spirits!” our friends said. “She’ll be here next week, and you can make an appointment with her and ask her anything you like!» — Esther Hicks abre su introducción con la frase de unos amigos, que es la primera descripción del oficio que el libro pone en boca de alguien

«That’s about the last thing on this earth that I would ever want to do, I thought, but at the same time I heard Jerry, my husband, saying, “We really would like to make an appointment. How do we go about doing that?» — y la opone en el mismo párrafo a su propia reluctancia y al interés inmediato de su marido, que es el reparto de papeles que el volumen sostiene en todo el arreglo

«The only discomfort that I ever felt was when Jerry would entertain friends with one of his stories from 20 years earlier, relating his experiences with the Ouija board.» — Esther Hicks sitúa lo único que la inquietaba de su marido veinte años antes de 1984, unas historias suyas de tablero; es la única mención del aparato en todo el volumen

«I wasn’t what you’d call a religious girl, but I’d attended enough Sunday-School classes to develop a very strong fear of evil and the devil.» — y declara de dónde le venía el miedo, de las clases dominicales, sin adscribirse a religión alguna

«The assistant explained that Sheila was going to relax and release her consciousness, and then Theo, a Non-Physical entity, would address us. When that happened, we’d be free to talk about anything we desired.» — la mecánica de la consulta de 1984, tal como Esther Hicks dice que se la explicaron: la mujer suelta la consciencia y una entidad No Física llamada Theo toma la palabra

«Sheila lay across the end of the bed, only a few feet from where we were seated, and breathed deeply. Soon, an unusual-sounding voice abruptly said, “It is the beginning, is it not? You have questions?» — y el momento en que esa voz habla, con las primeras palabras que Esther Hicks le atribuye

«I relaxed as Theo’s words slowly came out of Sheila’s mouth. And while I knew that it was Sheila’s voice we were hearing, I somehow also knew that something far different from Sheila was the source of these marvelous answers.» — Esther Hicks separa la voz física de la fuente que le atribuye: oía a Sheila y a la vez daba por distinta la procedencia de las respuestas

«The answer was short, and the words felt good as I heard them: “Sit in a quiet room. Wear comfortable clothing, and focus on your breathing. As your mind wanders, and it will, release the thought and focus upon your breathing. It would be good for you to do it together. It will be more powerful.» — la instrucción de meditación que Esther Hicks atribuye a Theo, y que es la que ella dice haber seguido; el proceso 6 del volumen la repite ampliada

«I [say your name] see and draw to me, through divine love, those Beings who seek enlightenment through my process. The sharing will elevate us both now.» — la afirmación que el volumen pone en boca de Theo, con el corchete de la fórmula tal como la imprime el troceo

«If it is her asking, but it is not necessary, for you, too (Jerry and Esther), are channels.» — la frase que el volumen atribuye a Theo y en la que la palabra de la que toma nombre esta raíz se aplica por primera vez a los dos firmantes; Esther Hicks añade que no entendió lo que quería decir

«I would have never asked that, for I had never heard the term spiritual guide, but it sounded like a good question. I liked the idea of guardian angels. So I said, “Yes, please, could you tell me the name of my spiritual guide?» — Esther Hicks declara que el término guía espiritual le era ajeno y que la pregunta la propuso la asistente, no ella

«Theo said, “We are told it will be given to you directly. You will have a clairaudient experience, and you will know.» — la respuesta que el volumen atribuye a Theo, que difiere la revelación del nombre y la anuncia como experiencia clariaudiente

«But this time, something, or someone, began to “breathe my body.” From my vantage point, it felt like rapturous love, moving from deep inside my body outward.» — Esther Hicks describe la tercera meditación de ese día dejando abierto el sujeto, algo o alguien, y nombra la sensación como amor arrebatado que va de dentro afuera

«At that time, I didn’t realize what had happened, but I know now that I’d experienced my first contact with Abraham.» — y adjudica retrospectivamente aquel episodio al primer contacto con la voz, distinguiendo lo que supo entonces de lo que dice saber al escribir

«So Jerry and I made the decision to meditate every day for 15 minutes. I don’t think we missed a day in the next nine months. I felt the numbness, or feeling of detachment, each time, but nothing else extraordinary happened during our meditations.» — la cadencia que Esther Hicks declara, quince minutos diarios durante nueve meses, y su resultado escaso; el volumen mide el arreglo en práctica sostenida y no en suceso

«And then, right before Thanksgiving of 1985, while meditating, my head began to move gently from side to side. For the next few days, during meditation, my head would move in that gentle flowing motion.» — Esther Hicks fecha hacia el final de 1985 el movimiento de cabeza con que dice haber empezado la comunicación articulada

«And then, on about the third day of this new movement, during meditation, I realized that my head was not randomly moving about, but it was as if my nose was spelling letters in the air. “M-N-O-P” is what I realized it was.» — y el momento en que lee el movimiento como letras deletreadas en el aire por la nariz, que es la primera forma del arreglo que el volumen describe

«Abraham has since explained to us that there are many gathered there with “them.” They refer to themselves in the plural because they’re a Collective Consciousness.» — la voz explica su propio plural por ser consciencia colectiva, según lo cuenta Esther Hicks; el troceo reemite el marcador de esta plana al abrir chunk y la explicación queda partida en dos

«Abraham has since explained that they’re not whispering words into my ears, which I am then repeating for others, but instead they’re offering blocks of thoughts, like radio signals, which I’m receiving at some unconscious level.» — la voz niega dictar palabras al oído y declara ofrecer bloques de pensamiento como señales de radio, según Esther Hicks; es la misma figura que su marido usa en el Preface

«I “hear” the words as they’re spoken through me, but during the translation process itself, I have no awareness of what is coming, or time for recollection of what has already come.» — Esther Hicks acota lo que sabe de sí misma mientras habla: oye las palabras y a la vez declara no tener conciencia de lo que viene ni memoria de lo dicho

«This is, plain and simply, one of the most powerful books I have ever read. One’s entire life can change because of what is found here. And all given with such love! This book is a Life Treasure.» — el primero de los nueve elogios de la solapa, firmado por Neale Donald Walsch como autor de Conversations with God; es aparato del editor y no voz de la obra

«I’ve been a huge fan of the teachings of Abraham for ten years. They’ve helped me and my family tremendously.» — el elogio de solapa firmado por Christiane Northrup, que mide en diez años su trato con la enseñanza; aparato del editor

«One of the most valuable things about Ask and It Is Given is that Abraham gives us 22 different powerful processes to achieve our goals. No matter where we are, there’s a process that can make our lives better. I love this book, and I love Esther and Jerry Hicks!» — el elogio de solapa de Louise L. Hay, la misma a quien la dedicatoria atribuye haber pedido el libro, y que cuenta los veintidós procesos como lo más valioso del volumen

«This is a great book! My wife and I have enjoyed these profound and extremely practical Abraham teachings for several years. We trust that you will benefit as well. We recommend it to all our friends!» — el elogio de solapa de John Gray, que llama prácticas a las enseñanzas y dice llevar varios años con ellas

«. . . a publishing milestone. . . . you’ll be fortunate to tap in to the thinking of those who are permanently connected to Source Energy. Moreover, these voices of Spirit speak in a language you’ll understand and be able to instantly translate into action. They offer you no less than a blueprint for understanding and implementing your own destiny.» — la solapa recorta del Foreword de Wayne W. Dyer, que está impreso entero en las planas 14 a 16, y lo firma aparte; el editor presenta como elogio lo que dentro del libro es prólogo

«The Abraham-Hicks teachings have inspired me to a grand new level of clarity, confidence, purpose, and passion. I study these ideas constantly and recommend them to everyone I can. They are among the most powerful and transformational I have ever encountered. Live them, and your life will become new and brilliantly happy.» — el elogio de solapa de Alan Cohen, que nombra la enseñanza con el compuesto Abraham-Hicks que el cuerpo del libro no usa

«will have you trusting your inner guidance again, and will set you on course for the most uplifting adventures imaginable. Ask and It Is Given is the road map to self-upliftment and a joyous life.» — el cierre del elogio de solapa de Jack Canfield, cuyo arranque queda en la plana anterior; el troceo parte la cita en el cambio de plana

«This is one of the best books about manifestation that I’ve read in a long time. I appreciate how the book presents profound truths in such a downto-earth way! The book’s refreshing tone is supportive, loving, and completely positive. I’m giving away copies of Ask and It Is Given to everyone I know. I love and highly recommend this book.» — el elogio de solapa de Doreen Virtue, que sitúa el volumen en el género de la manifestación; el troceo parte *down-to-earth* por el guion de fin de renglón y span devuelve *downto-earth*.

«Also by Esther and Jerry Hicks (The Teachings of Abraham) Card Deck, Calendar, and Books *The Amazing Power of Deliberate Intent (also in Spanish) *The Teachings of Abraham Well-Being Cards The Science of Deliberate Creation Daily Planning Calendar/Workbook A New Beginning I: Handbook for Joyous Survival» — el catálogo del propio matrimonio abre repitiendo la fórmula de la portada y lista los títulos anteriores; es aparato del editor

«*Sara, Book 1: The Foreverness of Friends of a Feather *Sara, Book 2: Sara & Seth: Solomon’s Fine Featherless Friends *Sara, Book 3: A Talking Bird Is Worth a Thousand Words!» — los tres volúmenes de la serie Sara que el catálogo anuncia; el Seth del segundo título es un personaje de esas novelas y no la voz dictante de Jane Roberts, que el cuerpo nombra aparte en la plana 36

«Videocassettes The Art of Allowing The Science of Deliberate Creation Relationships & Co-creation Health & Well-Being Money & Manifestation Death & Life Paranormal Concepts» — los siete videos del catálogo, donde el editor reparte por materias lo que el libro expone junto

«All rights reserved. No part of this book may be reproduced by any mechanical, photographic, or electronic process, or in the form of a phonographic recording; nor may it be stored in a retrieval system, transmitted, or otherwise be copied for public or private use— other than for “fair use” as brief quotations embodied in articles and reviews without prior written permission of the publisher.» — la reserva de derechos de la página de derechos, que excepciona las citas breves en artículos y reseñas; aparato del editor

«The authors of this book do not dispense medical advice or prescribe the use of any technique as a form of treatment for physical or medical problems without the advice of a physician, either directly or indirectly.» — la advertencia legal de la página de derechos, que llama autores a los dos firmantes y les niega el despacho de consejo médico; importa porque el proceso 21 del cuerpo trata de la salud

«The intent of the authors is only to offer information of a general nature to help you in your quest for emotional and spiritual well-being. In the event you use any of the information in this book for yourself, which is your constitutional right, the authors and the publisher assume no responsibility for your actions.» — y la continuación de esa advertencia, que acota lo que el volumen ofrece a información de orden general y descarga de responsabilidad a autores y editor

«This book is dedicated to all of you who, in your desire for enlightenment and well-being, have asked the questions this book has answered, and to three delightful children of our children, who are examples of what the book teaches: Laurel (5); Kevin (3); and Kate (2), who are not yet asking because they have not yet forgotten.» — la primera mitad de la dedicatoria, sin firma, que dedica el libro a quien preguntó y a tres nietos de los firmantes, y explica la niñez por no haber olvidado todavía; el plural posesivo la sitúa en voz de los dos firmantes y no de la voz del cuerpo

«Contents Foreword by Dr. Wayne W. Dyer Preface by Jerry Hicks An Introduction to Abraham by Esther Hicks» — el índice reparte el aparato de entrada en tres piezas firmadas por tres personas distintas, que es el orden de voces que esta ficha sigue

«PART I: Things That We Know, That You May Have Forgotten, Which Are Important for You to Remember» — el título de la primera parte, enunciado en primera persona del plural por la voz que el libro presenta como Abraham y en segunda para el lector

«PART II: Processes to Help You Achieve What You Now Remember • Introducing 22 Proven Processes That Will Improve Your Point of Attraction» — el título de la segunda parte y el de su apartado de marco, donde el propio libro cifra en veintidós los procesos que siguen

«Have You Put a Happy Face on It? Process #1: The Rampage of Appreciation Process #2: The Magical Creation Box Process #3: The Creative Workshop Process #4: Virtual Reality Process #5: The Prosperity Game Process #6: The Process of Meditation Process #7: Evaluating Dreams» — los siete primeros procesos con su número y su nombre tal como el índice los imprime, detrás de los dos apartados de marco de la segunda parte

«Process #8: The Book of Positive Aspects Process #9: Scripting Process #10: The Place Mat Process Process #11: Segment Intending Process #12: Wouldn’t It Be Nice If . . . ? Process #13: Which Thought Feels Better? Process #14: The Process of Clearing Clutter for Clarity Process #15: The Wallet Process Process #16: Pivoting Process #17: The Focus Wheel Process Process #18: Finding the Feeling-Place Process #19: Releasing Resistance to Become Free of Debt Process #20: Turning It Over to the Manager Process #21: Reclaiming One’s Natural State of Health Process #22: Moving Up the Emotional Scale One Last Thing Glossary About the Authors» — y los quince restantes hasta el cierre del volumen, con las tres piezas finales; el índice no imprime números de página en ninguna de sus cinco planas

«The book you’re holding in your hands at this moment contains some of the most powerful teachings available to you on our planet today.» — la primera frase del Foreword firmado por Wayne W. Dyer, que sitúa el volumen entre las enseñanzas más poderosas disponibles

«My first thought is that if you’re not yet ready to read and apply this great wisdom, then I urge you to simply carry this book with you for a few weeks.» — la instrucción de lectura que Dyer propone para quien no se sienta listo, llevar el libro encima unas semanas; es consejo suyo y no del cuerpo

«This is a universe of vibration. As Einstein once observed, “Nothing happens until something moves”—that is, everything vibrates to a particular measurable frequency.» — Dyer apoya el vocabulario vibratorio del libro en una frase que atribuye a Einstein; la atribución es suya y el volumen no da fuente

«Break the solid world down to smaller and tinier components and you see that what appears to be solid is a dance—a dance of particles and empty spaces.» — y desarrolla la imagen de lo sólido como danza de partículas y espacios vacíos, que es el puente que tiende entre la física y el vocabulario del volumen

«The teachings of Abraham, essentially, are focused on helping you to return, in all respects, to that Source from which all things originate and all return to as well.» — Dyer resume en una línea para qué sirve el libro, a su juicio: volver a la Fuente de la que dice que todo procede

«This Source Energy has a look and a feel to it that I’ve touched upon in my book The Power of Intention.» — y remite a un libro suyo, The Power of Intention, que el catálogo de Hay House al final del volumen vuelve a anunciar

«I love you—ALL OF YOU. — Wayne» — el cierre y la firma del Foreword, que el troceo imprime con el nombre de pila solo

«They summarize an observation I’ve offered for many years now: “When you change the way you look at things, the things you look at change.» — la fórmula propia que Dyer dice repetir desde hace años y en la que hace coincidir lo suyo con lo del volumen

«Sunlight is beginning to spill across the Malibu coastline as I begin this Preface. And the deep indigo tint of the Pacific Ocean at this time of the morning seems to match the depth of pleasure I’m feeling as I’m imagining the value you’re about to receive from the revelations within this book.» — la primera frase del Preface firmado por Jerry Hicks, que fecha su escritura por el amanecer en la costa de Malibú

«And for that reason, we’ve created a brief Glossary at the back of this book in order to clarify our uncommon usage of some common words.» — Jerry Hicks declara quién hizo el glosario de las planas 249 a 252 y para qué: aclarar el uso propio que el volumen da a palabras comunes

«Over the past decade, we’ve published much of Abraham’s teachings in our quarterly journal, The Science of Deliberate Creation, which has highlighted the newest perspectives gleaned from questions posed by the attendees of our Art of Allowing Workshops.» — la procedencia del material: una revista trimestral propia, The Science of Deliberate Creation, alimentada por las preguntas de los talleres

«As such, this philosophy is continually evolving as more of you bring to our attention your newest questions and perspectives.» — y la declaración de que lo expuesto no está cerrado sino que cambia con las preguntas nuevas de los asistentes

«This book offers you a hands-on course in spiritual practicality. It’s a how-to book in the broadest sense of the term—that is, how to be, do, or have anything that pleases you. This book also teaches you how not to be, do, or have anything that displeases you.» — Jerry Hicks clasifica el volumen como manual práctico en los dos sentidos, para lograr lo que se quiere y para no tener lo que no

«Eventually, we created a free Introduction to Abraham recording that people could listen to at their leisure, which explains the details of how our Abraham experience began and evolved. (We’ve now posted that 74-minute Introduction as a free download at www.abraham-hicks.com, our interactive Website to explain who we are and what we were doing before meeting Abraham.» — y remite a una grabación de setenta y cuatro minutos y a un sitio propio para el relato detallado del arreglo, que queda fuera del volumen

«us to explain our relationship with Abraham. “How did your meeting occur? How do you maintain your relationship? Why did they choose you? What is it like to be the speaker of such profound wisdom?” So, Jerry and I would spend a few minutes at the beginning of every speaking engagement or radio or television interview trying our best to satisfy those questions.» — las cuatro preguntas que Esther Hicks dice que el público hacía sobre el arreglo, y el minuto de cada acto que los dos firmantes dedicaban a contestarlas

«But I always felt impatient with that part of our presentation. I just wanted to relax and allow Abraham’s Consciousness to begin flowing, and to get on with what Jerry and I felt was the true reason we were standing there to begin with.» — y la impaciencia con que ella dice haber llevado esa parte, lo que sitúa las preguntas de atribución en el marco y no en el contenido del trabajo

«All Is Well: The basis of All-That-Is, is Well-Being. There is no source of anything that is other than Well-Being. If you believe you are experiencing something other than Well-Being, it is only because you have somehow chosen a perspective that is temporarily holding you out of reach of the natural Well-Being that flows.» — el primer asiento del glosario, que el Preface de Jerry Hicks declara hecho por los dos firmantes para aclarar el uso propio que dan a palabras comunes

«Allowing: The state of alignment with the Well-Being that flows from Source. The focusing of your attention upon things that cause you to offer a vibration that “allows” your connection to your natural source of Well-Being. Tolerating is very different from allowing. Tolerating is seeing what is not wanted, feeling the vibrational evidence of that perspective, but deliberately taking no action. Allowing is deliberately giving your attention only to that which causes a vibration of alignment with Source. When you are in the state of allowing, you always feel good.» — el asiento del glosario para el término mayor del volumen, que lo distingue expresamente de tolerar; es definición de los firmantes y no de la voz del cuerpo

«Art of Allowing: The practiced process of deliberately choosing your subjects of attention, with a keen awareness of how that perspective feels to you. By deliberately choosing thoughts that feel good, you achieve vibrational alignment with your Source of Well-Being.» — el asiento del nombre con que el matrimonio titula sus talleres, definido como práctica de elegir el objeto de atención por cómo se siente

«Deliberate Creation: Focusing on what is intended while being consciously aware of one’s vibrational state of being and connection to one’s Source.» — el asiento del otro término mayor del volumen, que añade a la definición la conciencia del propio estado vibratorio